text:
Talk:Samba

Portuguese terminology and grammar
Obviously it is impossible to avoid Portuguese terminology in this article. But is there some way to minimize assuming Portuguese declension and other syntactical elements, for instance, using a different grammatical form of a word that was defined?

Some of the meaning is obscured by lapses in grammar, as well. I'm finding it difficult to point to specific instances, but it should be relatively easy for someone who understands the original intent really well to fix up the mechanics of the article. At that point additional weaknesses may be revealed more clearly. Arch5280 (talk) 19:15, 13 July 2014 (UTC)

 * I noticed that in the popular dances paragraph in the Etymology section some of the dances are spelled probably as they are written in the reference book (a book from 1889), and they're different (and seem strange...) from the current spelling, for example "Catêrêtê" which doesn't have the 3 circumflex accents, just the last one (no word in Portuguese has more than one accent AFAIK). Other examples are oxytone words ending in U, these don't have the accute accent ("Maracatú" and "Lundú"). The links for the dances that already have articles have the correct spelling, though. Should this old spelling be kept or should it be changed to the current spelling? Marcusbacus (talk) 23:09, 10 May 2017 (UTC)

Rainbow forest?
"where it was born and developed between the end of the 19th century and the first revolution of the Rainbow Forest". I am Brazilian and I never heard of any "Rainbow forest" nor its "revolution". It must be vandalism from someone or a misinformation. --'''Mr. Nighttime''' (talk) 11:02, 1 July 2010 (UTC)

Origin in Benin?
I have come over a filmed testimony from the 1920s in which a tribe living in Benin and called Somba is dancing in a Samba-style fashion. Maybe worth rethinking the issue of origin of the dance in light of the fact that Benin has been a crucial crossroad for slave trade? The filming is part of the "The Archives of the Planet" that have been initiated by the philantrophist Albert Khan.(Tadju (talk) 21:24, 7 March 2009 (UTC))

Cuica
We have an article about the cuica and it is one of the most recognizable signatures of the Samba, isn't it? It isn't mentioned at all in this article though. I don't have the expertise to know where it should go though.

Portuguese origin
Actually, I do think that samba has elements of Portuguese in it. These principally lie in the melodic material of the songs. Shall we put that back in? Mona-Lynn 07:08, 2 Apr 2005 (UTC)

We can see it by listeing to the old Portuguese folklore. Here, it's used a small gitar called cavaquinho, who was taken to Brazil and started to be used in samba. By the way, it was also taken to Hawaii by a Madeiran immigrant. There, it was baptized as Ukulele. —Preceding unsigned comment added by 89.152.129.97 (talk) 13:41, 3 April 2009 (UTC)

Old version of this article
I found the following text in the Samba (music) talk page which I guess should be evaluated and integrated into the main article, or whatever is deemed appropriate), then deleted from here. Samba (dance) should also be integrated into this article, in my view. Mona-Lynn 07:08, 2 Apr 2005 (UTC)samba is sxc

blah blah Please don't. The articles are about different things.Mikkalai 17:13, 2 Apr 2005 (UTC)
 * I disagree. Brazilians in general do not make a distinction between samba as a dance and as a style of music. The articles should be merged. Noruga 13:10, 1 March 2007 (UTC)

Of course we do. —Preceding unsigned comment added by 189.25.149.228 (talk) 18:15, 2 September 2009 (UTC)

Samba is the most famous among the various forms of music that resulted from the amalgam of African and Portuguese music that took place in Brazil.

The name Samba comes from the ANGOLAN "SEMBA " - religious  rythms

 * 8/8    //:   3     +  3       + 2  : //

 * Bassdrums( surdo ) Marcao  risposta   cortador

 * which are mixed with a "MALINGA "rythm ( angola / mozambique) on the  pandeiro( = austral  african  tambourin /or -->small malinga  frame -drum )

 * 16/16  // : 3 + 1 + (3) + (1 )+ 3 +1 + (3 )+(1 ) ://

Samba developed as a distinctive kind of music at the turn of the XX century, mainly in the state of Bahia. especially in Santander Some forms of the original african  semba "roots "music are still played on the ATABAQUES (three conga like  hand drums) and developped into the SAMBA PAGODE

 * the playing on one  atabaque ( = you can also use a djembe )  is
 * <    <             Bell
 * 16/16   R B b L  R B b L

 * ( R= right( strong )hand rim or tone   L = Left hand rim or tone
 * B= open strong bass        b = weak bass

it is still the music of  the  " BLOCOS " in the santander carnival

The migration of black population from Bahia to the capital Rio de Janeiro brought the samba to the metropolis and evolved there  into the samba carioca

The first recordings of samba (Pelo Telefone, by Donga, in 1917) carried the new music outside the black ghettos, known as favelas, but the real popularity of the samba only started with the compositions of one genial white musician, Noel Rosa. His abilities as a lyricist and satirist made the samba acceptable to the white middle class, while maintaining the essential characteristics of the music: its rhythm, its unique instrumentation and structure.

 * It's not Santander, Salvador is the Bahia's capital. And the earlier pagode (countryside pagode) is quite different from Bahia's actual music (carnival groups, afoxés or trios). The popularity of samba is highly due to Vargas dictatorship and his propaganda bureau, who used radio stations to broadcast the rythm and the songs as a symbol of brazilian identity, aiming to unify the cultural differences among brazilian provinces. And, of course, Noel Rosa was a genius.
 * Salvador isn't "the Bahia's" capital,it's Bahia's capital.Even if the word "bahia" means "bay" in portuguese, the state's name is still a "substantivo próprio" - personal noun.I don't know how to explain that very well, as I am not very familiar to English grammar.

 * I don't know who left this comment, as it is unsigned, and its English is very confused, but this is extremely valuable information. The article as it stands has no information at all about what samba IS -- what is the beat, what does it sound like, who started it? The thing about the belly-button -- who cares? This article is about SAMBA. What is it? This is a terrible article. Someone with better English should try to incorporate this talk comment above, as it is KEY. 76.22.20.146 (talk) 06:29, 31 October 2008 (UTC)

 * This is the correct information regarding Samba origins, as it did not originate in Rio, but in the outlying regions of Salvador. Will correct the information, and add sources of ethnomusicologists to back up this very true claim RodolfoVisconde (talk) 19:00, 31 January 2023 (UTC)

 * See also Samba software, a free, open implementation of Microsoft's networking protocols.

"In the sixties..." paragraph of Samba history a bit misleading
That paragraph in question seem to imply that artists such as Cartola, Nelson Cavaquinho, Velha Guarda da Portela, Zé Keti, and Clementina de Jesus are part of the "leftist musicians of bossa nova". I beg to differ. Artists mentioned above are the sambistas 100% and should be differentiated from bossa nova.

Moreover, even though those artists mentioned above may have recorded their first albums in the sixties, they were "discovered" much much earlier. I believe Cartola was one of the founding fathers of Mangueria back in the 1920s or early 1930s. Nelson Cavaquinho was supposedly Cartola's drinking pal and they wrote many samba classics that got popular before the sixties.

The article also makes no mention of Paulinho da Viola, a master craftsman of samba songs that was very active from early 70s to the 80s. His contribution to samba is significant and his rise as a sambista came after Zé Keti's generation but before the younger Beth Carvalho and Zeca's. [was ic -> now Cuica-dude]
 * I encourage you to edit away! This article needs more work and it sounds like you're the person to tackle it. Looking forward to the results. Mona-Lynn 05:14, 9 Apr 2005 (UTC)

Samba dance stuff
I have removed new material that is off-topic - about the dance - and suggest that the anonymous person who added it integrate it instead into Samba (dance) or into Brazilian Carnival. Here it is:

''Since Samba is so popoular in Brazil, it comes as no surprise that Samba is a big attraction on the annual Carnival that is held 2 weeks before the traditional Christian fasting of Lent. Rio de Janeiro is host to this amazing celebration of music, good food, color and of course the Samba dance. Every year thousands come to Rio to attend the Carnival from all over Brazil and also from other parts of the world. The Carnival comes with a lot of The celebration of Carnival ends on "Mardi Gras". Samba dancers in the Carnival are dressed in attractive and exotic clothes that are bright in color. They are also scantily clothed, particularly the women. There is a lot of belly dancing in Samba. Incidentally, both the Samba and the Tango, the 2 major South American dances are hugely popular across the world. But Samba and the Tango are completely different, as different as Fire and Ice can be. While hundreds come to the streets dansing Samba, Tango is more personal that is participated by a couple.Samba Dance and The Carnival''

Confusing
This article, to a lay person (ie, me) is very confusing—I don't recognize many of the instruments, and I don't understand many of the subdivisions. What I think would be most helpful would be some sort of example of Samba linked to this page. Perhaps someone could find something on Creative Commons? The Jade Knight 05:42, 28 July 2006 (UTC)

Cameroonian Connection?
In Kom in Cameroon there is a traditional dance called Samba. It is musically different from Bazilian Samba, but there are some parallels, especially the use of a friction drum, which, as far as I know, is also called "Samba" in the Kom language. I don't know if the word is related to the Angolan word semba. The ethymology of the term in Bantu languages should be investigated. (cf. Talk:Friction drum). I also don't know if there is any historical link to the brazilian Samba. Does anybody know a reference on this? Does anybody have information about the ethymology of the terms "semba" or "samba" in Bantu languages? Nannus 20:58, 23 August 2006 (UTC)

Samba (India)
I removed the User:Ganeshbot/sandbox/Samba notice. The two have absolutely no relationship. Macgreco 02:15, 19 February 2007 (UTC)

Mainstream
WTF mainstream in Japan? —Preceding unsigned comment added by 201.78.91.31 (talk) 14:01, 14 October 2008 (UTC)

Carmen Miranda
Carmen Miranda was born in Portugal, she was never Brazilian, even though she lived many years in Brazil.

Expert help required
Some of the article has been poorly translated, and needs the attention of an expert on the dance form, or someone who has access to the sources. Thanks. -- Diannaa (Talk) 23:48, 4 November 2010 (UTC)

Image copyright problem with File:Cartola.jpg
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Rewrite History Section
I think the current History section ought to be completely gutted. As it is now it is primarily the product of one edit made in July 2009 by User:Rbrandao, and it is rife with some really atrocious errors which put this User's expertise into question. The following passage, for example, is totally wrong: "Also in the 1940s, there arose a new crop of artists: Francisco Alves, Mário Reis, Orlando Silva, Silvio Caldas, Aracy de Almeida, Dalva de Oliveira, and Elizeth Cardoso, among others." Not only were most of these artists active Sambistas in the 1930s, but one of them, Francisco Alves, was probably Brazil's biggest male singing star of the first half of the 20th century - and he began recording in the 1920s. This is a basic fact of Brazilian music of the era. Another remark that samba was influenced by "foreign music" such as foxtrots in the 1940s and boleros in the 1950s is also wrong; both of those kinds of music have been played in Brazil about as long as they've been played elsewhere. The introduction of the article also mentions that samba became "influenced by American orchestra music" after WWII, by being played with American-style orchestras, which is also easily proven false (much of Carmen Miranda's 1930s oeuvre was backed by orchestras).theBOBbobato (talk) 14:18, 9 October 2013 (UTC)

 * User:Bob bobato, have you read "História Social da Música Popular Brasileira", by José Ramos Tinhorao? I think there you can read references about external influence in the "mainstream samba"  in the 1930/1950's. It's only one (probably the most famous) among others books and essays which comments about this. The samba-canção  (also well-known as samba de meio do ano) appeared in the late 1920s and became much more popular in late 1940's with a big influence of bolero (even bolero had been spread many years before).  I haven't found the frame "samba became "influenced by American orchestra music" after WWII", only since.  Okay, it's poor written, but I think it was a lack of the word "more" ("samba has become more influenced", I believe, because this American influence got stronger Good Neighbor Policy) - of course, the "mainstream samba" had orchestras since the 1930's (even sambas de carnaval and marchinhas had, this became to change mainly in the 1960's). Course Tinhorao can be questioned (and it has been for other authors, included concerning the importance of this foreign influence [e.g. http://www.ceart.udesc.br/dapesquisa/edicoes_anteriores/8/files/03MUSICA_Marcus_Facchin_Bonilla2212.pdf]), but if you have to rewrite the article, you need to read the original stuff in Portuguese. I agree the history section must be rewritten. I realized this current English version is based in an old version of a Portuguese article, in mid-2009. The current Portuguese version (also written by User:Rbrandao) is much better than 2009 Portuguese version, so I think it is not a question of  put this User's expertise into question, this user made many improvements in the Portuguese article since then, especially at the early years of samba and breaking down into a more logical chronological order which takes the "moderno e urbano samba carioca" as the main point. Concerning the 2009 version, it seems it was made to be generic, using basic Portuguese references (e.g. websites which try to summarize a genre so complex as samba, but it is not a primary source). Unfortunately, you can't find better things on the internet (maybe some rare articles and works in pdf), but the main thing is on libraries and in Portuguese.  Or to adopt part of the current version in Portuguese. Or to reduce and keep online English sources.ChicoBuarque (talk) 11:38, 13 October 2013 (UTC)

I've added some cultural points that are important historically (together with citation). It overlaps two of the (existing) historical periods but I felt it was better to keep the political and cultural relevance in one paragraph. I agree that the section should be re-written and perhaps a future editing could vastly improve the section completely. Parzivalamfortas (talk) 05:42, 26 April 2014 (UTC)

Football influence
The article briefly mentions how Samba is associated with football, but I think that we should expand on this topic, and provide a bit more information on how Samba style shaped Brazilian football style after its introduction/formation in the country. This article highlights some of this -- in case you wanted sources to back up what I am trying to say. Adamh4 (talk) 21:39, 24 April 2014 (UTC)

I think this is an interesting idea, and there is maybe an instinctive connection. But I would like to see something a bit more substantial than an unsupported blog. I found this http://www.jbiomech.com/article/S0021-9290%2806%2985292-9/abstract but some proper research may involve costs unless someone has time and access to relevant journals, publications and so on that can be cited as more than just ideas. Parzivalamfortas (talk) 20:32, 25 April 2014 (UTC) Bouncing it off a Brasilian contingent that is more knowledgeable about football than I am, the suggestion arose that samba is more an association with football than an influence. For instance, samba before a match is often an opportunity for shared joy between the players. We know that many samba schools are associated socially with certain football clubs. One top player who is skilled in capoiera has suggested that that dance (capoiera) has affected his personal football playing. But it would seem fanciful to think that all football players are also such keen samba dancers that their agility or timing from samba has impacted on their game. The loose association between football clubs and samba schools is quite well known though (fans of one tend to be fans of the other) and common associations could be listed, perhaps in a page on Brasilian fotball. But I personally feel we would need more hard evidence to suggest that it has shaped the game. Parzivalamfortas (talk) 03:22, 26 April 2014 (UTC)

Etymology
I've added some points to the etymology section, mostly to try to clarify what perhaps seemed a rather lopsided and poorly supported explanation of the word 'semba.'

Yet the connection with the word semba strictly speaking seems more semiological than purely etymological. For instance, Barbara Browning ("Samba: Resistance in Motion") says it is a language in response to cultural repression, linking the African roots of slavery to the name of the very first carnaval samba school, called Deixa Falar ("Let Me Speak"), and she quotes the study by Muniz Sodre ("Samba, o dono do corpo").

Although I haven't read the whole of Sodre's study, the sentence, "O 'encontrao,' dado geralmente com o umbigo (semba, em dialeto angolano) mas tambem com a perna, servira para caracterizar esse rito de danca e batuque, e mais tarde dar-lhe um nome generico: samba" offers a fairly convincing theory of the arrival of the word samba (Rough translation: "The 'bump' usually given to the navel (Semba from Angola dialect) but also with the leg, served to characterize this rite of dance and drumming, and later give it a generic name: samba.") This is important, among other reasons, to counter the slightly simplistic argument, often put forward, that samba is 'derived' from semba when in fact they are two distinct dances (but with some commonalities of expression and cultural circumstances), and additionally support the reality that samba is in fact a group of dances.

If anyone wants to re-write the etymology section to incorporate these points, please do so!

Parzivalamfortas (talk) 06:45, 26 April 2014 (UTC)

Etymology revisited
Just wondering, doesn't the word 'samba' simply mean "female sambo", or "woman of combined African and indigenous ancestry"? If anything, the samba was originally the music of these people. Steinbach (talk) 10:44, 9 August 2016 (UTC)

Rhythm - reference (6) to Blatter's book
The rhythm reference to Blatter(6) has a 2/4 time signature, but shows two bars of different lengths, the first with only one beat (two quavers or eighth notes), the second with two beats (four quavers). This is at least confusing, and as musical notation, it is incorrect. Was the reference mis-quoted, or is the source simply wrong. I have not got a copy of Blatter's book so cannot check.92.21.227.81 (talk) 17:13, 24 October 2014 (UTC)

Audio Files Do Not Play
None of the audio files will play, rendering the entire article useless. Either provide a universal format, or make the stubs downloadable, or provide a source link, or remove them as clutter.99.2.69.172 (talk) 17:36, 2 January 2015 (UTC)

Samba dance
All text related to dance must be moved from here into its own article: Samba (Brazilian dance), otherwise this creates great confusion. - üser:Altenmann >t 03:15, 24 May 2016 (UTC)

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Boy is this different from the article in Portuguese!
pt:Samba I don't think such a dramatic discrepancy between two articles on the same topic is healthy. deisenbe (talk) 00:11, 9 September 2018 (UTC)

Enredo
> "Samba-enredo" translates literally in Portuguese to "samba in song", or "song samba".

WRONG. Enredo means plot, as in a movie plot. Samba-enredo means it's a samba that tells a story. --179.179.160.229 (talk) 18:52, 18 December 2018 (UTC)

Infobox Color
I'm not the one who changed it, but I support changing the infobox color from olive to #9C9C00. Currently you can read the infobox but it's not especially present to do so. #9C9C00 is only SLIGHTLY different (specifically lighter) and makes it easier to read. I certainly don't see any harm. Thoughts? ‡ Єl Cid of ᐺalencia ᐐT₳LKᐬ  21:20, 15 January 2019 (UTC) olive vs proposed new color ‡ Єl Cid of ᐺalencia  ᐐT₳LKᐬ  21:22, 15 January 2019 (UTC)

samba
Samba (Portuguese pronunciation: [ˈsɐ̃bɐ] (listen)), also known as samba urbano carioca (urban Carioca samba)[1][2] or simply samba carioca (Carioca samba),[3][4] is a Brazilian music genre that originated in the Afro-Brazilian communities of Rio de Janeiro in the early 20th century.[5][6] Having its roots in Brazilian folk traditions,[7][8] especially those linked to the primitive rural samba[5] of the colonial and imperial periods,[9] it is considered one of the most important cultural phenomena in Brazil[10][11] and one of the country's symbols.[12][13][14][15] Present in the Portuguese language at least since the 19th century, the word "samba" was originally used to designate a "popular dance".[ 119.93.43.74 (talk) 13:50, 13 November 2022 (UTC)

Samba- Variants and Historical Developments Valorization
The page downplays the historical importance of the state of Bahia in the foundation of Samba, as it first definition present of Samba, is of "Carioca Urban Samba", which implies that this is the true definition of Samba, which while mentioned several times seems to portray two differnt styles, while samba is actually a collection of several variations, as there is no single uniform Samba style.

Before bringing the Ethnomusicologist definitions of Samba, I bring 'Riachão das Neves' famous singer testimony that, present here at 08:10, in which the best known TV channel in Brazil, called him in to answer the matter of what is the origin of Samba, he recalls that while the other Singer Called Batatinha said that there were several songs coming from Rio on the Radio, he brought a "crioulo" (his words) from Santo-Amaro, known by several ethnomusicologists to be the birthplace of Samba, such as cited by several sources, 1, 2  , to play a piece of Samba de Roda, which has an important notoriety for the development of Samba as whole, I.e the Unesco own recognition of Samba de Roda as an Intangible Cultural Heritage of Humanity, as a response for the question of the origins of Samba.

Furthermore I would like to state that Samba de Roda is a Variant of Samba as much as Urban Samba of Rio, or even the Urban Samba of Salvador, for that matter. For this reason I propose a restructuring of this page taking into account the variants of Samba such as Samba Duro, Samba Afro and Samba de Caboclo, the Urban Samba of Salvador, which was in many moments even more famous locally than Rio's Urban form of Samba, especially in the 80-90's with Gera-Samba, Caetano Veloso, Gilberto Gil, Key figures in contemporary Samba which are from Bahia.

To have the page define Samba as Urban Samba from Rio is disrespectful and inconsiderate to other forms of Samba, and even inconsistent with other pages of Brazilian Rhythms, such as the Samba-Reggae Page which starts with : "These Afro-Brazilians played a major role in the early development of samba, which first took form in a Bahian style of dance and music called "samba de roda", probably in the late 19th century. Samba de roda was brought to Rio de Janeiro by Bahians around 1900, where it was combined with harmonic and rhythmic elements from European influences (such as chorinho and military marches). [...]The paradoxical result was that samba was brought back to Bahia from Rio, but now in a highly altered form, and no longer associated with Afro-Brazilians. Thus, in the mid-20th century, the city of Salvador had many samba schools that were modeled on the samba schools of Rio, as well as blocos (informal street percussion groups), both of which performed Rio-style samba in Carnival parades every year. Yet, ironically, black Brazilians did not participate in these Carnival parades or in the blocos, since they were not allowed to participate. Samba-reggae represents an effort by black Brazilians to develop a Carnival parade music that they could call their own, and to form all-black or mostly-black blocos with which they could parade during Carnival. The afro bloco music was very different because they aimed to recreate and strengthen their community through their music."- Wikipedias English Samba-Reggae Page Where it is explicit that the white-washing of Samba happened in Rio, and Samba-Reggae tried to recover the African influence. However Samba-Reggae wasn't the only form of Samba done in Bahia, as there was other forms such as Samba duro, Samba de Caboclo and other forms of Samba such as Pagode, Pagode Baiano or Pagodão, and the Samba Junino, which is part of Salvador Cultural Heritage .

While each variant of Samba could merit it's own page, this is the main page for Samba, and it does not make sense for one variant to supplant others as the "official version" of Samba RodolfoVisconde (talk) 19:34, 31 January 2023 (UTC)

 * "primitive rural samba" is a prime example of prejudice within the article. The rural Samba is still significant part of Bahian Lore, (see sources in many topic), and the term primitive does not apply at all RodolfoVisconde (talk) 19:57, 31 January 2023 (UTC)

 * You've wrecked the clarity (and the grammar) of the lead. I appreciate that your efforts are in good faith, but what exactly was wrong with calling this a music genre rather than "a name or prefix for several rhythmic variants", whatever that's supposed to mean? The UNESCO stuff also isn't part of the definition; it would still be what it is with or without international recognition. It can come later in the article. WP Ludicer (talk) 17:47, 30 July 2023 (UTC)

What Whoever Created the Infobox for this Lazy?
The infobox doesn't have all of the subgenres and ends with "among others". Some of the subgenres that are listed don't even have their own pages on Wikipedia! 2600:6C5A:417F:794E:C8FF:8BB3:7DF9:BBB4 (talk) 01:56, 4 January 2024 (UTC)

title: Talk:Samba


text:
Talk:House of Commons of the United Kingdom

Political groups: include deputy speakers with presiding officer?
Given that the deputy speakers don't take part in partisan politics such as votes, I think it would be more appropriate to group them under the "presiding officer" heading of the political groups section to better reflect party strengths in the house. This would mean either;

 * 1 - Adding a new "deputy speakers" group below the existing "speaker" one, with a note explaining that deputy speakers still campaign as members of parties but are non-partisan in the house (my preference)
 * 2 - Lumping them in with the existing "speaker" group, with a similiar note explaining 4/5 are deputy speakers and are still members of a party
 * 3 - Adding party groups below the "speaker" group, with an explanatory note as to how they are non-partisan

Additionally, the corresponding circles in the composition diagram would be moved to a vertical line to the left of the speaker. They could either be left in party colours (A), or recoloured to a neutral "deputy speaker" colour (my preference).

Mockups for options 1, 2, and 3 are shown below. Comments welcome.

Saltywalrusprkl (talk) 12:27, 8 May 2024 (UTC)

 * I'm not convinced that this is strictly necessary. Everything you've stated above is true, of course, but deputy speakers do not relinquish party affiliation in the same way that the speaker does – for instance, they are still part of the parliamentary party (I believe) – so I think it's quite disingenuous to recategorise them as you have done. From a quick search, the most prominent external sources (e.g. the UK Parliament website or Parallel Parliament) don't make this distinction and simply include the deputies with their parties' other MPs, which I think is reasonable. Also, this change makes the infobox internally inconsistent with pages like Parliament of the United Kingdom or Template:UK House of Commons composition, which haven't been modified accordingly. For ease of comparison with reliable sources, and to avoid having to add clarificatory footnotes across lots of articles, I suggest that we keep the infobox relatively simple and return it to what it was before. If readers do want a precise analysis of party strengths (e.g. calculation of effective majorities, taking deputy speakers into account), that's available at List of MPs elected in the 2019 United Kingdom general election. —  RAVEN PVFF   · talk  · 01:46, 15 May 2024 (UTC)
 * Fair enough. Have reverted. Saltywalrusprkl (talk) 09:22, 15 May 2024 (UTC)

Diagram for new parliament
I was just wondering when we should add the parliament diagram for the new composition. Presumably once all seats are declared? Gammawammallama (talk) 08:52, 5 July 2024 (UTC)

Co-ops, and Reform UK
We should add the Co-ops to the list under labour and the TUV to reform as they share a whip AbledAtol (talk) 18:25, 5 July 2024 (UTC)

The vacant seat has been filled
The Liberal Democrats won it. NesserWiki (talk) 11:08, 6 July 2024 (UTC)

 * The source is Sky News. NesserWiki (talk) 11:09, 6 July 2024 (UTC)

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/


text:
Lotus Elite

The Lotus Elite name has been used for two production vehicles and one concept vehicle developed and manufactured by British automobile manufacturer Lotus Cars. The first generation Elite Type 14 was produced from 1957 until 1963 and the second generation model (Type 75 and later Type 83) from 1974 until 1982. The Elite name was also applied to a concept vehicle unveiled in 2010.

Type 14 (1957–1963)
The first generation of the Elite or Lotus Type 14 was a light weight two-seater coupé produced from 1957 until 1963.

The car debuted at the 1957 London Motor Car Show, Earls Court bearing chassis number #1008. The Elite had spent a year in development, aided by "carefully selected racing customers" before going on sale.

The Elite's most distinctive feature was its highly innovative fibreglass monocoque construction, in which a stressed-skin Glass reinforced plastic unibody replaced the previously separate chassis and body components. Unlike the contemporary Chevrolet Corvette, which used fibreglass for only exterior bodywork, the Elite used glass-reinforced plastic for the entire load-bearing structure of the car. A steel subframe for supporting the engine and front suspension was bonded into the front of the monocoque, as was a square-section windscreen-hoop that provided mounting points for door hinges, a jacking point for lifting the car and roll-over protection components. The first 250 body units were made by Maximar Mouldings at Pulborough, Sussex. The body construction caused numerous early problems, until manufacture was handed over to Bristol Aeroplane Company.

The resultant body was lighter, stiffer, and provided better driver protection in the event of a crash. Still, a full understanding of the engineering qualities of fibreglass-reinforced plastic was several years off and the suspension attachment points were regularly observed to pull out of the fibreglass structure. The weight savings allowed the Elite to achieve sports car like performance from a 75 hp, 1216 cc Coventry Climax FWE all-aluminium Inline-four engine while returning a fuel consumption of 35 mpgimp. All production Elites were powered by the FWE engine, except for one that acted as testbed for the newly developed Lotus-Ford Twin Cam engine. The FWE engine was derived from a lightweight high-capacity water pump engine used for firefighting.

The car had independent suspension all round with transverse wishbones at the front and Chapman struts at the rear. The rear struts were so long, that they poked up in the back and the tops could be seen through the rear window. The Series 2 cars, with Bristol-built bodies, had triangulated trailing radius arms for improved toe-in control. Girling disc brakes, usually without servo assistance, of 9.5 in diameter were used, inboard at the rear. When leaving the factory the Elite was originally fitted with Pirelli Cinturato 155HR15 tyres.

Advanced aerodynamics also contributed to the car's low drag coefficient of considering the engineers did not enjoy the benefits of computer-aided design or wind tunnel testing. The original Elite drawings were by Peter Kirwan-Taylor. Frank Costin (brother of Mike, one of the co founders of Cosworth), at that time Chief Aerodynamic Engineer for the de Havilland Aircraft Company, contributed to the final design.

The SE was introduced in 1960 as a higher-performance variant, featuring twin SU carburettors and fabricated exhaust manifold resulting in engine power output increasing to 85 hp, ZF gearboxes in place of the standard "cheap and nasty" MG ones, Lucas PL700 headlamps, and a silver coloured roof. The Super 95 model had a more powerful engine with raised compression ratio and a stronger camshaft with five bearings. A limited number of Super 100 and Super 105 cars were made with Weber carburettors, for racing use.

Among the Elite's few faults was a resonant vibration at 4,000 rpm (where few drivers remained, on either street or track) and poor quality control, handicapped by an overly low price (resulting in Lotus losing money on every car produced) and, "perhaps the greatest mistake of all", offering it as a kit (with a substantial reduction in price and Purchase Tax), exactly the opposite of the ideal for a quality manufacturer. Many drive-train parts were highly stressed and required re-greasing at frequent intervals.

When production ended in 1963, 1,030 cars had been built. Other sources indicate that 1,047 were produced.

A road car tested by The Motor magazine in 1960 resulted in a top speed of 111.8 mph and a 0–60 mph acceleration time of 11.4 seconds. A fuel consumption of 40.5 mpgimp was recorded. The test car cost £1,966 including taxes.

Legacy
The ownership and history of the more than 1,000 Elites is maintained by the Lotus Elite World Register. There are several active clubs devoted to the Lotus Elite.

Motor sport

Like its siblings, the Elite was campaigned in numerous formulae, with particular success at Le Mans and the Nürburgring. The Elite won in its class six times at the 24 hour of Le Mans race as well as two Index of Thermal Efficiency wins. Les Leston, driving DAD10, and Graham Warner, driving LOV1, were noted UK Elite racers. In 1961, David Hobbs fitted a Hobbs Mecha-Matic 4-speed automatic transmission to an Elite, and became almost unbeatable in two years' racing – he won 15 times from 18 starts. New South Wales driver Leo Geoghegan won the 1960 Australian GT Championship at the wheel of a Lotus Elite. After winning Index of Thermal Efficiency prize, Lotus decided to go for an outright win at Le Mans in 1960. They built a one-off Elite, called the LX, with a 1964 cc FPF engine, larger wheels, and other modifications. In testing, it proved capable of a top speed of 174 mph. Unfortunately, the lead driver withdrew the night before the race, so the car did not have a chance to prove itself in competition.

Types 75 and 83 (1974–1982)
From 1974 to 1982, Lotus produced the considerably larger four-seat Type 75 and later Type 83 Elite. With this design Lotus sought to position itself upmarket and move away from its kit-car past. The Elite was announced in May 1974. It replaced the ageing Lotus Elan Plus 2.

The Elite has a shooting brake body style, with a glass rear hatch opening into the luggage compartment. The Elite's fibreglass bodyshell was mounted on a steel backbone chassis evolved from the Elan and Europa. It had 4-wheel independent suspension using coil springs. The Elite was the first Lotus automobile to use the aluminium-block 4-valve, DOHC, four-cylinder Type 907 engine that displaced 1973 cc and was rated at 155 hp. With this engine the car does 0 - 60 mph in 8.1 seconds and reaches a top speed of 125 mph. (The 907 engine had previously been used in Jensen-Healeys.) The 907 engine ultimately became the foundation for the 2.0 L and 2.2 L Esprit power-plants, the naturally aspirated 912 and the turbocharged 910. The Elite was fitted with a 4 or 5-speed manual transmission depending on the customer specifications. Beginning in January 1976, an automatic transmission was optional.

The Elite had a claimed drag co-efficient of 0.30 and at the time of launch, it was the world's most expensive four-cylinder car. The Elite's striking shape was designed by Oliver Winterbottom. He is quoted as saying that the basic chassis and suspension layout were designed by Colin Chapman, making the Elite and its sister design the Eclat the last Lotus road cars to have significant design input from Chapman himself.

The Elite was available in four main variations, set apart by equipment levels: 501, 502, 503, and later on 504.

 * 501 - "Base" version.
 * 502 - Added air-conditioning to the base model.
 * 503 - Added air-conditioning and power-steering.
 * 504 - Added air-conditioning, power-steering and automatic transmission.

The Elite was the basis for the Eclat, and the later Excel 2+2 coupés.

Although larger and more luxurious than previous Lotus road cars, the Elite and Éclat are relatively light, with kerb weights not much over 2300 lb.

In 1980 the Type 75 was replaced by the Type 83, also called the Elite Mark 2. This version received a larger 2174 cc Lotus 912 engine. The chassis was now galvanised steel and the five speed BMC gearbox was replaced by a Getrag Type 265 unit. The vacuum-operated headlights of the earlier model were replaced with electrically operated units and the Elite was now fitted with a front spoiler, a new rear bumper and brake lights from the Rover SD1.

Elite concept
On 20 September 2010, Lotus unveiled photos of an Elite concept that was exhibited at the 2010 Paris Motor Show. The car was expected to go into production in 2014.

The car was to feature a 5.0-litre V8 engine sourced from Lexus, rated at 592 hp. The car would have a front-mid engine layout to distribute weight evenly at all four wheels. An optional hybrid kinetic-energy recovery system would augment the V8 by feeding electricity generated by braking to motors in the transmission. The 0–100 kph time was reported to be as low as 3.5 seconds, with a top speed of 315 kph.

The car had a 2+2 body style and was to be marketed as a grand tourer.

The Elite project was cancelled in July 2012 after a take over of Lotus' then parent company Proton by DRB-Hicom which initiated a new cost effective business plan.

title: Lotus Elite


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Minack Theatre

The Minack Theatre (Gwariva Veynek) is an open-air theatre, constructed above a gully with a rocky granite outcrop jutting into the sea. The theatre is at Porthcurno, 4 mi from Land's End in Cornwall, England. The Minack's performing season runs from Easter to the end of October and includes a wide range of music and theatre. Each year, the Minack produces several professional productions as well as hosting visiting companies. It has appeared in many lists of the world's most spectacular theatres.

The theatre was the brainchild of Rowena Cade, who moved to Cornwall after the First World War and built a house for herself and her mother on land at Minack Point for £100. Her sister was the feminist dystopian author Katharine Burdekin, who lived with them from the 1920s. In 1929, Rowena Cade became involved with a local village group of players who staged Shakespeare's A Midsummer Night's Dream in a nearby meadow at Crean, repeating the production the next year. They decided that their next production would be The Tempest and Miss Cade offered her cliff garden as a suitable location for the play. Miss Cade and her gardener, Billy Rawlings, made a terrace and rough seating, hauling materials down from the house or up via the winding path from the beach below. In 1932, The Tempest was performed with the sea as a dramatic backdrop, to great success. Miss Cade resolved to improve the theatre, working over the course of the winter months each year (with the help of Billy Rawlings, Charles and Thomas  Angove and other friends), to create the theatre that exists today. She was still working on it well into her 80s. Rowena Cade died in 1983 shortly before her 90th birthday.

In 1944, the theatre was used as a location for the Gainsborough Studios film Love Story, starring Stewart Granger and Margaret Lockwood but inclement weather forced them to retreat to a studio mock-up. In 1955, the first dressing rooms were built. In the 1970s, the theatre was managed by Lawrence Shove. Since 1976 the theatre has been registered as a charitable trust and is now a Charitable Incorporated Organisation (CIO).

The theatre is open for visitors throughout the year though visiting days are limited in the winter. The 90th anniversary of the Minack was celebrated with a production of The Tempest performed by Hertfordshire Players in August 2022.

title: Minack Theatre


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TVR

TVR is a British manufacturer of sports cars. The company manufactures lightweight sports cars with powerful engines and was, at one time, the third-largest specialised sports car manufacturer in the world, offering a diverse range of coupés and convertibles.

History
The abbreviation TVR stems from the name of the company's owner Trevor Wilkinson, his first garage sporting the letters T, V, and R. The history of TVR can be divided into several eras, each of which is associated with the company's owner at the start of that period:

 * 1946–1965, founder Trevor Wilkinson, who left in 1962
 * 1965–1981, Martin Lilley
 * 1981–2004, Peter Wheeler
 * 2004–2013, Nikolay Smolensky
 * 2013–present, syndicate of British businessmen led by Les Edgar

Founding
Trevor Wilkinson (14 May 1923 – 6 June 2008) was born in Blackpool and left school at 14 to start an engineering apprenticeship at a local garage.

In 1946, he purchased an old wheelwright's workshop in Beverley Grove, Blackpool, to start an engineering business that he named Trevcar Motors. Initially, the company performed general engineering work (not always automobile related), and would also refresh and service cars and trucks. In 1947, local auto enthusiast Jack Pickard joined the company. Trevcar Motors was subsequently renamed to TVR Engineering (dropping several letters from Wilkinson's first name), and it continued to find general mechanical engineering work through the following years.

One-off specials: TVR One, Two, and Three (1949–1953)
In 1949, TVR built its first original chassis. The Hotchkis-style rear suspension used the live axle from a Morris Eight, and the front suspension was of an independent trailing-arm design. The engine was a Ford 1,172 cc sidevalve from a 1936 van, tuned to 35 hp. Even before the car was bodied, it was crashed by the man hired to create the bodywork, Les Dale. After repairs, the body was styled and built from aluminium, and painted British racing green. Although neither Wilkinson nor Pickard found the finished bodywork to be very aesthetically appealing, it was functional, and the two men conducted the first successful test drive on the runway at Squires Gate aerodrome in 1949. Later that year, TVR Number One was sold to Wilkinson's cousin for £325. It was later crashed and salvaged for parts.

TVR Number Two began with the same chassis design found on the first car, using the rear axle, springs, dampers, brakes, and steering from the Morris Eight, as well as the same sidevalve Ford engine. However, the front suspension design was changed to use wishbone control arms and a single transverse leaf spring. The bodywork was again constructed by Les Dale, and it was similar in appearance to the first car. An auto enthusiast local to Blackpool purchased the car for use in competition, although it was eventually registered for road use in 1952. Around this time, the car was refreshed: it received a new body style with a lower nose, and some different instrumentation and equipment (including a tachometer from a Supermarine Spitfire and Marchal headlamps from a Delage.)

After the sale of the Number Two car, TVR began work on Number Three, which again used the same chassis and suspension design. Instead of the sidevalve Ford engine, it was fitted with the 1,200 cc 40 hp OHV four-cylinder engine from an Austin A40. This car was painted yellow, and in contrast to the rounded bodywork of the first and second cars, it was styled with a blunt nose and a squarish vertical panel as the grille. Driven by Wilkinson in a number of car club events (such as sprints and hillclimbs) in 1952 and 1953, the car was quick enough to earn several awards. It was during these club events that one David Hives was introduced to the TVR management, and he would become a key TVR employee a decade later. Hives helped set up the production line at Griffith Motors in Syosset, New York.

Sports (1953–1955)
In the summer of 1953, Wilkinson and Pickard began working on the design of a new chassis, which was intended to accept the engine, gearbox, and other components from the Austin A40 (including the independent coil-spring front suspension and rear axle.) Significantly, it did not incorporate an upper body frame, and the engineers intended to provide the car for sale as a kit with a fiberglass body. Approximately twenty ; these three cars used an RGS Atalanta body manufactured by special builder Richard G. Shattock. With the Atalanta body included in the kit, the car was named the "TVR Sports Saloon". The kit was first offered for sale in 1954 for £650. It was with this car that TVR first produced a brochure to advertise a product: it quoted some figures, such as the car's 1400 lb weight and 0-97 kph time of 13 seconds. It was also on the Sports Saloon that the first incarnation of TVR's badge appeared, designed by a young art student and Wilkinson's friend, John Cookson.

The first Sports Saloon was finished in Spring 1954, and Wilkinson first campaigned it in the Morecambe Rally from 21 to 23 May. He used it in a number of other events to increase exposure to TVR's products, and would drive the car regularly in competition and on the road over the next eight years.

The chassis built by TVR were all made in accordance with customer specifications, and therefore no two of them left the factory in exactly the same configuration. The extra exposure created by using the Sports Saloon in competition led to potential customers inquiring about the availability of other body styles. TVR sold kits with Microplas Mistal bodies, and at least two different styles from Rochdale Motor Panels & Engineering Ltd. The engines fitted were typically the Ford 1172 cc sidevalve or Austin A40 1200 cc OHV engines. There was at least one instance of a car being fitted with the 1489 cc BMC B-Series engine (as fitted to the MG MGA), and one chassis was built to accommodate a customer's $2 1/2$-litre Lea-Francis engine.

Ray Saidel and the Jomar
In 1955, the company started development of new semi-spaceframe chassis with a central backbone. This chassis used outriggers and a steel bulkhead to carry mounting points for doors. In contrast to the earlier chassis, the new design allowed for the seats to be mounted low (six inches from the ground) on either side of the backbone tunnel. The trailing arm suspension from the Volkswagen Beetle was used for both the front and rear suspension, setting the precedent of all-independent suspension for TVRs in the future.

Later in that year, TVR Engineering received a letter (dated 29 August) from Ray Saidel in Manchester, New Hampshire. Saidel was a successful racing driver and owned the Merrimack Street Garage in Manchester. He indicated that he would be interested in purchasing a TVR chassis fitted with a Coventry Climax FWA engine. TVR completed the chassis in May 1956, and it had arrived in New Hampshire by June of that year, where it was given an aluminum body. This car was the first of several to be designated "Jomar Mk2" (the name being derived from Saidel's children, Joanna and Marc, and the fact that this generation of the car was the second after the first Dellow-chassis Jomar.)

Around this time, Bernard Williams, a motoring enthusiast who lived in Lytham St Annes, expressed interest in becoming involved in the company. By July 1955, he had been hired as the director of TVR Engineering. Wilkinson and Pickard were amenable to this because of their limited interest in financial and business administration; both were more interested in the chassis and components engineering. With renewed optimism about the future success of TVR, Wilkinson moved operations from the Beverley Grove garage to three buildings at Fielding's Industrial Estate in Hoo Hill, Layton, Blackpool. The buildings occupied by TVR Engineering were somewhat in poor state; holes in the glass roof panels admitted snow in the winter.

Even before receiving his first chassis in June, 1956, Saidel had placed orders for two more chassis. TVR Engineering, bolstered by the influx of sales, hired two more employees: Stanley Kilcoyne, a welder, and Josef Mleczek, a general components fitter. In the following years, Mleczek (nicknamed "The Pole") would become an expert fibreglass laminator, and would ultimately direct operation in TVR's body shop. Also around this time, Bernard Williams introduced a wealthy investor named Fred Thomas, who would join TVR as a director.

Open Sports and Coupe (1956–1958)
In mid-1956, Wilkinson and Pickard undertook to create the first original TVR body style, which would be fitted on the Jomar-style chassis. The body shape was created with the use of two Microplas Mistral nose sections, one for the bonnet and one (reversed) for the rear. Although never officially named, this car is usually referred to as the TVR Open Sports. The first car, painted red and fitted with a Coventry Climax engine, was tested successfully by Wilkinson at the Aintree Motor Racing Circuit in the summer of 1956. Either three or four TVR Open Sports were built in total, although the true number is not known due to incomplete records. One of the cars was provided to Autosport Magazine writer Francis Penn for testing. He drove it at Aintree and described its steering response and grip as "superb".

To address feedback from customers about the Open Sports lacking daily-use practicality, the designers at TVR created a fixed-head notchback coupe body. This body was fitted to the same semi-spaceframe chassis to create a car that became known as the TVR Coupe. As with previous models, it was offered with the choice of several engines, including the Ford 100E sidevalve, the Coventry Climax FWA, and the 1489 cc MGA engine. When the Ford sidevalve was selected, the customer had the further option of fitting a Shorrock supercharger. One of the Coupes was used by the factory as a demonstrator model, and was driven by Mike Hawthorn.

On 10 January 1958, the TVR Coupe made its first public appearance at H & J Quick Ltd showroom in Manchester, England: "The designers are Mr. Trevor Wilkinson and Mr. Bernard Williams, who run the T.V.R. engineering company at Layton, Blackpool, and who have been making chassis for special car builders for some years. A little over two years ago they were asked by the American racing car enthusiast, Mr. Raymond Saidel, of Manchester, New Hampshire, to design a racing chassis. For twelve months this chassis was tested and improved on tracks in the United States and in the last year a team of six T.V.R.s has been racing regularly in the United States." Competition Press reported: "Jomar has gone into Formula racing, too. The Jomar monoposto has been designed by Ray and is built in his Manchester N.H. shop (the sports car chassis are built for him in England)." In 1959, Motor Sport reported: "The cars are made in Blackpool and the majority of the production is exported to America, where the sports version is known as the Jomar."

Ray Saidel, enthusiastic about the prospect of selling TVRs in the United States, purchased several cars in addition to the rolling chassis that he had bought previously; he imported one Open Sports and three Coupes, with the intention of selling them under the Jomar name. He was not especially successful in selling the cars, and felt that one problem lay in the car's styling. Saidel wrote to the factory and suggested that the next model be styled as a fastback.

Introduction of the Grantura

The next model produced by TVR was the Grantura Mark 1, which used a fastback-style body over the existing chassis design (with the same trailing-arm independent suspension front and rear.) Engine options included the Ford 100E sidevalve (normally aspirated or supercharged), the Ford 105E OHV unit, two different Coventry Climax units, or the MGA's BMC B-series. The interior of the Grantura was cramped, with the short doors and 17"-diameter steering wheel making it difficult to enter and exit the car. Climax-powered cars would be finished with a leather interior, while cars with the lower-specification engines were trimmed with vinyl.

The TVR factory sent the first Mk1 cars to Ray Saidel in the United States, where they would be offered for sale as the "Jomar Coupe" or the "Jomar Gran Turismo Coupe", depending on which engine had been fitted. Some of these cars carried both the "Jomar" and "TVR" badging on the nose.

A 1958 advertisement from Saidel Sports-Racing Cars offered two models. The Jomar Mk2 (with fibreglass or aluminum bodywork and the Climax engine) was listed with the copy, only 930 lbs and "Outhandles Everything." The second model, the Jomar Coupe, a 1712 cc. fixed-head sports car. These cars utilised the same chassis. In 1959, Motor Sport reported:

"The JOMAR COUPE is the result of a joint Anglo-American project. The firm of T.V.R. Engineering of Blackpool, England is responsible for the basic-designing and building of the JOMAR chassis upon which in 1956 and 1957 Saidel Sports-Racing cars of Manchester, New Hampshire, using aluminum bodies of their own design carried out extensive research and development. Through the efforts of both concerns the successful MK2 was evolved."

Before the name "Grantura" was selected, some alternatives were briefly considered. A model name of "Trevor" was rejected, as was the suggestion of "Hoo Hill Hellcat" (which was proposed by Averil Scott-Moncrieff, the wife of TVR director David "Bunty" Scott-Moncrieff.)

Layton Sports Cars and Grantura Engineering
In October 1958, TVR's debt with the bank was nearing £10,000. At that point in the year, the factory had completed as few as ten cars, and orders from the United States had almost ceased due to the lack of sales success there. All of this was of little concern to TVR director and financier Fred Thomas, as he had apparently intended to close TVR and use the failure as a tax loss to benefit his own engineering firm. In actuality, the directors decided on 30 October that the company would be dissolved and re-formed as Layton Sports Cars Ltd. When the new company began trading in December 1958, the directors voted to immediately inject £15,000 to expand the workforce and build stocks of car components. In February 1959, a sister company was formed under the name Grantura Engineering Ltd. to avoid incurring the UK's Purchase Tax on sales of the cars (which were then still being offered as kits); Purchase Tax would not be applied to kit cars that were purchased from a different company than that which supplied the mechanical components.

TVR received some positive publicity when Autocar magazine dedicated three pages in its March 1959 issue to a technical description of the Grantura Mk1. The company continued to struggle with the rate of production, still only able to build about one car per month. With the order backlog having grown to around fifteen cars by the end of March, the board voted to replace Trevor Wilkinson with Henry Moulds as the new production manager. Moulds was a car enthusiast and friend of Bunty Scott-Moncrieff. Wilkinson would remain involved with the company, although his influence had been diminished by the appointment of Moulds as the new manager.

The already-strained relationship with Ray Saidel in New Hampshire was finally broken during negotiations between Saidel and TVR in May 1959. Derek Harris, the TVR chairman, attempted to pressure Saidel into purchasing fifty cars per year (rather than the previously agreed upon twenty-five.) Saidel walked out of the negotiations and made it clear in a letter to the factory, dated 18 June, that he felt TVR's expectations to be extremely unrealistic. By July 1959, the situation at TVR was dire; there were significant inconsistencies in pricing and in financial recordkeeping, stocks of components were not being properly managed, the factory did not employ enough skilled workers, and there were serious doubts about the capability of the company's leadership.

In an attempt to re-establish a distributor network in the United States, the factory accepted an order for two cars from Continental Motors in Washington, D.C., which also happened to be the North American distributor for the Elva Courier. TVR had to have the cars returned to the UK when Continental Motors was shut down after its owner, Walter R. Dickson, was convicted and jailed for defrauding his bank.

An engineer (and earlier TVR customer) named John Thurner left his position at Rolls-Royce and joined TVR in November 1959, whereupon he was named Technical Director. Thurner's experience and enthusiasm were sought to help the company improve the Grantura and to streamline production, and he was given full control of Grantura development. This raised the ire of Wilkinson, who regarded Thurner as a professional competitor and who felt that he was being undermined by the company he originally created.

Aitchison, Hopton and TVR Cars Ltd.
By the middle of 1960, the factory employed forty-three workers, the Grantura Mk1 production was ending (with a total of 100 cars produced), and the Mk2 body shell design was nearly ready. TVR had distributors selling cars in the UK, including David Buxton Ltd. in Derby and Bill Last in Woodbridge, Suffolk. In January 1961, Keith Aitchison and Bryan Hopton (of the Aitchison-Hopton Lotus/TVR dealer in Chester) expressed interest in investing in TVR. During the Summer, Bernard Williams attempted to cement their interest by offering a Climax-powered Grantura Mk2 to the two men for a drive to the Monza circuit in Italy. During the trip, a portion of the exhaust system fell off the car on two separate occasions, but the two men were nonetheless impressed with the car's performance.

In September of the same year, the Aitchison-Hopton company bought a controlling share of TVR. Before the end of the year, Hopton had appointed himself as chairman and renamed Layton Sport Cars to TVR Cars Ltd. Between September 1961 and February 1962, the number of orders for cars had been doubled, and most of the stock of finished cars had been sold.

In January 1962, the company hired Ken Richardson as a competition manager, with the intent that he would lead TVR's attempts to enter international racing. In March, Hopton entered three Grantura Mk2As in the 12 Hours of Sebring. The lightweight cars were prepared by chief mechanic David Hives and competition mechanic Bob Hallett, although only one of them would actually finish the race (the other two retiring early with mechanical failure.) TVR directors began to doubt the new leadership when they saw Bryan Hopton's tendency to overextend the company's finances in motor racing, as well as on indulgences such as luxury transport and hotels. This ill-fated race outing at Sebring was the last in a series of events that led to the departure of Trevor Wilkinson, whose resignation was accepted by the board of directors on 5 April 1962.

After both Wilkinson and Pickard left TVR, they together set up a specialist fiberglass engineering business. On retirement, Wilkinson moved to Menorca, Spain, where he died aged 85, on 6 June 2008.

Despite the lack of success at Sebring, the company continued to enter international motor racing events in 1962, including the Dutch Tulip Rally in May, and the 24 Hours of Le Mans in June. The Tulip Rally resulted in one car finishing third in its class, but the Le Mans outing was fraught with unfortunate events for the TVR team. In the time leading up to the race, two of the cars slated to compete were crashed in different incidents and hastily rebuilt. The single car that started the race would badly overheat and retire during the third lap. David Hives described the event as a "fiasco", and noted that "it cost TVR a small fortune". TVR cars were driven to greater success by World War II flying ace Tommy Entwistle, who, in 1962 and 1964, finished as runner-up in the Freddie Dixon Challenge Trophy race series. Entwistle won the series in 1963, 1965, and 1966. The car was maintained by David Hives throughout this time. After this racing success, Entwistle stopped racing for a period of time and sold the car to Gerry Sagerman.

By late 1962, the company was again in dire financial trouble. The Mk3 Grantura had been introduced later than expected, two of the home market distributors had gone out of business (Research Garage and David Buxton Ltd.), the Canadian government had imposed a 10% duty on cars imported from the United Kingdom, and the company discontinued its relationship with Dick Monnich, the US importer, because of his failure to pay for his orders. Factory workers were all laid off in October 1962, and Henry Moulds and Bernards Williams met with the company's creditors in December. TVR Cars Ltd. moved into receivership and much of its equipment, including body moulds, was moved to secure storage.

Fortunately for the future of TVR, its associated company, Grantura Engineering Ltd., was still in business. Bernard Williams was able to convince the receivers of TVR Cars Ltd. to allow access to the body moulds as well as some partially finished body shells, and several cars were completed in late 1963 and early in 1964. Keith Aitchison again became involved with the company in spring 1963, and remained as marketing and sales director for the following two years. Many of the factory workers and some of the directors were persistent, remaining with the company in an attempt to return TVR to profitability. Early 1963 saw the creation of Grantura Plastics Ltd., a company that handled the fiberglass moulding.

Also in 1963, a new shareholder, Richard Barnaby, initiated talks with Major Tony Rolt of Ferguson Developments over the possibility of developing a four-wheel drive V8-powered TVR. Barnaby asked David Hives to make the chassis for such a car, which he did, although TVR did not have the funds available to commit to such a project in full. It was later revealed that Rolt had been discussing a similar project with Jensen Motors, which ultimately resulted in the Jensen FF.

The company's recovery effort brought a partnership with a new distributor, The TVR Centre of Reece Mews, South Kensington, London. Its owner was James Boothby, an ex-RAF pilot.

After re-establishing a distributor partnership with TVR, the American Dick Monnich visited Blackpool and informed the directors that one of his colleagues, Andrew Jackson "Jack" Griffith, was a Ford dealer based on Long Island, and he had been experimenting with installing a Ford 289 engine in a Grantura Mk3 chassis. This car would ultimately become known as the Griffith Series 200.

The Griffith and 1965 collapse

In October 1963, Dick Monnich, Jack Griffith, and Griffith's race mechanic George Clark finished the prototype of the car named Griffith, developed by fitting a Ford 289 V8 into a Grantura Mk3. The accelerative performance of the car exceeded expectations, although the brakes and chassis had been left unmodified and, by all accounts, were woefully inadequate when matched with the large engine. In a short period of time, David Hives at the Hoo Hill TVR factory built a second prototype that was better developed and better finished, as well as three engine-less cars destined for Griffith's business in New York. In March 1964, David Hives went to Long Island to assist Bob Cumberford in building a pattern and plug for the Griffith 600 series, and he also helped set up the production line with George Clark. Hives helped build the "tartan car" that was displayed at the International Automobile Show in New York, which he and Dick Monnich attended. After this, the Griffith factory established in Syosset, Long Island began completing cars from engine-less cars imported from the Hoo Hill TVR factory.

Amidst the Griffith production (which required the TVR factory to build cars at a greater rate than ever before), Major Timothy Knott was hired as the managing director in August 1964. His military background and strict enforcement of order and workday schedule prevented him from ingratiating himself with most of the factory workers. Knott subsequently hired Ralph Kissack, also from a military background, and whose family was involved with Peel Engineering Company on the Isle of Man.

David Hives returned to the TVR factory in England on 1 September 1964. Immediately, he was put onto building the Griffith 400 Series, which involved a lot of work at MIRA (Motor Industry Research Association). It also required working with Armstrong Patents to source the springs and dampers, Janspeed for the exhaust systems, and Kenlowe for the twin fan radiators. After six Months of working on the 400 series, Hives handed the car over to Chris Laurence to finish off development work so that he could concentrate on the upcoming Trident project.

The modern TVR logo was designed in 1964 by Bob Hallett and John Baillie.

Reliability problems and customer complaints began to mount through 1964. In 1964, a dock strike in the US severely damaged Jack Griffith's ability to import cars. Griffith was then unable to meet his financial obligation to Ford, which stopped supplying drivetrain components. Ties with TVR were also then severed, and the already-struggling TVR was no longer able to continue. In September 1964, a director meeting was held at TVR, and it was announced that the company would be stopping production and closing the factory at Hoo Hill. TVR went into liquidation in November of that year.

Trident

In 1965, TVR produced four prototypes of a car named the Trident. It was powered by the same Ford V8 as was found in the Griffith, and the body was hand-built of aluminum and steel by Carrozzeria Fissore in Savigliano, Italy. The styling was the work of Trevor Fiore (born Trevor Frost ), who borrowed the shape from his previous styling exercise for the Lea Francis Francesa (a conceptual roadster that never reached production).

Carrozzeria Fissore displayed a prototype Trident coupé at the Geneva Motor Show in March 1965. Despite very positive public reaction to the car, it was not well received by Jack Griffith, and the one prototype that had been shipped to the United States was returned to the UK in 1965. When TVR collapsed in 1965, the third and fourth Tridents were under construction at the time, and they were put into storage. In the wake of the company's liquidation, TVR dealer Bill Last acquired the rights to the Trident by some means not viewed as legitimate by later TVR management. In 1966, Last established in Trident Cars Ltd and started building the car under the model name "Clipper".

Lilley era
In late 1965, Arthur Lilley and his son Martin Lilley purchased the assets of TVR to mitigate their personal losses of £2,000 worth of TVR shares. TVR Engineering Ltd. was then formed on 30 November 1965, with Arthur as chairman. Arthur approached David Hives and offered him the position of General Manager and Senior Designs and Development Engineer, which David accepted. After two years of this arrangement, Hives asked Arthur Lilley to appoint his son Martin as managing director whilst Hives went to America to talk to Gerry Sagerman about the importation of TVRs. This ultimately resulted in Sagerman establishing TVR Cars of America.

TVR had no outstanding orders to fulfill, and significant outstanding debts towards suppliers. Additionally, members of previous work force had apparently stolen parts and damaged machinery out of spite when they were laid off. In the final days of 1965 and into early 1966, the new workforce gained confidence in management as it became apparent that the Lilleys were genuinely interested in the success of the business. The factory began to ramp up production of the Mk3 1800S. During the period, some partially finished cars were delivered as kits to Martin's Barnet Motor Co. car dealer business, where they were finished.

Meanwhile, the company also gained positive publicity as Gerry Marshall had significant success in racing a factory-prepared Griffith. In America, Gerry Sagerman lamented the damage done to the TVR reputation in the US by the poor build quality and poor reliability of Jack Griffith's V8-powered cars. After meeting the Lilleys, Sagerman agreed to be involved in importing TVRs to the US. In April 1967, he opened a small showroom and garage in Lynbrook, Long Island, and began importing TVRs as a full-time activity.

Arthur and Martin Lilley were aware that the company's future depended on the introduction of new, competitive models. Plans to put the Trident into full production were derailed when the Lilleys discovered that Bill Last had commandeered the rights to that design during the period of confusion between the previous TVR liquidation and the Lilley ownership. TVR engaged Carrozzeria Fissore to build the coachwork for the steel-bodied prototype TVR Tina. David Hives was very heavily involved with the Tina prototype project, and went to Italy with Arthur Lilley to inspect the car. He also accompanied Martin to the 1966 Turin Motor Show. Shortly after this, Hives was dismissed by Martin Lilley for unknown reasons; he was then approached by Bernard Williams and Bill Last to assist in the building of the Trident Clipper.

In January 1967, after production of the Griffith had been discontinued, TVR unveiled the Tuscan V8, initially in short-wheelbase and then long-wheelbase configurations. It was first displayed at the Racing Car Show at Olympia, in London. The Tuscan did not provide the economic boost to TVR that the Lilleys had hoped, and it was only built in low volume. A Tuscan owned by racing driver John Burton was modified by race car mechanic Mike Bigland to improve the handling, and Bigland's success was noticed by Martin Lilley; this would be the beginning of a relationship that would be important in the development of the later M Series chassis.

Introduction of the Vixen

The TVR Vixen Series 1 was unveiled at the British motor show in October 1967. It proved popular, and generated many new orders for cars. With the launch of the Vixen, TVR transitioned back to making their own fiberglass bodies, rather than depending on Grantura Plastics to build them. Despite the sales success of the Vixen, the company still recorded an overall loss for 1967, and financial advisors began to recommend to Arthur Lilley that the company be shut down. Martin resolved to improve TVR's financial fortunes with increased production in 1968.

Around this time, in early 1968, the prospect of putting the TVR Tina into production became infeasible due to the significant expense of building a steel-bodied car. The project was cancelled, with the only two existing Tinas being the two prototype cars. Bill Last also approached TVR and suggested a merger so that TVR Engineering could begin building the Trident in larger volumes. TVR declined this offer.

New models, nude models and move to Bristol Avenue
Because the Ford Essex V6 engine had not yet been certified to meet US emissions standards, TVR engaged British Leyland in negotiations to supply either the Rover V8 engine or the 2.5 L Triumph inline six. Extra production for the Rover V8 had already been allocated to Morgan, so the six cylinder Triumph unit was selected.

During Christmas in 1970, TVR moved from its cramped facility at Hoo Hill to a 28,000 square foot Bristol Avenue factory that had been vacated by Nutbrown Ltd., a manufacturer of kitchen utensils. The workforce was enthusiastic about the move, as the Hoo Hill factory had become inadequate for the number of people working and the rate of production, which had risen to between five and eight cars per week.

Between 1969 and 1971, TVR released several new models. The Tuscan V6, equipped with the 3.0 L Ford Essex V6, was intended to fill the performance gap between the four-cylinder Vixens and the V8 models. The long wheelbase widebody Tuscan V8 was built to address the cramped interior dimensions of the car, but was not commercially successful and only a very small number were produced. The Vixen S3 incorporated several minor updates to the Vixen S2, which had continued to be successful. The new 2500 model was fitted with the Triumph 2.5 L inline-six engine. Working together in 1971, Martin Lilley and Mike Bigland developed yet another new model, the TVR 1300. This used the 1.3 L Standard SC engine from the Triumph Spitfire and was intended as an inexpensive model option that was also cheaper to insure.

At the British International Motor Show at Earls Court in 1970, TVR hired model Helen Jones to pose nude on the TVR stand, and the resulting commotion immediately generated more publicity for the company. This advertising technique was used again at the 1971 show, when Helen Jones was accompanied by a second model, Susan Shaw. The reaction was even greater in 1971, and amid the chaos of the public response, the Society of Motor Manufacturers and Traders threatened to ban TVR from the show. This, of course, drew even more attention to the brand. The 1971 show also marked the appearance of the M Series prototype bodywork and the prototype SM estate car.

SM / Zante concept
By 1971, TVR wanted to introduce a more luxurious GT car, and they ultimately began to work on a prototype sports estate model. The styling was done by Harris Mann (who would later become known for the Triumph TR7 and Leyland Princess designs), and the engineering by Mike Bigland. The prototype body was built by Specialised Mouldings Ltd. of Huntingdon, Cambridgeshire on a TVR 2500 chassis. The car was given the development name 'SM' and was intended chiefly as a styling exercise with essentially no thought given to fitment of mechanical components or to driver ergonomics. The car appeared at the 1972 British Motor Show as an engineless show car.

After the show, the car was renamed 'Zante' (after the Greek island) and test driven by both Martin Lilley and Gerry Sagerman in the US. They agreed that the car's ergonomics and visibility were not suitable for a road car, and Sagerman further pointed out that it would need a V8 engine to be successful in the US market. Also considering the anticipated development costs for the pop-up headlamps, it was decided the project was not financially viable and the prototype remained the only Zante ever built. The body was removed from the chassis at Sagerman's facility and shipped back to Blackpool, where it was stored outside and left to deteriorate.

M Series

The TVR model series that would replace the Vixen-based cars was known as the M Series. Mike Bigland would design its chassis, which was superior in every way to the outgoing Vixen chassis; it was more rigid, would provide better safety for the car's occupants, and could be produced more economically. Over several months, the design was finalised and the factory prepared for production. The 2500M, 3000M, 1600M, Taimar and 3000S models (as well as turbocharged variants of the V6 cars) were all built for various spans of time between 1972 and 1980. This period saw significant improvements in both efficiency and quality, with Mike Penny performing a quality control inspection on every car that left the factory. Also during M Series production, both Jack Pickard and Stanley Kilcoyne returned to work at the company. TVR had enough faith in the cars' quality to begin offering a five-year no-corrosion guarantee in 1974. Exports were strong, with sixty per cent of TVR's production going to continental Europe and the United States.

On the evening of 3 January 1975, a fire broke out in the TVR factory, likely caused by faulty wiring in a 3000M factory demonstrator car. Several complete and nearly complete cars were destroyed, as well as many components in the company's stores. Soot and ash covered every surface, and the damage was estimated to be £200,000. A small team of office workers came in to clean and perform administrative tasks while the insurance company made its assessment. The factory walls were sandblasted to remove the coating of soot, but the sand damaged many pieces of equipment that were not moved out first. Despite the lack of heat and electricity in the building, some limited amount of car construction began again. Four cars were completed in April, and then eight in May. Total production for the year was approximately 150 cars, and only about 20 of those were exported to the US, where Gerry Sagerman's business suffered as a result.

In late 1975 and 1976, the newly hired sales manager Stewart Halstead was charged with the task of expanding the home and European markets to stabilise TVR's future. Enthusiasm for the cars was high in the US, tempered by the fact that the cars' pricing had crept up over recent years to the point where the same money could buy a new Corvette. Opportunities continued to expand in Europe, where dealerships opened in Germany, Belgium, the Netherlands, and Switzerland.

Tasmin

In the late 1970s, TVR's leadership felt that the next model should represent a modern departure in styling from the Vixen and M Series cars. It was also important that the replacement model could be economically produced and that it would be easier to bring into compliance with safety and emissions regulations. TVR management met with Oliver Winterbottom in August 1977, and it was decided that he would style a new two-seat coupe. Ian Jones, formerly of Lotus Cars and then of Larkspur Design near Southampton, was to design the chassis. The prototype project initially showed slow progress while it was being worked at the Topolec facility in Norwich, so it was moved to a unit that TVR began renting at Bamber Bridge. The prototype car began road testing in January 1979, powered by the 2.8-litre fuel injected Ford Cologne V6 engine. The name for the car, Tasmin, was created by blending the female name "Tamsin" with the name of the Australasian racing Tasman Series.

During the course of Tasmin development, TVR was short of funds to pay suppliers and this problem was compounded in late 1979 with the short-term loss of £100,000 worth of M Series cars that were impounded by the US federal government for non-compliance with emissions regulations. When the car's styling was finalised, it was not especially well received by TVR management (being described later by Martin Lilley and Stewart Halstead respectively as "a big disappointment" and "absolutely dreadful" ), but time and budget limitations forced the company to proceed with the design.

After the Tasmin was released in 1980, it did receive a number of positive reviews from motoring journalists who praised its chassis and handling, sales were very lackluster due to the car's controversial styling and comparatively high price (£5,000 more than the discontinued Taimar). The car's disappointing sales coincided with the early 1980s recession in the UK, and the result was that TVR was again on the brink of financial collapse. In December 1981, Martin Lilley transferred control of the company to wealthy businessman and TVR customer Peter Wheeler.

Wheeler ownership
In the 1980s, under the ownership of Peter Wheeler, a chemical engineer who had specialised in manufacturing components for the oil industry and TVR enthusiast, TVR moved away from naturally aspirated and forced induction V6 engines to large V8 engines, namely the Rover V8. In that time, engine capacity grew from 3.5 to 5 litres. In 1988, TVR sourced a 5.0 litre Holden V8 through Tom Walkinshaw at Holden Special Vehicles. The engine was installed in the TVR White Elephant, a prototype car built for Wheeler by John Ravenscroft. The Holden powered TVR White Elephant was later superseded by the Rover V8 powered Griffith prototype.

With the TVR S Series, first produced in 1986, Wheeler re-introduced the traditional design elements from the M-series. This became a great success for the company, and he followed up by introducing a number of new and bold body designs including the Chimaera, Griffith, Cerbera, Tuscan, Tamora, T350, Typhon and Sagaris.

In the 1990s, TVR modified a number of Rover V8s, but subsequently an in-house engine design was developed. The AJP8 engine, a lightweight alloy V8, was developed by engineering consultant Al Melling along with John Ravenscroft and Peter Wheeler (hence the AJP initials). The new engine was originally destined for the Griffith and Chimaera models, but development took longer than expected and eventually became available in the Cerbera and the Tuscan race car.

Wheeler subsequently directed the design of a straight-six derivative of the AJP8 that would be cheaper to produce and maintain than the eight. This engine, designed initially by Al Melling and then significantly altered before final production by John Ravenscroft of TVR, became known as the TVR Speed Six engine, and, with the exception of the Cerbera (which could be specified with the AJP8), powered all the late model TVRs.

Smolensky ownership
In July 2004, Nikolay Smolensky bought the company from Wheeler. Despite his Russian nationality, Smolensky said he intended TVR to remain a British company.

In April 2006, responding to falling demand and with production rumoured to have dropped from 12 cars a week to 3 or 4, TVR laid off 300 of its staff members. At the same time, the firm announced plans to move to updated facilities in the Squires Gate district of Blackpool, citing impending expiry of the lease of the current factory in late 2006, where owner Peter Wheeler was said to be planning to build a housing estate.

In October 2006 Smolensky announced that body production and final assembly for TVR would move to Turin with only engine production remaining in the UK. In protest at this and to show support for the workers, a large number of TVR owners paraded through central London on 26 November 2006. Dubbed "London Thunder", it was also an attempt at the official world record for the biggest one-marque convoy on record.

By December 2006, it emerged that Smolensky had split TVR into a number of different companies: the brand and intellectual property rights had been transferred to a core Smolensky company; TVR Motors held the licence to the brands and intellectual property in the UK, as well as sales and marketing of the brand; TVR Power - the automotive parts business - had been sold to outside investors; and Blackpool Automotive which held the factory and manufacturing assets.

On 13 December 2006, Smolensky and production director Mike Penny resigned as directors of Blackpool Automotive, being replaced by Smolensky's UK personal assistant Roger Billinghurst and 25-year-old Austrian Angelco Stamenkov. By 24 December, Blackpool Automotive was in administration.

On 22 February 2007 it was revealed that Smolensky was once again the owner of the company, having been the highest bidder.

On 8 October 2007, it was realised that Smolensky was still in control of the company and was hoping to restart production, with a target of 2,000 cars to be sold in 2008. and on 11 July TVR announced the relaunching of the Sagaris as the Sagaris 2, at its new centre near Wesham in Lancashire, though this did not happen and the company took no action for another two years.

In June 2010, German manufacturer Gullwing, a specialist German firm which held a minority share in TVR, said they would start producing a new car from September 2010. Boss Juergen Mohr said "Having been a TVR owner, I think this will be the best TVR ever." He also confirmed the company was planning new models, possibly with alternative drivetrains. "I can imagine everything, even electric-powered cars," Mohr said.

Current ownership
On 6 June 2013, it was reported that Nikolay Smolensky had sold his entire ownership of TVR to TVR Automotive Ltd, a UK company led by Les Edgar and John Chasey.

To coincide with the 2014 Classic Car Show, TVR announced a TVR Genuine Parts initiative to guarantee continuity of supply of parts for classic TVRs and the formation of a new company TVR Parts Ltd which is exclusively licensed to sell genuine parts worldwide, taking over the last stock remaining when the factory closed and the previous TVR parts business operations of Racing Green, Clever Trevor and Multipart Solutions. This was augmented the following year with the purchase of the parts business of David Gerald/Classic World Racing who had held the licence for pre 1980's TVRs.

On 3 June 2015, it was revealed that development of the new car had been underway for more than a year, with partners Gordon Murray and Cosworth, that would be launched in 2017, followed by additional models as part of a 10-year plan. The new car boasted an impressive specification, front engined, rear wheel drive, normally aspirated Cosworth V8 mated to a manual transmission, that caused it to be described as "God’s own sports car". Codenamed T37, deposits were taken in anticipation for delivery in 2017.

Further details of the engine were revealed on 7 October 2015 as being based on the 5.0 L Ford Coyote V8, with modifications by Cosworth including lighter flywheel, dry sump lubrication and unique engine management, to generate from 450 to 500 hp, depending on the variant.

On 22 March 2016, the First Minister of Wales Carwyn Jones announced that TVR would build its factory in Ebbw Vale adjacent to the Circuit of Wales, creating 150 jobs, with TVR also receiving an undisclosed investment from the Welsh Government.

On 5 June 2017, it was announced the first public viewing and launch of the car would take place at the Goodwood Revival on 8 September 2017, to coincide with the marque's 70th anniversary year. On 8 September 2017, at the Goodwood Revival, the TVR Griffith was unveiled, featuring designwork by Gordon Murray, a 5.0 L Ford Cosworth V8 engine, and a carbon fibre ground effect chassis.

It was announced in January 2018 that the Welsh Government had previously acquired a minority 3% stake in TVR in early 2016, following independent and specialist due diligence, for the sum of £500,000. With this share purchase, it also provided a £2 million repayable commercial loan to the company, alongside a private sector lender, Fiduciam. According to the Welsh Government, the minority stake will "ensure the Welsh tax payer will benefit from the company's successes".

In June 2020, Autocar reported that TVR was owed more than £8.23 million from debtors, and has net assets slightly exceeding £2.1 million. TVR needed to pay off a £2 million loan from the Welsh government and a £3 million loan from financial firm Fiduciam. To fulfill its obligations and put the Griffith into production, TVR launched a £25m bond on Euronext Dublin, Ireland's main stock exchange, through Irish firm Audacia Capital. In January 2021, Fiduciam granted TVR a new £2 million loan through the UK's Coronavirus Business Interruption Loan Scheme.

In November 2021 TVR announced a joint venture with Ensorcia Metals a green lithium mining company to both fund production on the Griffith and ensure the supply chain for TVR's future battery requirements.

In April 2022, TVR announced that a multi-million pound investment by Ensorcia had taken place and it had repaid the debt owed to the Welsh Government. It was further announced TVR would become a sponsor for the 2021–22 Formula E rounds at Monaco and London to promote the forthcoming second generation of the Griffith.

Autocar exclusively revealed in July 2022 that with the support of investment from Ensorcia, in addition to a Griffith EV there were plans for TVR to produce an electric SUV and saloon.

In December 2023, it was reported that TVR had lost exclusive rights to the Ebbw Vale factory. The Welsh Government subsequently offered the facility on the open market, stating that many different companies had shown interest in the facility.

Model list
1 – Not technically a TVR model; a TVR chassis bodied by Ray Saidel.

2 – Never went into production.

3 – Built exclusively for racing.

title: TVR


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King Edward VI Grammar School, Chelmsford

King Edward VI Grammar School, or KEGS, is a British grammar school with academy status located in the city of Chelmsford, Essex, England. It takes pupils between the ages of 11 and 18, ie. school years 7 to 13. For years 7 to 11 the school is boys-only, whereas it is mixed in the sixth form (years 12 and 13). The headteacher is Tom Carter, who was appointed in the autumn of 2014.

History of the school
KEGS was one of many grammar schools founded by Edward VI. Its current form resulted from a royal warrant dated 24 March 1551, although evidence of this school exists from as far back as the 13th century, possibly earlier, as a chantry school in a different location in Chelmsford. Indeed, the school of 1551 was merely a "rebranding" of the Chelmsford Chantry School, a Roman Catholic institution which had been abolished along with the monasteries during the English Reformation. The school was moved to its present site on Broomfield Road in 1892. Once a boarding school, it was one of many grammar schools to join the state sector and abolish the nominal fees. The last boarding students left in the 1970s. In 1976 it admitted the first female pupil, Fiona Hook, to the Sixth Form, to study Classics.

The school has been ranked in the top 50 schools in the country in national examination league tables. KEGS was previously a Foundation School and Specialist Science College and Language College. The school converted to academy status in April 2011, but continues to have science and languages as specialisms. It is also a Leading Edge school.

In 1981 it was named by The Sunday Times as the most successful state school as measured by Oxbridge open awards. In 1998, it was rated by the Financial Times as the most successful state school at GCE advanced level in the period 1993-1998. In 2001 the school was named Sunday Times School of the Year. The 2015 Good Schools Guide names KEGS as the top selective state school for a number of A-level subjects, as well as GCSE History and FSMQ Additional Mathematics. In December 2021, it was judged to be "outstanding" by OFSTED.

House system
In 1907, headmaster Frank Rogers set up the system of "Houses" – Holland, named for the translator Philemon Holland; Mildmay, for the courtier and politician Sir Walter Mildmay; Strutt, for the antiquary Joseph Strutt; and Tindal, for the lawyer Sir Nicholas Conyngham Tindal, and dividing the school into four forms in each year. Due to the expansion of the school roll over the last few years, this has not been the case. Instead, there are five forms, which contain a mix of people from different houses.

Combined Cadet Force and Corps of Drums
The school maintains an Army contingent of the Combined Cadet Force (CCF), which was also open to students of Chelmsford County High School for Girls until 2017. Military music is provided within the contingent by a Corps of Drums playing drums, flutes and bugles. The Corps wears the full dress scarlet tunics of The Essex Regiment, incorporating the purple facings which gave the Essex Regiment its nickname 'The Pompadours'. It carries the drums of the 5th Battalion (Territorial Army) emblazoned with the Regiment's battle honours.

KEGS Music
The school has many ensembles, of which the orchestras include members from other schools, though the majority are from KEGS and Chelmsford County High School for Girls. The other ensembles are exclusive to those who attend KEGS.
 * Junior Orchestra
 * Senior Orchestra
 * Choir
 * Wind Band
 * Jazz Ensemble
 * Big Band

The KEGS Ambassador
The KEGS Ambassador is the school's independent student newspaper. Since its creation in January 2009, it has featured numerous articles by alumni, staff and students.

KEGS Young Engineers
The KEGS Young Engineers team won the 2022 PAPI Raspberry Pi Competition in the years 12-13 division, as well as the People's Choice Award and has made it to the final every year since the competition started.

The team competes in the FIRST Lego League Challenge, sending two year 8 and 9 teams every year, having gone to the finals numerous times, as well as a year 12 team annually to the Student Robotics competition where they have reached the quarter-finals multiple times.

KEGS Languages Society
The KEGS Languages Society (Langsoc) is a group where both concepts in linguistics and the structure of specific languages are discussed, mostly in short presentations. Langsoc also provides training for the United Kingdom Linguistics Olympiad (UKLO). A notable success is of a student winning a gold medal in the International Linguistics Olympiad (IOL) in 2022.

KEGS Medical Society
The KEGS Medical Society (MedSoc) is the society where topical medical issues are discussed.

The KEGS Economics Journal
The KEGS Economics Journal is another of the school's student-led newspapers. They feature articles on a wide variety of national and international economic and political affairs.

 KEGS Law Society

The Kegs Law Society (LawSoc) is a thriving hub of discussion and debate, fostering pupils with a budding interest in law into skilled rebutters and speakers.

Of the Chelmsford Chantry School (before the Royal Charter of 1551)

 * John Dee, mathematician, astronomer, astrologer, geographer, occultist, and consultant to Queen Elizabeth I; responsible for the English translation of Euclid's work.

Pre-1900

 * John Hilton (surgeon), professor of human anatomy and surgery at the Royal College of Surgeons, president of the Hunterian Society
 * Philemon Holland, classical scholar
 * Joseph Strutt, author of "Sports and Pastimes of the People of England"
 * Nicholas Conyngham Tindal, Lord Chief Justice of The Court of Common Pleas

1900-1960

 * Claude Colleer Abbott, poet and academic
 * H. H. Abbott, poet and headmaster
 * John Baker, Downing Professor of the Laws of England at the University of Cambridge and leading legal historian
 * J. A. Baker, author of The Peregrine and The Hill of Summer
 * Norman Fowler, former Lord Speaker; Conservative politician; former Cabinet minister
 * Peter Joslin, Chief Constable of Warwickshire Police (1983–1998)
 * Ron Loveday, Labor minister in South Australia
 * Tony Oliver (referee), English Football League referee
 * Brian Parkyn, Labour MP for Bedford from 1966–70
 * Peter Seabrook, gardener and broadcaster
 * John G. Taylor, professor of Mathematics at King's College London from 1971–96, and President of the European Neural Network Society from 1993-4
 * John Urquhart, cricketer
 * Paul White, Baron Hanningfield, politician and member of the House of Lords
 * Denis Wick, trombonist
 * Clive Young, former Bishop of Dunwich

Post-1960

 * Nick Alston, Essex's first Police and Crime Commissioner
 * Nick Bourne, Conservative politician
 * Lewis Brindley, co-founder of the Yogscast
 * Neil Cole, comedian, television presenter and radio broadcaster
 * Mervyn Day, former FA Cup winning professional footballer and former assistant manager of West Ham United Football Club
 * Alex Dowsett, British cyclist
 * Guthrie Govan, guitarist and guitar teacher, named "Guitarist of the Year" by Guitarist magazine in 1993
 * Jason Hazeley, comedy writer
 * Simon Heffer, British journalist and writer for The Daily Telegraph and The Daily Mail
 * Thomas Jenkinson, electronic and jazz musician, also known as Squarepusher
 * Jon Lewis, former Essex and Durham cricketer
 * Anthony Marwood, concert violinist
 * James Maynard, Mathematician and Fields Medal winner
 * Tim Mead, countertenor
 * Anthony Milton, Commandant General Royal Marines and Commander UK Amphibious Forces from 2002-4
 * Joel Morris, comedy writer
 * Grayson Perry, 2003 Turner Prize winner
 * Mike Smith, touring car driver and television presenter
 * Joe Thomas, actor, writer and comedian
 * John Tipler, international motoring journalist
 * Oliver Bearman, British Motorsport Racer for Haas F1 Team in Formula 1
 * Brin Pirathapan, Winner of BBC MasterChef 2024

Fictional

 * John Watson, character in the 2010 BBC series of Sherlock. John Watson's CV is visible in episode two, where KEGS is cited under Education Qualifications (with 6 A*).