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New Albion

New Albion, also known as Nova Albion (in reference to an archaic name for Britain), was the name of the continental area north of Mexico claimed by Sir Francis Drake for England when he landed on the North American west coast in 1579. This claim became the justification for English charters across America to the Atlantic coast and soon influenced further national expansion projects on the continent. Drake's landing site has been identified as Drake's Cove, which is part of Point Reyes National Seashore.

Drake, after successfully sacking Spanish towns and plundering Spanish ships along their eastern Pacific coast colonies, sought safe harbour to prepare his ship, Golden Hind, for circumnavigation back to England. He found it on 17 June 1579, when he and his crew landed on the Pacific coast at Drakes Bay in Northern California. While encamped there, he had friendly relations with the Coast Miwok people who inhabited the area near his landing. Naming the area Nova Albion, or New Albion, he claimed sovereignty of the area for Queen Elizabeth I, an act which would have significant long-term historical consequences. Sailing away on 23 July and leaving behind no colony, Drake eventually circumnavigated the globe and returned to England in September 1580.

Over the years, numerous speculative sites along the North American Pacific coast were investigated as the area of Drake's New Albion claim. Through the following centuries, various cartographers and mariners identified the area near Point Reyes as Drake's likely landing place. In the 20th and 21st centuries, definitive evidence was gathered, particularly regarding Drake's contact with the Coast Miwok people and porcelain shards which were established to be remnants of Drake's cargo. The various avenues of research led to a National Historic Landmark designation by the United States Department of the Interior in October 2012 and a California Historical Landmark designation by California State Parks in October 2021.

Background
In the late 1500s, a cold war existed between England and Spain—one which involved religious differences, economic pressure, and emerging navigational and colonisation desires. As part of this, Sir Francis Drake developed a plan to plunder Spanish colonial settlements on the Pacific Coast of the New World. Gathering several investors, and likely with the backing of Queen Elizabeth I—which may have been in the form of a secret commission as a privateer—Drake embarked upon the voyage on 15 November 1577. Even though Drake's actions would damage England's relations with Spain's King Philip II, Drake understood he could rely upon Queen Elizabeth's support.

After successfully taking considerable amounts of treasure from Spanish towns and ships along King Philip's eastern Pacific coast colonies, Drake sailed north to seek a shortcut back to England via the hypothetical Strait of Anián, a supposedly navigable shortcut connecting the Pacific and Atlantic. The strait, a fanciful idea similar to the Fountain of Youth, was speculated to exist at about 40 degrees north. Although Drake may have possibly reached a latitude as high as 48 degrees, his northward progress was ultimately stopped by foul weather in the northeast trade winds belt. Upon failing to locate the strait, Drake sought safe harbour to ready his ship, Golden Hind, before attempting a circumnavigation of the globe to return home.

Drake's coastal exploration and claim

Prior to Drake's voyage, the western coast of North America had only been partially explored in 1542 by Juan Rodriguez Cabrillo, who sailed for Spain. So, intending to avoid further conflict with Spain, Drake navigated northwest of the Spanish presence. By navigating well beyond where Cabrillo had asserted a Spanish claim, Drake sought to locate a discreet site at which the crew could prepare for the journey back to England.

On 5 June 1579, the ship briefly made first landfall at South Cove, Cape Arago, just south of Coos Bay, Oregon. From there, Drake sailed south while searching for a suitable harbour to repair his ailing ship. On 17 June, Drake and his crew found a protected cove when they landed on the Pacific coast of what is now Northern California. While ashore, he claimed the area for Queen Elizabeth I as Nova Albion or New Albion, choosing this name for two reasons: first, the white banks and cliffs which he saw were similar to those found on the English coast and, second, because Albion was an archaic name by which the island of Great Britain was known. To document and assert his claim, Drake had an engraved plate of brass, one which contained a sixpence bearing Elizabeth's image, attached to a large post. Giving details of Drake's visit, it claimed sovereignty for Elizabeth and every successive English monarch.

After erecting a fort and tents ashore, the crew laboured for several weeks as they prepared for the circumnavigating voyage ahead by careening their ship, Golden Hind, so to effectively clean and repair the hull. Drake had friendly interactions with the Coast Miwok and explored the surrounding land by foot when crossing Inverness Ridge to visit a village and explore the country. When his ship was ready for the return voyage, Drake and the crew left New Albion on 23 July and paused his journey the next day when anchoring his ship at the Farallon Islands where the crew hunted seal meat. On 25 July, they sailed west to continue their Pacific crossing, and Golden Hind finally returned to England in September 1580.

English response
Drake's circumnavigation began a period of British maritime dominance that lasted until the 20th century, and as a result of his successful deeds against Spain, Drake was admired and celebrated by many in England. According to John Stow, Drake's "name and fame became admirable in all places, the people swarming daily in the streets to behold him, vowing hatred of all that durst mislike him." Not only were his investors and the queen richly rewarded, Drake was also allowed to keep £24,000 of the purloined treasure for himself and his crew. Drake quickly became a favorite at the queen's court and was knighted by the French ambassador on her behalf.

To allow for disinformation and create an illusory threat that Drake had discovered a short route from the Pacific to Europe, details of the voyage were initially suppressed; Drake's sailors were pledged not to disclose their route under threat of death. Upon his return, Drake handed over his log and a large map to the queen. While the other items disappeared, the map, known as the Queen's Map, remained on limited view for a number of years. Finally, it too was lost in the Whitehall Palace fire of 1698. However, around 1590 Jodocus Hondius composed a derivative of this map, known as Vera Totius Expeditionis Navticae. This map shows Drake's journey and includes an inset of the harbor at Nova Albion. In 1589, further details emerged when an official account of Drake's circumnavigating voyage by Richard Hakluyt was published. In 1628, Drake's nephew and namesake, Sir Francis Drake, 1st Baronet, published The World Encompassed. This comprehensive account of the voyage, which is based on the notes of Drake's chaplain Francis Fletcher, includes numerous details of New Albion and is the most extensive account of Drake's voyage.

Because the extent of Drake's New Albion was vague—essentially a classification of the territory north and west of Spanish territory—the designated location differs among maps. After Elizabeth's death in 1603, maps began to depict the area of North America above Mexico as Nova Albion. Drake's claim of land on the Pacific coast for England became a basis which influenced subsequent colonial charters issued by English monarchs that purported to grant lands from sea to sea, the area from the Atlantic where English colonies were first established all the way to the Pacific. Along with Martin Frobisher's claims in Greenland and Baffin Island and Humphrey Gilbert's 1583 claim of Newfoundland, New Albion was one of the earliest English territorial claims in the New World. These claims were eventually followed by settlement of the Roanoke Colony in 1584, and Jamestown in 1607.

The people and the land
By using detailed descriptions of the people encountered by Drake—particularly their houses, feathered baskets, ceremonies, and language—anthropologists have clearly identified the people as Coast Miwok, a people whose traditional homeland included the Point Reyes area in what is now present day Marin County, California.

When Drake landed his crew, the Coast Miwok people initially approached his encampment while armed with bows and arrows, uncertainly cautious regarding the newcomers. But Drake quickly allayed their suspicions, and multitudes of unarmed Miwok soon visited his encampment on a daily basis. In their early encounters with the Coast Miwok, Drake's crew observed as the Miwok wailed and engaged in self-laceration. Drake misinterpreted this response as an act of worship and concluded that the people believed him and his crew to be gods; however, this Miwok custom was actually one of mourning. Most likely the Miwok regarded the English visitors as relatives who had returned from the dead.

In a particularly significant gesture, one day a large assembly of Coast Miwok descended on the encampment and honored Drake by placing chains around his neck, a sceptre in his hand, and a crown of feathers on his head as if he were being proclaimed king. Upon this uncertain, seemingly voluntary surrender of sovereignty by its owners, England based its presumed legal authority to the territory.

After gaining the Coast Miwoks' trust, Drake journeyed to explore the inland area and visit their villages. Accompanied by crew members, Drake trekked on a Coast Miwok trail to traverse the Inverness Ridge and descend into what is now the Olema Valley. Fletcher described the village structures there as round subterranean buildings which came together at the top like spires on a steeple. Fletcher also described the Coast Miwok baskets as water-tight, shaped like a deep bowl, and covered with a matted layer of colored feathers. Such baskets were made only by the Coast Miwok, Pomo, Lake Miwok, Patwin, and Wappo peoples who were all concentrated near Drake's landing site.

Additionally, Fletcher was the first person to make a written record of any of the 64 distinct language groups in prehistoric California, namely five specific Coast Miwok words: Hioh, Gnaah, Huchee kecharo, Nacharo mu, and Cheepe. These words noted by Fletcher are from a distinct language group, and Heizer wrote that they were unquestionably of Coast Miwok derivation, linguistic proof of Drake's contact with the Coast Miwok. Overall, the relations between the Coast Miwok and their visitors were peaceful and friendly, and the Miwok seemed to exhibit distress when Golden Hind sailed away.

Fletcher also recorded climate information and characterised the unpleasant summer weather conditions of the area near the careenage basin. He noted the continuous nipping chill; lack of sun; and cold, sometimes violent, winds. In contrast, across the Inverness Ridge, he found a distinct climate variance and experienced a flourishing land. Fletcher assessed the area: "The inland we found to be farre different from the shoare, a goodly country and fruitful soyle, stored with many blessings fit for the use of man".

Fletcher also chronicled his observation of certain animals unknown to the English and described them as "very large and fat Deere" and "a multitude of a strange kinde of Conies." The "fat Deere" were most likely Roosevelt Elk, and the conies are identified as gophers. These and the rest of Fletcher's assessments and observations of New Albion are flawlessly in concert with the geography of Point Reyes.

Historical influence

The New Albion claim had far-reaching historical consequences. Even though Drake attempted no long-term presence and the English made no immediate follow-up to the claim, it constituted England's first assertion of sovereignty on the North American Pacific coast. And since all of their subsequent expeditions along the North American Pacific coast were infrequent and irregular, Nova Albion was primarily a geographical designation—a new, distinctive name on the world map. Ultimately, this designation was significant because it proclaimed England's ability—and presumed right—to establish an empire in the Americas. Consequently, Drake's New Albion claim was a forward-thinking, considered component of a new national expansion policy, one of several of his exploits which both determined Elizabeth's policy for the duration of her reign and indirectly influenced England's continuing historical future.

The New Albion claim was the first indication of English goals broader than simple reprisal against Spain which then influenced similar national expansion projects by others such as Humphrey Gilbert and Walter Raleigh. As a rejection of territorial claims based on papal authority, the New Albion claim asserted Elizabeth's notion of territorial claims via physical presence as opposed to a Papal mandate. This promoted the idea of New Albion as "the back side of Virginia," an expression of England's presumed legal status of sea-to-sea entitlement. The claim occupied a significant place in British geopolitical considerations for centuries and even strengthened Britain's entitlement to the fur trade commerce along the Northwest Coast. Its final influential assertion came in negotiating the Oregon Treaty of 1846 which divided the Oregon Country between Canada and the United States, with the border being along the 49th parallel north to the Pacific.

Early identifications
Beginning in the 17th century, maps identify Drakes Bay as Drake's landing site. In 1793, George Vancouver studied the site, and concluded it was in Drakes Bay. Professor George Davidson, of the United States Coast and Geodetic Survey, after a study of the narrative and the coast, identified the harbour entered by Drake as Drakes Bay, at Point Reyes, about 30 mi north of San Francisco. "Drakes Bay," he reported in 1886, "is a capital harbor in northwest winds, such as Drake encountered. It is easily entered, sheltered by high lands, and a vessel may anchor in three fathoms, close under the shore in good holding ground." Davidson published further support for the Drakes Bay location in 1890 and 1908.

20th century identifications

In 1947, following up on work by archaeologists A. L. Kroeber and William W. Elemendorf, archaeologist Robert F. Heizer analyzed the ethnographic reports of Drake's stay at New Albion. Confirming their work Heizer states that "Drake must have landed in territory occupied by the Coast Miwok-speaking natives." In his full analysis, Heizer concludes, "in June 1579, then, Drake probably landed in what is now known as Drake's Bay." Since 1949, the theory that Drake landed at Drakes Bay has been advocated for by the Drake Navigators Guild in California, and by former president Captain Adolph S. Oko, Jr., former honorary chairman Chester W. Nimitz, and former president Raymond Aker. Oko wrote, "Many other correlative facts have been ... found true to the Drake's Cove site as part of the total body of evidence. The weight of evidence truly establishes Drake's Cove as the nodal point of Nova Albion." Nimitz stated that he did "not doubt that in time the public will come to recognize the importance and value of this long-lost site, and will rank it with other National Historic Sites such as Roanoke, Jamestown, and Plymouth." In 1956, Sir Alex A. Cumming, who was the curator of Buckland Abbey, Drake's past home and current museum, also recognised Drake's landing: "That little cove at the mouth of the Estero, sheltered from the wind, protected from the sea and hidden from hostile eyes, must have been a welcome sight, and I believe that Divine Providence guided him to it." In 1978, two time Pulitzer Prize-winning historian Samuel Eliot Morison wrote that "Drakes Bay is correctly so named, that here he spent five weeks, repaired the Golden Hind, sang songs for the Indians, and marched up country."

Aker conducted detailed studies reconstructing Drake's circumnavigating voyage and advocated for the site at Point Reyes, citing the fact that the official published account placed the colony at 38 degrees north. The geography of Drake's Cove, which lies along the coast of Marin County, has often been suggested as being similar to the cove described by Drake, including the white cliffs that look like the south coast of England and the specific configuration of the Cove. Responding to questions about the geographical fit of the cove, Aker maintained that criticisms—those based on the inconsistent configuration of the sandbars in the cove—were unfounded. He maintained that the configuration of the sandbars in the cove was cyclic over the decades. Accordingly, Aker effectively answered the questions when he predicted that a spit of land that disappeared in 1956—one which closely resembles one on the Hondius map—would reappear. Aker's assertions were confirmed when the spit formed again in 2001.

Artefactual evidence emerged when nearly one hundred pieces of 16th century Chinese export porcelain wares were found in the vicinity of the Drake's Cove site which, according to Clarence Shangraw of the Asian Art Museum of San Francisco and archaeologist Edward Von der Porten, "must fairly be attributed to Francis Drake's Golden Hind visit of 1579." These ceramic samples, found at Point Reyes, are the earliest datable archaeological specimens of Chinese porcelains transported across the Pacific in Manila galleons. The artefacts were found by four different agencies beginning with the University of California, the Drake Navigators Guild, then the Santa Rosa Junior College, and finally San Francisco State College. These porcelain shards are the remains of porcelain dishes Drake took from a Spanish treasure ship in the Pacific. Off-loaded during the careening process and abandoned when Drake sailed from Point Reyes, the porcelain wares were the heaviest items of unknown value that he carried.

The porcelains were first identified by Shangraw and then later by Von der Porten. These researchers specifically distinguished the Drake porcelains, which were found in middens associated with the Coast Miwok, from those of Sebastian Rodriguez Cermeño's San Agustin, the 1595 Manila galleon shipwreck which rests at the floor of Drakes Bay. Unlike the Drake porcelains, shards from the San Augustin wreck had washed onto the Point Reyes shore from the sunken ship's broken structure. Shangraw and Von der Porten were able to differentiate the two cargoes by using such criteria as design, style, quality, and surface wear. The Drake porcelains have clean breaks and show no abrasion from the tumbling action of the surf. In contrast, the Cermeño shards display surf-tumbling, distinct designs, and differences in style and quality—all which suggests two separate cargoes. Drake's purloined cargo included fine porcelain Jingdezhen ware dishes from Jingdezhen, the industrial centre of top quality Chinese porcelain. However, the San Agustin's cargo carried poor quality porcelain wares which were made later by south coast entrepreneurs who were quickly capitalising on a rapidly developing, lucrative market. The San Agustin cargo included pieces from kilns which only began production in about 1590. All of these factors allowed the cargoes to be convincingly distinguished.

21st century identifications
Examining the Drake landing site from a nautical perspective, Sir Simon Cassels, Second Sea Lord and Chief of Naval Personnel, Royal Navy, concluded in 2003 that "the weight of evidence... bears heavily on only one and the same site for careening the Golden Hind: the estuary within what for more than 100 years has been named Drakes Bay."

Engaging in scientific research on the Drake and Cermeño sherds by using X-ray fluorescence, Dr. Marco Meniketti of San Jose State University tested ceramics from shipwrecks in Mexico, California, and Oregon as well as porcelains linked to Drake found near Point Reyes. Using varied shipwreck sources to provide strong controls to the research, Meniketti's findings support the conclusion that the Cermeño porcelains and the Drake ceramics are from two different ships. He states that these two cargoes can be distinguished based on differences in their key elements and believes these differences may represent changes in glaze chemistry, clay sources, or unique inclusions or tempering. Aker maintained that those porcelain sherds that washed onto shore must be attributed to Cermeño, and those with clean breaks and no water wear must be attributed to Drake.

Historian Dr. John Sugden, after reviewing numerous proposed Drake landing sites, observed, "No aspect of Drake's career has suffered more false leads than the site of Nova Albion." Sugden concludes that "the evidence overwhelmingly favours Drake's Estero in Drakes Bay" and that "it is high time the United States register of National Historic Landmarks officially recognized Drake's Estero as the Elizabethan anchorage."

Official recognition
The site of Drake's landing as officially recognised by the U.S. Department of the Interior and other agencies is Drake's Cove. The cove is located in Drakes Estero which trends northerly off Drakes Bay. The site lies in Marin County, California, near Point Reyes, just north of the Golden Gate, at 38.03466°N, -122.94055°W. On 16 October 2012, Secretary of the Interior Ken Salazar signed the nomination and on 17 October 2012, the Drakes Bay Historic and Archaeological District was formally announced as a new National Historic Landmark. The marker was placed at 38.02806°N, -122.88389°W. One report referred to the site as the most likely site for Drake's landing. No Drake anchorage has endured so much scrutiny nor seen the amount of field study and research as has this location.

This distinction endorses the district's artefactual evidence as of one of the earliest instances of interaction between native people and European explorers on the west coast of the current United States of America. This distinction is based on two historical encounters: Sir Francis Drake's 1579 California landing and Golden Hind anchorage and Sebastian Rodriguez Cermeño's landing and San Agustin, his 1595 Manila galleon shipwreck.

In October 2021, the California State Parks Director Armando Quintero designated Site of New Albion as California Historical Landmark number 1061. The 215 acre location, identified as Drake's Cove, is all within the boundaries of Point Reyes National Seashore. The state's Office of Historic Preservation states, "New Albion is the landing site and encampment of Sir Francis Drake's expedition to California in 1579, located in the coast of Marin County," and specifies several notable events associated with the landmark: “Includes sites of Drake's fort, the careening of the Golden Hind, the abandonment of Tello's bark, and the meetings with the Coast Miwok peoples.

That the Coast Miwok people's first contact with Europeans was with Sir Francis Drake is also recognised by the Federated Indians of Graton Rancheria, a federation of Coast Miwok and Southern Pomo people which has been officially sanctioned by the United States Congress. Additionally, the Coast Miwok Tribal Council of Marin—organized under the Indian Self-Determination and Education Assistance Act of 1975—acknowledges the 1579 contact with Drake by their lineal ancestors, the Indigenous Marin Coast Miwok people.

Both the Oregon State Parks and Oregon Historical Society support that Drake anchored at Cape Arago and then sailed south to seek a suitable careenage site for Golden Hind.

Ideas suggesting alternative locations
Considering that in excess of thirty other locations have been advanced as the site of Drake's port, more information has been printed regarding the location of New Albion than any other New World harbour that Drake sought. Davidson recognises an abundance of confusion from armchair historians, including Samuel Johnson and Jules Verne, and attributes the confusion to their lack of seamanship experience and navigational knowledge.

One such location is San Francisco Bay, California. Robert H. Power, co-owner of the Nut Tree in Vacaville, California, promoted the idea that Drake's New Albion was inside present day San Francisco Bay, specifically near Point San Quentin (37.9394°N, -122.4867°W). Among his arguments was that the Hondius Broadside map matched a part of the topography when parts were adjusted using a 2:1 correction.

In 2003 Canadian R. Samuel Bawlf suggested that Drake's landing was on present day Vancouver Island at Comox, British Columbia (49.66°N, -124.95°W). Bawlf supported the idea that Drake careened Golden Hind in Whale Cove, Oregon, and he pointed to a number of pieces of evidence in support of his view that the official published record of Drake's voyage was deliberately altered to suppress the true extent of his discoveries.

Speculation of a colony
A counting discrepancy of Golden Hind crew members has led to speculation that Drake left behind men to form a colony. The idea that Drake formed a colony is, however, suspect—it is improbable that Drake would have left settlers at New Albion since he had not equipped the voyage for colonization. Drake was also undoubtedly aware that England would have trouble enforcing its claim by supporting a nascent colony in a land so remote as New Albion and would have likely avoided planting such an English outpost. Additionally, the only person specifically reported as left behind at New Albion was N. de Morena, a European ship pilot who was in ill health. Spanish sources state that he was left ashore, recovered his health, and eventually embarked on a successful four-year journey by walking to Mexico, where he reported to authorities.

The counting discrepancy, a difference of at least 20 men, concerns the number of crew Drake commanded before his stay in Northern California as compared to crew tallies when he reached the Moluccas, an archipelago in the Banda Sea, Indonesia. Released Spanish prisoners stated that, off the coast of Central America, the ship's company was about 80 men. Sir Francis Drake's cousin and crew member, John Drake, claimed the number totaled 60 when the ship was at Ternate in the Moluccas. On Vesuvius Reef, The World Encompassed puts the number at 58. All notions of an embryo colony are primarily based on these numbers, and the reason for this discrepancy remains unknown.

Plate of Brass hoax
In the 1900s, a hoax was perpetrated regarding the brass plate which Drake had posted at New Albion. English historian Richard Hakluyt wrote details of the distinctive original plate: "At our departure hence our General set up a monument of our being there, as also of her Majesty's right and title to the same; namely a plate, nailed upon a fair great post, whereupon was engraved her Majesty's name, the day and year of our arrival there, with the free giving up of the province and people into her Majesty's hands, together with her Highness' picture and arms, in a piece of six pence of current English money, under the plate, whereunder was also written the name of our General."

The original plate—which served as tangible notice of England's sovereignty over the land—has yet to be found. Consequently, the exact location of the monument erected by Drake is unknown.

In 1936, a counterfeit, known as Drake's Plate of Brass, came to public attention, and for decades its discovery was widely believed to be that of the original. While it was accepted as authentic by the University of California, Berkeley, doubts persisted. Eventually, in the late 1970s, metallurgical tests showed that this supposed original plate could not have been made in the 1500s, and scientists determined that the plate was a modern creation. In 2003, it was publicly revealed that the counterfeit plate was created as a practical joke among local historians. Spinning out of control, the joke unintentionally became a public hoax and embarrassment to those who had once confirmed its authenticity.

title: New Albion


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User talk:DX

vandalism
Please stop. If you continue to vandalize pages, you will be blocked from editing Wikipedia. PeregrineAY July 3, 2005 09:30 (UTC)

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title: User talk:DX


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TfD of Template:Navigation bar with pictures
Wanted to inform you that I've nominated Template:Navigation bar with pictures for deletion, as it appears to only create redlinks wherever it would be posted, and templates really should not be designed to go within other templates - each template should be self-sustaining. Cheers! BD2412 T 16:36, 28 November 2005 (UTC)

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User talk:Viksit

Welcome
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Links that may be of use to you
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AfD nomination of Cult of Mac
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User talk:Staack117

Welcome
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You might find these links helpful in creating new pages or helping with the above tasks: How to edit a page, How to write a great article, Naming conventions, Manual of Style. You should read our policies at some point too.

If you have any questions, see the help pages, add a question to the village pump, or ask me on my talk page. I hope you enjoy editing here and being a Wikipedian!
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Again, welcome! Chris Roy 18:53, 11 Mar 2004 (UTC)

title: User talk:Staack117


text:
User talk:King Art

Welcome
Hello, welcome to Wikipedia.

You might find these links helpful in creating new pages or helping with the above tasks: How to edit a page, How to write a great article, Naming conventions, Manual of Style. You should read our policies at some point too.

If you have any questions, see the help pages, add a question to the village pump, or ask me on my talk page. I hope you enjoy editing here and being a Wikipedian!
 * You can introduce yourself on the new users page.
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 * If you ever think a page or image should be deleted, please list it at the votes for deletion page. There is also a votes for undeletion page if you want to retrieve something that you think should not have been deleted.

Again, welcome! Chris Roy 18:54, 11 Mar 2004 (UTC)

title: User talk:King Art


text:
Positivity effect

The positivity effect is the ability to constructively analyze a situation where the desired results are not achieved, but still obtain positive feedback that assists one's future progression.

Empirical research findings suggest that the positivity effect can be influenced by internal positive speech, where engaging in constructive self-dialogue can significantly improve one’s ability to perceive and react to challenging situations more optimistically.

The findings of a study show that the optimism bias in future-oriented thinking fulfils a self-improvement purpose while also suggesting this bias probably reflects a common underpinning motivational process across various future-thinking domains, either episodic or semantic.

In attribution
The positivity effect as an attribution phenomenon relates to the habits and characteristics of people when evaluating the causes of their behaviors. To positively attribute is to be open to attributing a person’s inherent disposition as the cause of their positive behaviors, and the situations surrounding them as the potential cause of their negative behaviors.

In perception
Two studies by Emilio Ferrara have shown that, on online social networks like Twitter and Instagram, users prefer to share positive news, and are emotionally affected by positive news more than twice as much as they are by negative news.

title: Positivity effect


text:
Luing

Luing (Luinn) is one of the Slate Islands, Firth of Lorn, in the west of Argyll in Scotland, about 16 mi south of Oban. The island has an area of 1430 ha and is bounded by several small skerries and islets. It has a population of around 200 people, mostly living in Cullipool, Toberonochy (Tobar Dhonnchaidh), and Blackmillbay.

Geology
The larger part of the bedrock of Luing is provided by the Neoproterozoic age Easdale Slate Formation, a pyritic, graphitic pelite belonging to the Easdale Subgroup of the Dalradian Argyll Group. Thin bands of quartzite are also present. Zones of metamorphosed intrusive igneous rocks occur within the northeast of the island. Luing is cut by NE-SW aligned Siluro-Devonian felsite dykes and by numerous later NW-SE aligned basalt and microgabbro dykes which form a part of the ‘Mull Swarm’ which is of early Palaeogene age. Raised marine deposits of sand and gravel occur widely around the margins of the island, a legacy of late Quaternary changes in relative sea-level.

Economy and culture
A regular ferry service crosses the 200 m Cuan Sound which separates Luing from the neighbouring island of Seil, which is in turn connected by bridge to the mainland.

The main industries on Luing are tourism, lobster fishing and beef farming, although slate quarrying was important until 1965, with quarries at Toberonochy, Cullipool, and a smaller one at Port Mary. Slate from Luing was used in the construction of the University of Glasgow and re-roofing of Iona Abbey.

For such a small island, Luing has produced numerous mòd gold medallists: Nan MacInnes (1926, in Oban), Sandy Brown (1938, in Glasgow) and Hughie MacQueen (1985, in Lochaber).

Luing cattle were first developed here, as a commercial beef breed hardy enough to prosper under adverse weather. They are a breed of red beef cattle, produced by the Cadzow family in 1947 from a cross between Beef Shorthorn and Highland cattle.

Etymology
According to Haswell-Smith (2004) the name "Luing" may derive from the Old Norse lyng, meaning "heather" or long meaning ship. However, Mac an Tàilleir (2003) states "this is probably a pre-Gaelic name of unclear meaning."

History
In the early part of the Christian era Luing would have formed part of the Gaelic kingdom of Dalriada. From the 9th to 13th centuries almost all of the Hebrides came under the control of Norse settlers and formed part of the Kingdom of the Isles. However, when Edgar of Scotland signed a treaty with Magnus Barefoot in 1098, formally acknowledged the existing situation by giving up Scottish claims to the Hebrides and Kintyre, Luing and Lismore were retained by the Scots.

The graveyard at the ruined church of Kilchattan documents the lives of past islanders, with quarriers, sailors and crofters side by side. Gravestones of note include those of Covenanter Alexander Campbell.

title: Luing


text:
User talk:Vunzmstr

Welcome
Hello, welcome to Wikipedia.

You might find these links helpful in creating new pages or helping with the above tasks: How to edit a page, How to write a great article, Naming conventions, Manual of Style. You should read our policies at some point too.

If you have any questions, see the help pages, add a question to the village pump, or ask me on my talk page. I hope you enjoy editing here and being a Wikipedian!
 * You can introduce yourself on the new users page.
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Again, welcome! Chris Roy 18:54, 11 Mar 2004 (UTC)

Tiger or lion?
Just some input/ideas that might be to the benefit of this article:

In this article it says that Singh means 'tiger', whereas in the article about Sikhism it says that Singh means 'lion'. I could research this myself of course but i thought it might be easier just to post this question here where experts are sure to read the question and as to avoid lengthy discussions in advance.

I was also wondering about why Sikhs always (seem to) wear turbans. I was always told that Sikhs wear turbans because their religion prescribes this. Is this true? Again, could research this myself, but it seems to me that other people might be able to answer this already. Some comment on this in this article might be justified.

PS. Please stop calling each other 'dumb ass' and 'Goebbels', it's ridiculous. --Vunzmstr 14:00, 22 Apr 2005 (UTC)

 * The confusion comes from the fact that while Western cultures look at the Lion as King of the Jungle, in South Asian cultures, the King of the Jungle (who is called Shair; in Sanskrit Singha) is actually the tiger. (In Urdu, the Lion is "Babbar Shair"; I am not sure about Sanskrit/Hindi.) And the problem has been compounded over the last couple of centuries by writers like Bertrand Russell using the name Sher Khan for his King of the Jungle in The Jungle Book, but then interpreting it as a Lion.

 * As for turbans, yes. The idea is that ordained Sikh males (who have taken the Khalsa oath) are all "Sardars", Kings, one and all.

 * —iFaqeer (Talk to me!) 02:50, Apr 23, 2005 (UTC)

Bass (Guitar)
Hi

A user; :60.225.185.6 "Southern Bassist" has made some edits to your comments on Talk:Bass_guitar; you may want to reply. Paul Tracy

ArbCom elections are now open!
Hi, You appear to be eligible to vote in the current Arbitration Committee election. The Arbitration Committee is the panel of editors responsible for conducting the Wikipedia arbitration process. It has the authority to enact binding solutions for disputes between editors, primarily related to serious behavioural issues that the community has been unable to resolve. This includes the ability to impose site bans, topic bans, editing restrictions, and other measures needed to maintain our editing environment. The arbitration policy describes the Committee's roles and responsibilities in greater detail. If you wish to participate, you are welcome to review the candidates' statements and submit your choices on the voting page. For the Election committee, MediaWiki message delivery (talk) 22:13, 30 November 2015 (UTC)

Nomination of European Law Students' Association for deletion
A discussion is taking place as to whether the article European Law Students' Association is suitable for inclusion in Wikipedia according to Wikipedia's policies and guidelines or whether it should be deleted.

The article will be discussed at Articles for deletion/European Law Students' Association until a consensus is reached, and anyone, including you, is welcome to contribute to the discussion. The nomination will explain the policies and guidelines which are of concern. The discussion focuses on high-quality evidence and our policies and guidelines.

Users may edit the article during the discussion, including to improve the article to address concerns raised in the discussion. However, do not remove the article-for-deletion notice from the top of the article. Tacyarg (talk) 15:52, 22 August 2018 (UTC)

Orphaned non-free image File:KLIK! Amsterdam Animation Festival Logo.jpg
Thanks for uploading File:KLIK! Amsterdam Animation Festival Logo.jpg. The image description page currently specifies that the image is non-free and may only be used on Wikipedia under a claim of fair use. However, the image is currently not used in any articles on Wikipedia. If the image was previously in an article, please go to the article and see why it was removed. You may add it back if you think that that will be useful. However, please note that images for which a replacement could be created are not acceptable for use on Wikipedia (see our policy for non-free media).

Note that any non-free images not used in any articles will be deleted after seven days, as described in section F5 of the criteria for speedy deletion. Thank you. --B-bot (talk) 17:23, 10 September 2018 (UTC)

Copyright problem on Bilofix
Content you added to the above article appears to have been copied from https://www.brickshop.co.uk/bilofix-22-w.asp. Copying text directly from a source is a copyright violation. Unfortunately, for copyright reasons, the content had to be removed. All content you add to Wikipedia must be written in your own words. Please leave a message on my talk page if you have any questions. — Diannaa 🍁 (talk) 22:39, 11 September 2018 (UTC)

title: User talk:Vunzmstr


text:
User talk:Ragamuffin~enwiki

Welcome
Hello, welcome to Wikipedia.

You might find these links helpful in creating new pages or helping with the above tasks: How to edit a page, How to write a great article, Naming conventions, Manual of Style. You should read our policies at some point too.

If you have any questions, see the help pages, add a question to the village pump, or ask me on my talk page. I hope you enjoy editing here and being a Wikipedian!
 * You can introduce yourself on the new users page.
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Again, welcome! Chris Roy 18:54, 11 Mar 2004 (UTC)

Your account will be renamed
Hello,

The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

Unfortunately, your account clashes with another account also called Ragamuffin. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Ragamuffin~enwiki that only you will have. If you like it, you don't have to do anything. If you do not like it, you can pick out a different name. If you think you might own all of the accounts with this name and this message is in error, please visit Special:MergeAccount to check and attach all of your accounts to prevent them from being renamed.

Your account will still work as before, and you will be credited for all your edits made so far, but you will have to use the new account name when you log in.

Sorry for the inconvenience.

Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 02:16, 20 March 2015 (UTC)

Renamed
 This account has been renamed as part of single-user login finalisation. If you own this account you can |log in using your previous username and password for more information. If you do not like this account's new name, you can choose your own using this form after logging in: . -- Keegan (WMF) (talk) 17:53, 22 April 2015 (UTC)

title: User talk:Ragamuffin~enwiki


text:
All Along

All Along (7 April 1979 – 23 February 2005) was a champion Thoroughbred racemare that was foaled in France. She was one of the top fillies of the last part of the 20th century, racing mostly in Europe. All Along was named into the National Museum of Racing and Hall of Fame in 1990 and the Canadian Horse Racing Hall of Fame in 2019. Her only winning offspring was the Mill Reef sired colt Along All who won the Prix Greffulhe Group 2 of 1989 and was to spend his time as a sire in Japan.

Background
A granddaughter of Round Table, she was owned by Daniel Wildenstein (1917–2001), the French art dealer. All Along was trained in France, first by Maurice Zilber (1981) and for the remainder of her career by Patrick-Louis Biancone.

1981: Two-year-old season
As a two-year-old, the filly raced only one time and won.

1982: Three-year-old season
The following year, she competed on turf courses in France, England, and in Japan, winning numerous prestigious races.

1983: Four-year-old season
In 1983 All Along finished third to Zalataia in the Grand Prix de Chantilly but then finished seventh of the nine runners when favourite for the Grand Prix de Saint-Cloud. After a summer break she returned for the Prix Foy at Longchamp Racecourse. Biancone decided to change the tactics used on the filly and instructed her jockey to hold up the filly for a late run. She made up a great deal of ground in the closing stages to finish second, a length behind the British-trained filly Time Charter.

Ridden by jockey Walter Swinburn, All Along started at odds of 17.3/1 France's most famous race, the Prix de l'Arc de Triomphe. She was held up until the straight when she was produced with a strong run along the rail, catching the leader Sun Princess in the last 100 metres and winning by a length. Luth Enchantee beat Time Charter in a photograph for third, meaning that fillies filled the first four places. She was immediately shipped to Toronto, Ontario, Canada and won the Rothmans International at Woodbine Racetrack. Two weeks later, she won the Turf Classic at Aqueduct Racetrack in Jamaica, New York by 8¾ lengths, then won the Washington, D.C. International Stakes at Laurel, Maryland. Four consecutive wins against the best horses in the world all occurred within 41 days. She was the first horse to win the three prestigious North American races in a row, netting a million-dollar bonus for her owners and Horse of the Year honors in both France and the United States.

She was voted the Eclipse Award for Outstanding Female Turf Horse and became the first filly to win the Eclipse Award for Horse of the Year since the voting system had been implemented in the 1970s.

1984: Five-year-old season
In 1984, she competed in only four races, including a close second in the inaugural Breeders' Cup Turf.

Stud record
All Along retired as a broodmare to the Three Chimneys Farm in Midway, Kentucky. She was the dam of:
 * 1998 bay filly, Armure Royale by Woodman
 * 1993 filly, Arutua by Riverman
 * 1988 filly, All Dancing by Dancing Brave

She died in 2005 and was buried in the cemetery at the Old Bradley Place division of Three Chimneys Farm.

Assessment
All Along was inducted in the National Museum of Racing and Hall of Fame in 1990 and the Canadian Horse Racing Hall of Fame in 2019. In the Blood-Horse magazine ranking of the top 100 U.S. Thoroughbred champions of the 20th Century, All Along was ranked #68.

 * All Along was inbred 4 × 4 to the stallion Prince Rose, meaning that the latter appears twice in the fourth generation of her pedigree.

title: All Along


text:
Rootes Arrow

Rootes Arrow was the manufacturer's name for a range of cars produced under several badge-engineered marques by the Rootes Group (later Chrysler Europe) from 1966 to 1979 in Europe, and continuing on until 2005 in Iran. It is amongst the last Rootes designs, developed with no influence from future owner Chrysler. The range is almost always referred to by the name of the most prolific model, the Hillman Hunter.

A substantial number of separate marque and model names were applied to this single car platform. Some were given different model names to justify trim differences (Hillman GT, Hillman Estate Car) and, from time to time, models were sold in some European markets under the Sunbeam marque (Sunbeam Sceptre for instance), and at other times used UK marque/model names. Singer Gazelle and Vogue models were also sold in the UK for one season badged as Sunbeams after the Singer brand was withdrawn.

The models sold – not all concurrently – were, alphabetically by marque:
 * Chrysler Hunter, Chrysler Vogue
 * Dodge Husky
 * Hillman Arrow, Hillman Break de Chasse, Hillman Estate Car, Hillman GT, Hillman Hunter, Hillman Hustler, Hillman Minx, Hillman Vogue
 * Humber Sceptre
 * Iran National Paykan
 * Singer Gazelle and Singer Vogue
 * Sunbeam Alpine and Sunbeam Rapier fastback coupés
 * Sunbeam Arrow, Sunbeam Break de Chasse, Sunbeam Hunter, Sunbeam Minx, Sunbeam Sceptre, and Sunbeam Vogue

The most prolific model within the Arrow range, the Hillman Hunter, was the Coventry-based company's major competitor in the small family car segment. In its 13-year production run, its UK market contemporaries included the Ford Cortina, Vauxhall Victor, Austin/Morris 1800, and Morris Marina. The sports-orientated Sunbeam Rapier occupied a segment contested by the Ford Capri, MGB GT, Vauxhall Firenza, and to an extent the Triumph Dolomite, while the more upmarket Humber Sceptre competed with other premium-specification cars based on conventional saloons, such as the Vanden Plas 1300 and 1500, the Wolseley 18/85, and the Ford Cortina 1600E and 2000E.

The Arrow range extended to several body styles: saloon, estate, fastback coupé and a two different coupe utilities (pick-ups) (the Dodge Husky from South Africa and the Paykan Pick-Up in Iran, each model had a unique body). Depending on the model, they had two doors or four doors. Not all marques were represented in all body styles, with the coupés being reserved for Sunbeam.

Development
The Arrow range was conceived in 1962. Following the Hillman Imp, consideration was given to developing a larger rear-engined car, but this concept was dismissed, and the engineering settled on for the new car was more conventional and closer to the layout of the existing Audax series (which included the previous Hillman Minx).

With cash-strapped Rootes struggling amid continuing engine cooling problems with the Imp, which often resulted in warped cylinder heads, the cautious Arrow broke little new engineering ground. New parts were largely based on tried and tested Rootes components, using a new but strong 5-bearing version of the well-proven 1725 cc overhead valve petrol engine as a starting point which varied in output from 66 to 88 bhp (in the Humber Sceptre ). The engine was inclined by a modest 15 degrees, to allow for a lower bonnet line and to enable packaging of the carburettors. This engine was further uprated by specialists Holbay, employing two Weber 40DCOE carburettors to produce 107 bhp for the Sunbeam Rapier H120 and Hillman Hunter GLS. A smaller 1500 cc engine was the standard for manual versions of the Hillman Minx and the Singer Gazelle, and the Hillman Hunter DeLuxe model which succeeded the Minx. Automatic models were all powered by the 1725 cc engine. Particular attention was paid to weight and cost to bring the vehicle in line with its natural competitors, including the Mark 2 Ford Cortina.

For the first time in a Rootes car MacPherson strut suspension featured at the front, with a conventional live axle mounted on leaf springs at the rear. Other firsts for Rootes in the new car were curved side glass and flow-through ventilation.

Manual transmissions were available in four-speed form with an optional Laycock de Normanville overdrive, or Borg-Warner automatic transmission, again as an option. Initially, the Borg Warner Type 35 3-speed automatic was offered, then the Type 45 four-speed automatic became available in 1973.

The handbrake was situated between the driver's seat and door (i.e. on the driver's right-hand side for a right-hand drive car) rather than between the front seats. This followed the practice established with the 'Audax' cars.

The first Arrow model to be launched, the Hillman Hunter, was presented as a replacement for the Hillman Super Minx. The Hunter was lighter than its predecessor and the wheel-base of the new car was actually 2+1/2 in shorter than that of the old, but the length of the passenger cabin was nonetheless increased by moving the engine and the toe-board forwards.

For the first two years there were few changes. However, in May 1968 power assisted brakes were made available as a factory fitted option. Hitherto this possibility had been offered only as a kit for retro-fitting: it was stated that the factory fitted servo-assistance, at a domestic market price slightly below £13, would be cheaper for customers.

A mild facelift in 1970 gave new grilles to the various Hunter trim levels, and some derivatives gained a (then) more fashionable dashboard, exchanging wood for plastic, but the car remained fundamentally the same throughout its life.

A more detailed facelift for 1972 brought a new all-plastic dashboard with deeply hooded round dials (earlier versions had either a strip speedometer or round dials in a flat dashboard for more expensive models like the Vogue), new steering wheel, plastic instead of metal air cleaner, reshaped squarer headlamps in a new grille and some engine tuning changes.

For 1975, bumpers were enlarged and the tail lights were enclosed in a full-width anodised aluminium trim piece.

Following the 1967 acquisition of Rootes by Chrysler, the Arrow derivatives were rationalised until only the Hillman Hunter version was left by 1976. From September 1977 it was re-badged as a Chrysler, which it was to be for the remaining 2 years of its life. Hunter production was switched in 1969 to Rootes' troubled Imp plant in Linwood, from its original home of Ryton.

Sales were lower after 1975 following the launch of the Chrysler Alpine, a similar sized car but with front-wheel drive and a hatchback bodystyle, at a time when rear-wheel drive saloons still dominated in this sector.

Following the Hillman Avenger's move to Linwood in 1976, the very last European Hunters were assembled in the Santry plant, Shanowen Road, Ireland from "complete knock down" (CKD) kits until production ended in 1979 – but no evidence exists to suggest that the Talbot badge was applied to any production Hunter following Chrysler Europe's 1978 takeover by Peugeot, and the application of that badge to other Chrysler models sold on or after 1 August 1979.

The final Chrysler Hunter was built in September 1979 in Porirua, New Zealand, and was donated to the Southward Museum. In 2000 the Museum sold the car to a private collector.

Models and market positions
As Rootes looked to rationalise the number of platforms and the total engineering cost of their vehicle line-up during the 1960s, they kept alive the many names of the companies they had purchased to maintain product differentiation in the market place. As such, the Arrow was simultaneously aimed at several slightly different market segments, using a range of brand and model names during the car's 13-year production run.

Hillman
The first models, launched on the domestic market in October 1966 with a 1725 cc engine, were given the Hillman Hunter name with the respected name Hillman Minx (for the cheaper 1496 cc version), following in January 1967. Hillman would remain the British group's most prolific marque. The Hunter model name was not in fact entirely new for a Rootes-related car, having been used for one year's production of the Singer SM1500.

Sports models included the Hillman GT, which was based on the Minx trim, but was a model in its own right (not a "Hillman Minx GT" nor "Hillman Hunter GT"). It featured a twin Zenith Stromberg CD150 carburettor version of the 1725 engine developing 94 bhp and Ro-Style wheels. in 1972 came the Hillman Hunter GLS with a specially tuned twin-Weber-carburettor engine (by Holbay) shared with the Sunbeam Rapier H120 model, as well as close-ratio gearbox and quad headlights.

The estate version, announced in April 1967, was originally launched as the "Hillman Estate Car" without either Hunter or Minx badging. It came with a one-piece tailgate which was much cheaper to produce than the horizontally split two piece tailgate featured on the car it replaced, but the change nevertheless drew some unfavourable press comment.

The car's image was boosted when a Hunter driven by Andrew Cowan won the 1968 London-Sydney Marathon.

The range was soon simplified with trim levels and varying engine specifications: the Hillman Hunter DeLuxe or DL replaced the Minx and retained the Minx 1496 cc engine; the 1725 cc engine with an iron cylinder head being an option on these entry-level models. Above that were the Hunter Super and Hunter GL, both with the higher specification alloy headed engine and two different trim levels. The twin carburettor engined "Hillman Hunter GT" eventually replaced the Hillman GT, and the Holbay-engined GLS was positioned at the top of the range.

For the 1975 Motor Show, a limited edition Hillman Hunter Topaz was produced. This was largely based on the Hunter Super and equipped with overdrive, radio, vinyl roof, Rostyle wheels and a special half cloth upholstery as standard. This car was only available in a unique metallic bronze paint finish. The price was less than that of the standard Hunter Super when fitted with the optional overdrive. A Hillman Break de Chasse was sold in French-speaking markets, based on the Minx specification. (Also offered was a similar Sunbeam Break de Chasse; "break" being a French term for an estate, and the phrase break de chasse translating roughly as shooting-brake.)

Singer
The Singer Vogue and Singer Gazelle were positioned slightly upmarket of the Hillman Hunter and the Minx respectively. Nevertheless, the need to compete on price was evidenced with the announcement of the Singer Vogue estate car. The Vogue saloon was fitted with an alternator, but the Vogue estate, announced in April 1967, was fitted with a dynamo; the manufacturers explained that the change was made to help keep the model's recommended UK-market selling price below £1,000.

The Singers were short-lived models, retired early in 1970 along with the rest of the Singer range. Briefly following the retirement of the Singer brand, and throughout the model life for principal export markets, the Singer Vogue was badged as a Sunbeam.

Sunbeam
The single-carburettor Sunbeam Alpine and twin-carburettor Sunbeam Rapier were only sold as fastback coupés, and were marketed with a strong sporting image – although it was eventually the Hillman Hunter which was used in long-distance rallying. The sportiest Sunbeam was the Rapier H120 model, though this shared its specially tuned Holbay engine with the Hillman Hunter GLS.

Sunbeam Arrow, Sunbeam Break de Chasse, Sunbeam Hunter, Sunbeam Minx, Sunbeam Sceptre and Sunbeam Vogue were used for export markets where the Sunbeam name was more familiar or deemed more likely to succeed. The Sunbeam Arrow name was used in North America. Sunbeam Break de Chasse, Hunter, Vogue and Minx were offered in some French-speaking markets (where "break" is a term for an estate).

A Sunbeam Sceptre appeared in France and some German-speaking markets (at least), and carried the Humber Sceptre level of specification, as described below. The Sunbeam Vogue was also available in the home (British) market for a short period after the Singer marque was retired in 1970.

Humber
The Humber Sceptre traded on Humber's tradition of building luxury cars and was the best-appointed version. It was marketed as a Sunbeam Sceptre in some markets.

The manual-gearbox model featured either the D-type or the later J-type Laycock De Normanville overdrive, with the J-type fitted from chassis numbers L3 onwards starting in July 1972. As with all Arrows, an automatic gearbox was an option. A closer ratio G-type gearbox was fitted to later Sceptres, using the J-type overdrive.

An estate version of the Humber Sceptre was introduced at the London Motor Show in October 1974. It featured a built-in roof rack and a carpeted loading floor protected by metal strips and illuminated by an additional interior light. Washer and wiper were provided for the rear window, a rare feature on UK-market estate cars of the time.

Chrysler Hunter
The Hillman Hunter was rebranded as the Chrysler Hunter for the UK market in September 1976, receiving at the same time a four headlight frontal treatment similar to that of the Hunter GLS model and the Humber Sceptre. In order to try to prolong the model life an improved level of equipment included a central console and a voltmeter. The Super version also featured an aluminium-head engine and viscous fan coupling along with reclining seats, a vinyl-covered roof and "simulated wood treatment" for the facia and door sills. By this time, however, Chrysler UK dealers had been selling the French-built Chrysler Alpine for more than two years: more than ten years after the launch of the original Hillman Hunter, the Chrysler Hunter was self-evidently a run-out model, and relatively few were produced. According to How Many Left, only 7 remain in the UK with only 1 still on the road. The European operations of Chrysler were sold to Peugeot just before the end of Hunter production in 1979, although the Chrysler branding was briefly retained, with the Talbot marque being introduced across Europe from 1 August 1979.

It was effectively replaced by the Talbot Solara – a four-door saloon version of the Alpine hatchback – which was launched in April 1980.

Australia
Commencing in 1967, Chrysler Australia Ltd assembled the Hillman Hunter from imported CKD packs at their Port Melbourne factory, which they inherited as part of Chrysler's acquisition of Rootes Australia. Designated as the HB series, the range comprised two models, the Arrow with basic vinyl upholstery and floormats, and the Hunter, with better quality upholstery and carpeted floors. A Hunter Safari wagon was added to the range in May 1968. The Safari name was also used to identify the Australian Chrysler Valiant wagons. The Safari was a popular seller, particularly as the competing Holden Torana was not available as an estate / station wagon.

The HC series was released in November 1968. Major changes were the adoption of the UK face-lifted Hunter radiator grille and rectangular headlights, and the renaming of the Arrow as the Hunter, retaining the Arrow's trim specification and bench seat. The Hunter was renamed to Hunter Royal, the model corresponding in trim level with the UK Singer Vogue, but retaining the Hunter plastic moulded dashboard, with simulated wood trim. An additional model, the Hunter GT, corresponded with the UK Humber Sceptre in trim level, but utilized the standard Hunter grille. These cars featured trim parts from various UK models, including UK Humber Sceptre bonnet ornaments.

In 1970, the Australian version of the Hunter was face-lifted again, with the introduction of the HE series. Marketing of the car, plus its rear badges, referred to it as the Hunter, rather than a Hillman. The facelift involved a change to the radiator grille, with new and smaller rectangular headlights. Also, the appearance of the rear of the car was changed with a flush trim panel under the boot lid and new twin-lens tail lights. Depending on the model, this panel was painted in the body colour, matte grey or matte black (Hustler Model); this facelift was unique to Australia. Inside, the HE models received a new collapsible steering column, with the Valiant's steering wheel.

The model range was later modified again: a new cut price performance version called the Hustler was introduced. This was similar in concept and execution to the UK Hillman GT – a sparsely trimmed car with high performance. The Hustler was powered by the Rootes Group 1725cc engine, equipped with alloy head and twin Stromberg side-draught carburettors. The Hustler's styling alluded to its big brother; the Chrysler Valiant (VG) Pacer.

The Hunter GT was renamed the Hunter Royal 660. Outside, this car gained Rostyle wheels. Inside, the car was trimmed in the same "buffalo grain" textured vinyl, which also was to be found in the VG series luxury Valiant, the Regal 770.

These cars sold steadily, but they became overshadowed when Chrysler Australia commenced assembly of the Mitsubishi Galant in 1972. By this time, the Mitsubishi was a conspicuously more modern car, and the last Australian Hunter was produced in November 1972. The stockpile of vehicles took almost a year to clear and the Hunter became the last Rootes car to be marketed in Australia. Chrysler Australia then closed the former Rootes factory, focusing Australian production at its Tonsley Park plant in Adelaide.

New Zealand
New Zealand importer and CKD assembler Todd Motors also created its own unique versions of the Arrow line. The single 1967 launch version (1725 cc aluminium head engine with four-speed manual transmission or three-speed Borg Warner 35 automatic transmission with twin front seats) was almost identical to its UK counterpart but Todd started to use its own upholstery designs from the 1969 rectangular headlight update. For 1970, it added a silver rear trim panel and a 'by Chrysler' boot lid badge to the Hunter saloon and introduced the estate although this had a lower specification than the saloon – an iron head 1725 cc engine, no automatic option, simpler dashboard trim (no locking glovebox), interior door pull handles instead of armrests (sedans had them on the three passenger doors), painted rather than bright metal door window frame trim and fixed rather than opening front quarter-lights. Because the hand brake was between the driver's seat and the driver's door, for safety reasons, there wasn't an arm rest on the driver's door.

Todd's also offered a Singer Vogue saloon with a 1725 cc engine and a more upmarket wood veneer dashboard from 1967 to 1971. It was replaced by the Hunter GL.

The range was given a unique-to-NZ update early in 1971: the iron head "deluxe" estate (never badged as such) was almost unchanged apart from the side "Hunter" badges moving from the front doors to the front guards and revised seat and door trim patterns, and the door tops switched from black to the same colour as the seats. The alloy headed "super" saloon got these changes plus a redesigned 'by Chrysler' boot lid badge, spray-on black, instead of silver, tail panel — the texture of this changed from textured fake vinyl to a matte black over the year's run. Initially the cars were offered with tan, red, blue or black upholstery with the dash painted to match but after a few months, Todd's switched to a new type of vinyl with different colours and texture for their Avenger, Hunter and Valiant lines, the blue option was dropped and the dashboards reverted to black paint. By now the equivalent Super model in the UK had seen its specification reduced to the iron head engine, no bumper over-riders, less exterior bright metal detailing and fixed front quarterlights — so the New Zealand version was unique.

The range's first major facelift for 1972 brought an uprated motor with new carburettor and ignition tuning, re-profiled camshaft and a plastic air cleaner housing (these models were always harder to keep in tune than their predecessors), smaller, squarer headlamps, a new dashboard with deeply hooded round dials (the Hunters had strip speedometers previously), high-backed front seats, and a revised silver trim panel surrounding the tail lights. These models carried over the previous models' upholstery material and colours for about a year but there was a mid-1973 change to the then-new 'wet look' vinyl across all Kiwi assembled Chrysler/Hillman models and the Hunter shared the new cream, brown and blue colours, retaining black dashboards and interior plastics (UK cars had fully colour matched interiors in different colours with available cloth trim, a material Todd's would not introduce till the Hunter's final years).

Todds also added a new 1972 "GL" model, replacing the Singer Vogue, that initially had little to distinguish it (and justify a higher price) apart from wooden dashboard and door inserts, the same different trim patterns from the old Vogue and standard reversing lights. On all sedans, the rear Hunter badge moved from the right hand side of the boot lid to inboard of the left side tail lamp cluster and a locally sourced derivative badge appeared denoting "Super", "Super Auto" and "GL" variants (but not the available "GL Auto" which was badged just "GL"). In 1973 Todds created another completely unique model by updating the "GL" with a simplified variant of the four-headlight nose from the upmarket Humber Sceptre (a rare UK-assembled import) and altering the tail with a new silver strip below the tail lights, incorporating the reversing lights. These changes gave the "GL" a much more distinctive appearance front and rear.

By the mid-70s, the Hunter was an old model and under siege from newer Japanese rivals. Todd's Hunters adopted the larger bumpers and new grille introduced for 1975 in the UK but the range was eventually rationalised into a single Super saloon model with the four-headlight front end and "wood" dashboard inserts (by then it was synthetic wood rather than the real material used originally). The final updates included standard cigarette lighter and heater control illumination.

Around 1975, the optional automatic was uprated from the three-speed Borg Warner 35 to the new, four-speed 45 but there were supply problems and Todds reverted to the 35 three-speed for several assembly runs of the automatic versions.

As in Australia, though six years later, Mitsubishis from Japan sounded the Hunter's death knell. After beginning with CKD assembly of a single Galant coupé model in 1972, Todds had added the Lancer saloon in 1975 and launched its first mid-size Mitsubishi Galant Sigma saloon line in 1977, effectively replacing the Hunter. The far more modern, better equipped Mitsubishis were pricier, and the Hunter still had its fans and lingered on until 1979, when it was discontinued in the UK and Todd's built the last Chrysler-badged version anywhere.

The Hunter's other claim to Kiwi fame was being the first CKD model line to pass the 30,000-unit mark during its 12-year run.

South Africa
The Hunter and the Vogue were assembled locally in South Africa, beginning in 1968. The Vogue received Hillman badging, and the Hunter Deluxe model was sold as the "Hillman Arrow". Since local assembler Stanley Motors also assembled Peugeots, the Arrow cars received the 404's 1618 cc, 68 hp XC engine. This continued to be used until the end of South African production in mid-1977 (by Sigma for the last six months, Chrysler SA's successor company), although for 1976 the 504's 1971 cc 93 hp XN1 was available on the renamed Chrysler Vogue 2000. The Hunter Wagon was also locally assembled, this was renamed the "Hunter Safari" for 1972. The Arrow was dropped at the same time.

In 1975 the "Dodge Husky" was released as a Hunter-based pickup truck powered by the British 1725 cc unit. The Dodge Husky is different from the Iranian Paykan pickup model; it has a thicker B-pillar and retains the saloon's character lines along the side panels. The rear gate and rear window are also subtly different. For 1976, the Hillman name was dropped and the passenger car versions were renamed as Chrysler Vogues. The 2000 GL, GLS, and Safari received the larger Peugeot engine.

Iranian Paykan
In 1966, Iran National (now Iran Khodro) of Iran began to assemble Hillman Hunters from CKD kits, after a deal was struck between the Rootes Group and Iran National's director, Ahmad Khayami. The resulting Paykan (Persian for arrow) saloon, utility, and taxi models became known as Iran's national car.

Earlier versions used the Hunter 1725 cc engine, but later kits were shipped with the Avenger's 1600 cc engine mated to the Arrow range 4-speed gearbox via a special bell-housing. Later, they were all equipped with a 5-speed gearbox. The engine was changed to a Multi Point Electronic Fuel Injection made by the Sagem Company. The spark distributor was replaced with ECU-Controlled Spark Coils. The differential was also upgraded to a version more compatible with the Avenger engine.

In 1977 Roy Axe designed the new facelifted Paykan model using many interior and exterior parts from the Chrysler Alpine.

Full local production began in 1985, after the original British production lines were closed. The new owner in Britain, Peugeot, established a new contract whereby Iran Khodro would manufacture the Paykan with the same body panels but using Peugeot 504 engines and suspension, for six more years. This deal was similar to one in South Africa, where Hunters were once built with locally-made Peugeot 404 engines (from which the 504 units evolved) to meet strict local-content laws applicable in the late 1960s.

The Paykan saloon ceased production in May 2005, to be replaced by the Iranian designed Samand. The Bardo 1600i, the pick-up version of the Paykan, continued to be the sole remaining Arrow variant until the final car rolled off the Teheran Assembly line in May 2015.

title: Rootes Arrow


text:
Graham Towers

Graham Ford Towers (29 September 1897 – 4 December 1975) was the first Governor of the Bank of Canada from 1934 to 1954.

Biography
Born in Montreal, Quebec, educated at St. Andrew's College in Toronto, he graduated from McGill University in 1919. During World War II, he was Chairman of the Foreign Exchange Control Board and Chairman of the National War Finance Committee. From 1944 to 1954, he was President of the Industrial Development Bank and from 1946 until 1954 he was alternate Governor for Canada at the International Monetary Fund. A longtime executive at the Royal Bank of Canada he was a strong proponent of the creation the Bank of Canada, Canada's Central Bank. He led the Bank of Canada for twenty years before he was succeeded by James Coyne.

Towers was made a Companion of the Order of St Michael and St George in 1944. In 1969, he was made a Companion of the Order of Canada.

Towers provided evidence for the Canadian Government's Standing Committee on Banking and Commerce, in 1939 and revealed much about the way banking works in Canada. In one exchange with Gerry McGeer he is quoted as saying "If parliament wants to change the form of operating the banking system, then certainly that is within the power of parliament" when asked "Will you tell me why a government with power to create money, should give that power away to a private monopoly, and then borrow that which parliament can create itself, back at interest, to the point of national bankruptcy?"

title: Graham Towers


text:
User:JimClark

Greetings!

I felt compelled to join up when I saw just how many hits this site is getting now. Not sure yet how much I'll be posting, it depends on time I have and how much info seems to be missing.

title: User:JimClark


text:
Exene Cervenka

Exene Cervenka (born Christene Lee Cervenka; February 1, 1956) is an American singer, artist, and poet. She is best known for her work as a singer in the California punk rock band X.

Music career

The 21-year-old Cervenka met 23-year-old musician John Doe at a poetry workshop at the Beyond Baroque Foundation in Venice, California. Cervenka started working there.

Billy Zoom (guitar) and John Doe (bass and vocals) founded X in 1977, with D.J. Bonebrake coming aboard as drummer. Doe asked Cervenka to join soon after as a co-lead vocalist, and the duo were also the band's primary songwriters. They released their debut album, Los Angeles, in 1980 and, over the next six years, five more albums.

She learned to play guitar from Dave Alvin of The Blasters.

Collaborations
In 1982, Cervenka published Adulterers Anonymous, her first in a series of four books in collaboration with artist Lydia Lunch. She and Lunch also released a spoken word album, Rude Hieroglyphics, in 1996 and toured in support of the project.

From 1996 to 1999, John Roecker and Cervenka co-owned the Los Angeles store "You've Got Bad Taste." The store specialized in kitsch and various "off-color" novelties.

In 1999, as Exene Červenková, she appeared in the cult video Decoupage 2000: Return of the Goddess, along with guests Karen Black and the band L7. She gave a reading of her poem "They Must Be Angels," and appeared in an interview skit with Decoupage 2000 hostess Summer Caprice.

Art career
In 2005, Cervenka's journals and mixed media collages were exhibited in a one-person exhibition titled America the Beautiful at the Santa Monica Museum of Art. The exhibit was curated by Kristine McKenna and Michael Duncan. An expanded version of the exhibition traveled to DCKT Contemporary in New York in January 2006.

Personal life
Cervenka was married to John Doe from 1980 to 1985. She met her second husband Viggo Mortensen in 1986 on the set of the comedy Salvation!, a parody of televangelism. Mortensen played her husband Jerome. They married on July 8, 1987. On January 28, 1988, Cervenka gave birth to a son, Henry Blake Mortensen. Mortensen and Cervenka lived in Idaho for three years. They separated in 1992, and were divorced in 1997.

Cervenka married musician Jason Edge, who went on to play in her band Original Sinners. Edge and Cervenka are now divorced.

Cervenka moved from Los Angeles to Jefferson City, Missouri, for four years, and then returned to Southern California. She now lives in Orange County.

Health
On June 2, 2009, Cervenka released a statement revealing that she had been diagnosed with multiple sclerosis. Well before this diagnosis, she and X had actively supported Sweet Relief, a charity that aids uninsured artists. Sweet Relief was begun by musician Victoria Williams when she herself was diagnosed with MS. In 2011, Cervenka said she may have been misdiagnosed. However, Cervenka had to cancel a Spring 2011 tour due to problems associated with her MS. During a July 2015 interview, John Doe said that the multiple sclerosis diagnosis was a misdiagnosis, that Cervenka, after consulting with various doctors who were not able to diagnose her, is healthy.

Conspiracy theories
Cervenka, as a self-styled "conspiracy therapist," has provoked controversy on social media and on YouTube, under the name "Christine Notmyrealname," by advancing conspiracy theories including the view that the Isla Vista shootings were a hoax designed to bring about stricter gun control laws. After the backlash, she has issued an apology on her Facebook and Twitter accounts and her conspiracy related YouTube videos are no longer available for viewing.

Singles, soundtracks, compilations, etc.

 * 1978: Adult Books/We're Desperate 7" (Dangerhouse Records)
 * 1979: Yes L.A. compilation (Dangerhouse Records)
 * 1980: The Decline of Western Civilization soundtrack (Spheeris Films/Slash Records): "Beyond and Back," "Johnny Hit and Run Paulene," "Nausea," "Unheard Music," "We're Desperate"
 * 1980: No Questions Asked by Flesh Eaters (Slash Records)
 * 1982: Urgh! A Music War soundtrack (A&M Records)

Albums

 * 1980: Los Angeles (Slash Records)
 * 1981: Wild Gift (Slash Records)
 * 1982: Under the Big Black Sun (Elektra Records)
 * 1983: More Fun in the New World (Elektra Records)
 * 1985: Ain't Love Grand! (Elektra Records)
 * 1987: See How We Are (Elektra Records/Asylum Records)
 * 1988: Live at the Whisky a Go-Go (Elektra/Asylum Records)
 * 1993: Hey Zeus! (Big Life Records)
 * 1995: Unclogged (Infidelity Recordings/Sunset Boulevard)
 * 1997: Beyond and Back: The X Anthology (Elektra Records)
 * 2004: The Best: Make the Music Go Bang! (Elektra Records/Rhino Records)
 * 2005: X – Live in Los Angeles (Shout! Factory)
 * 2020: Alphabetland (Fat Possum Records)

The Knitters

 * 1985: Poor Little Critter on the Road (Slash Records/Rhino Records)
 * 2005: The Modern Sounds of the Knitters (Zoë Records)

Solo

 * 1989: Old Wives' Tales (Rhino Records)
 * 1990: Running Sacred (RNA (Rhino New Artists))
 * 1994: Exene Cervenka (Wordcore Volume 7) 7" (Kill Rock Stars)
 * 1995: Surface To Air Serpents (213CD/Thirsty Ear Recordings)
 * 2009: Somewhere Gone (Bloodshot Records)
 * 2011: The Excitement of Maybe (Bloodshot Records)

Bands

 * 1997: Life Could Be a Dream as Auntie Christ (Lookout Records)
 * 2002: Original Sinners as Original Sinners (Nitro Records)
 * 2006: Sev7en as Exene Cervenka and the Original Sinners (Nitro Records)

Other

 * 1985: Wanda Coleman, Exene Cervenka: Twin Sisters LP (Freeway). Poetry performance recorded at McCabe's Guitar Shop, Santa Monica, CA on February 1, 1985.
 * 1995: Lydia Lunch & Exene Cervenka: Rude Hieroglyphics (Rykodisc). Recorded live at the Sapphire Supper Club, Orlando, FL on March 20, 1995.
 * 1999: Decoupage 2000: Return of the Goddess. Read poem "They Must Be Angels" and appeared in an interview skit.
 * 2012: John Doe & Exene Cervenka: Singing and Playing (Moonlight Graham Records). Recorded at Way Station April 2–3, 2010.

Additional musical contributions

 * 1994: Applegate, Christina, and Elizabeth Pena. Across the Moon. Los Angeles, CA: Hemdale Home Video, 1994. ISBN 978-1-569-20068-1 Music composed by Christopher Tyng & Exene Cervenka
 * 1996: Honor: A Benefit for the Honor the Earth Campaign (Daemon Records). "The Future is a War" by Exene Cervenka
 * 1997: G.I. Jane original soundtrack (Hollywood Records). "The Future is a War" by Auntie Christ
 * 1999: One Man's Meat by Viggo Mortensen (Lightning Creek). Features Exene Cervenka on vocals, guitar
 * 2000: Stoned Immaculate: The Music of The Doors (Elektra Records). "Children of Night" by Perry Farrell and Exene
 * 2001: Punk-o-rama 2001, Vol. 6 (Epitaph Records). "We're Desperate" by Pennywise with Exene
 * 2002: Rise Above: 24 Black Flag Songs to Benefit the West Memphis Three (Sanctuary). "Wasted" by Exene Cervenka
 * 2009: The People Speak original soundtrack (Verve Records). "See How We Are" by Exene Cervenka & John Doe
 * 2011: Kings and Queens by Blackie and the Rodeo Kings (Dramatico). "Made of Love" featuring Exene Cervenka
 * 2018: "Queen for a Day" by Skating Polly featuring and also written by Exene Cervenka
 * 2018: "Destroying Angels" by Garbage with John Doe and Exene Cervenka

Video

 * The Decline of Western Civilization (1981)
 * Urgh! A Music War (1982)
 * X: The Unheard Music (1985/1987, video; 1986/1987/2004, DVD; re-released 2011 Silver Anniversary Edition)
 * X - Live in Los Angeles (2005) – Shout! Factory: Concert by X in Los Angeles recorded live on November 26 and 27, 2004 ISBN 978-0-738-93185-2

Works or publications

 * Lunch, Lydia, and Exene Cervenka. Adulterers Anonymous. New York: Grove Press, 1982. ISBN 978-0-394-62412-9
 * The 1984 Calendar of Olympic Games, Music & Orwellian Dates. 1984, n.d. Produced by M. Hyatt, Exene Cervenka and 53 mail artists from around the world.
 * Bad Day: A Short Film by Modi Frank and Exene Cervenka.  (1986)
 * Mohr, Bill, and Sheree Levin. Poetry Loves Poetry: An Anthology of Los Angeles Poets. Santa Monica, CA: Momentum Press, 1985. ISBN 978-0-936-05450-6
 * Jarecke, Kenneth, and Exene Cervenka. Just Another War. Joliet, Mont: Bedrock Press, 1992. ISBN 978-0-963-47840-5
 * Cervenka, Exene. Virtual Unreality. Los Angeles: 2.13.61 Publications, 1993. ISBN 978-1-880-98515-1
 * Cervenka, Exene. "Consumption." Details Magazine, July 1993. (poem)
 * Cervenka, Exene. "Acres of Defeat." Raygun Magazine, Dec./Jan 1993. (article)
 * Cervenka, Exene. "Midnight Black." L.A. Weekly Magazine, Best of L.A. Issue, 1993. (poem)
 * Lake, Bambi, and Alvin Orloff. The Unsinkable Bambi Lake: A Fairy Tale Containing the Dish on Cockettes, Punks, and Angels. San Francisco: Manic D Press, 1996. ISBN 978-0-916-39742-5 Introduction by Exene Cervenka
 * Snowden, Don, and Gary Leonard. Make the Music Go Bang!: The Early L.A. Punk Scene. New York: St. Martin's Griffin, 1997. ISBN 978-0-312-16912-1 "Halos Above Our Horns" by Exene Cervenkova. (essay)
 * Rollins, Henry. The Best of 2.13.61 Publications. Los Angeles: 2.13.61 Publications, 1998. ISBN 978-1-880-98562-5 (excerpts from "Virtual Unreality")
 * Maybe, Ellyn, and Exene Cervenka. The Cowardice of Amnesia. Los Angeles: 2.13.61 Publications, 1998. ISBN 978-1-880-98558-8
 * Hyatt, Michael, and Exene Cervenka. Lucky 13 Postcards. Los Angeles, Calif: s.n., 2000.
 * Cervenka, Exene. A Beer on Every Page. 2002.
 * Jocoy, Jim, Thurston Moore, and Exene Cervenka. We're Desperate: The Punk Photography of Jim Jocoy : SF/LA 78–80. New York, NY: PowerHouse Books, 2002. ISBN 978-1-576-87156-0 "Slivery Moon" (essay)
 * Kihn, Greg. Carved in Rock: Short Stories by Musicians. New York: Thunder's Mouth Press, 2003. ISBN 978-1-560-25453-9 features short story "Perfect World from Virtual Unreality" by Exene Cervenka
 * Cervenka, Exene, and Viggo Mortensen. Magical Meteorite Songwriting Device: Collages. Santa Monica, CA: Perceval Press, 2006. ISBN 978-0-976-30092-2

One-person exhibitions

 * America the Beautiful. Santa Monica Museum of Art (September 17 – November 26, 2005)
 * America the Beautiful. DCKT Contemporary (January 7 – February 11, 2006)
 * A Fifth of Tomorrow. Collages and journals. Western Project (June 9 – July 14, 2007)
 * Sleep in Spite of Thunder. DCKT Contemporary (May 23 – July 18, 2008)

Two-person exhibitions

 * Exene Cervenka and Wayne White: We're Not The Jet Set. Paintings, collages and sculptures. Western Project (July 25 – September 5, 2009)

Group exhibitions

 * Hollywood Satan. Mark Moore Gallery, Santa Monica, CA (December 5–25, 1998)
 * Forming: The Early Days of L.A. Punk.  Track 16 Gallery, Santa Monica, CA (April 10 – June 15, 1999)
 * Capital Art: On the Culture of Punishment.  Track 16 Gallery, Santa Monica, CA (February 3 – March 31, 2001)
 * Cruel And Unusual: A Benefit For The West Memphis Three. sixspace, Los Angeles, CA (2003)
 * Vexing: Female Voices from East L.A. Punk.  Claremont Museum of Art, Claremont, CA (May 18 – August 31, 2008); Museo de las Artes, Universidad de Guadalajara, Guadalajara, Mexico (2008–2009)
 * Yard Dog, Austin, TX (2009)
 * Celestial Ash: Assemblages from Los Angeles. Craft and Folk Art Museum, Los Angeles, CA (April 11 – September 13, 2009)
 * Western Project: The First Six Years. Western Project, Culver City, CA (November 7 – December 30, 2009)
 * Tanya Batura / Exene Cervenka / Amir H. Fallah / Will Yackulic. Western Project, Culver City, CA (August 14 – September 11, 2010)
 * Never Can Say Goodbye, No Longer Empty.  at former Tower Records Store, West 4th Street & Broadway, New York, NY (2010)
 * Girls Just Want to Have Funds. P.P.O.W Gallery, New York, NY (2010)
 * DCKT @ Miami Project. Midtown Art District (December 3–8, 2013)

Exhibition catalogs

 * Bessy, Claude, and Edward Colver. Forming: The Early Days of L.A. Punk. Santa Monica, CA: Smart Art Press, 2000. ISBN 978-1-889-19544-5 Track 16 Gallery (April 10 – June 5, 1999). Cervenka was co-editor, essay: "Forming: the Early Days of L.A. Punk"
 * Botey, Mariana, and Pilar Perez. Capitalart: On the Culture of Punishment. Santa Monica, CA: Smart Art Press, 2001. ISBN 978-1-889-19546-9 Track 16 Gallery (February 3 – March 31, 2001)
 * Cervenka, Exene. Exene Cervenka: America the Beautiful. Santa Monica, CA: Smart Art Press, 2005.

title: Exene Cervenka