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This classic BMW has been saved by the dealer that sold it 45 years ago
October 27, 2018 /0 Comments/in Car News /by Ethan Jupp
First sold by Williams BMW Group in 1973, this dilapidated classic BMW 2002 is about to get a new lease of life, 45 years on – courtesy of its original purveyors.
The H&H Classics sale at Duxford that took place on October 17th had a variety of tasty classic cars on offer. This particular 2002 would have to have meant something to whoever bought it given its condition. It's sorely in need of some TLC, having sat unused for 20 years in dry storage.
Enter Williams BMW in Manchester.
After being supplied new by the dealer, the car went through the hands of two owners. The first kept the car stamped up with Williams until 1988, before selling it in 1991. Its second owner presumably ran it until stowing it away in 1998. 20 years on, it's now seeking a third owner.
Other than being in need of a good recommissioning, it seems a solid example in terms of history. All original fitments are included: both keys, documentation, official BMW touch up paint and even a business card.
Ian Burt, now Head of Operations at H&H Classics, was a former employee of Williams BMW. He knew of the car's significance and contacted the directors. Group Buyer Adam Kirkpatrick was sent to view it at the pre-sale. He was immediately impressed and made sure to successfully bid for the car, come the sale.
"The moment I saw the car at H&H Classics HQ in Warrington I knew that we would want it back if we could win it at auction," said Adam Kirkpatrick.
"It will now be given the full Williams BMW restoration and lots of TLC."
Ultimate Demon: 1,200hp SpeedKore Twin-Turbo Dodge Challenger sets new record
2018 Vauxhall Corsa GSi: surprise package but surprise price
Does turning the clocks back cause road traffic accidents?
https://i1.wp.com/www.motoringresearch.com/wp-content/uploads/2018/10/19870_0.jpg?fit=1800%2C1200&ssl=1 1200 1800 Ethan Jupp https://www.motoringresearch.com/wp-content/uploads/2018/12/mr-top-motoring.svg Ethan Jupp2018-10-27 11:04:052018-10-27 11:04:05This classic BMW has been saved by the dealer that sold it 45 years ago
October 26, 2018 /0 Comments/in Car News, MSN Custom Autos /by John Redfern
For those who find the standard 840hp Dodge Challenger SRT Demon just a little too tame, Wisconsin-based SpeedKore Performance Group has developed an epic solution.
Dispensing with the supercharger attached to the 6.2-litre Hemi V8, and replacing it with a twin-turbocharger setup, has unleashed gigantic power from the muscle car.
Despite making use of the standard Dodge engine block, the pair of Precision Engineering turbochargers create a total of 1,203hp at the rear wheels. As a reminder, that's an output greater than a Bugatti Veyron Super Sport.
At present, the engine breathes through holes cut into the bumper, with the exhaust system also exiting just ahead of the front wheels. Sadly this setup, despite being impressive, is not street legal but a traditional rear exhaust version is under development.
Added lightness
SpeedKore specialises in carbon fibre bodywork, with the twin-turbo Demon being no exception.
The lightweight material is used for the front and rear bumpers, wheel arches, quarter panels, roof, and boot. In fact no panel is spared from the carbon fibre makeover, shaving some 113kg from the Challenger.
A neat touch is the Demon logos fitted to the side of the Challenger are now illuminated. A potential warning to anyone who comes across the twin-turbo machine at night…
Setting records
To test the performance of the twin-turbo Demon, SpeedKore asked professional drag racer Leah Pritchett to tackle the quarter-mile at the Great Lakes Dragway.
Despite a chilly October day making the surface less than perfect, Pritchett was able to set a new record for a Dodge Challenger SRT Demon. Covering the quarter-mile in just 8.77 seconds, with a terminal speed of 161.57mph, meant a considerable step up from the regular car.
In fact, Pritchett had set the previous record for a standard Demon at 9.65 seconds with a speed of 140mph.
Scariest of all is that this only marks the beginning of the SpeedKore twin-turbo Demon story. Upgraded internals for the engine will allow for more power, whilst warmer temperatures next Spring should produce even faster times at the drag strip.
The twin-turbo Demon will make its public debut at next week's SEMA Show in Las Vegas. SpeedKore has previously produced a special Ford Mustang for Robert Downey Jr, and a modified Chevrolet Camaro for Captain America star Chris Evans.
https://i2.wp.com/www.motoringresearch.com/wp-content/uploads/2018/10/2018-SpeedKore-Twin-Turbo-Dodge-Challenger-Demon-001.jpg?fit=1800%2C1200&ssl=1 1200 1800 John Redfern https://www.motoringresearch.com/wp-content/uploads/2018/12/mr-top-motoring.svg John Redfern2018-10-26 16:26:292018-10-26 16:26:29Ultimate Demon: 1,200hp SpeedKore Twin-Turbo Dodge Challenger sets new record
October 26, 2018 /0 Comments/in Car Reviews, MSN Reviews /by Richard Aucock
The Vauxhall Corsa GSi is a car down on power compared to the Ford Fiesta ST, but can the way it drives justify its ambitious £18,995 list price?
https://i2.wp.com/www.motoringresearch.com/wp-content/uploads/2018/09/Vauxhall-Corsa-GSi-504690.jpg?fit=1800%2C1200&ssl=1 1200 1800 Richard Aucock https://www.motoringresearch.com/wp-content/uploads/2018/12/mr-top-motoring.svg Richard Aucock2018-10-26 14:56:162018-12-10 15:48:212018 Vauxhall Corsa GSi: surprise package but surprise price
McLaren Speedtail is the 250mph, £2.1 million tribute to the McLaren F1
October 26, 2018 /0 Comments/in Car News /by Richard Aucock
The stunning McLaren Speedtail is the first 'hyper-GT' the firm has ever made. What a way to honour its first ever road car, the McLaren F1. Needless to say, even at £2.1 million, all 106 have already been sold.
McLaren is making just 106 Speedtail because that's how many original F1s it built (hard to believe, huh?). It shares that car's central driving position and three-seat layout too, but don't be fooled. This is anything but a retro rebirth.
The reason it's called Speedtail, and not F1, is because it's the fastest McLaren the British firm's ever built: it does 250mph flat-out. That's 403 km/h in Euro-speak. A 1,050hp petrol-electric drivetrain gives it the firepower to reach this, and also renders 0-62mph times irrelevant.
How about 0-186mph (that's 0-300km/h) in 12.8 seconds instead? The P1, McLaren's previous 'ultimate' car, takes almost four seconds longer to reach this speed.
Speedtail in name, Speedtail in nature: the cockpit is teardrop-shaped and the rear end is elongated to a staggering degree – at 5.2 metres (17 feet), it's longer than many limousines. The body, like the carbon fibre structure, is made entirely from carbon fibre.
The front wheel aero-covers make it look like a world land speed record car, as does the active aerodynamic features including McLaren-patented active rear ailerons. There aren't even any door mirrors, so as not to create drag: the Speedtail has digital rear-view cameras instead.
McLaren's installed a Velocity mode. This switches the engine into its top power setting, activates the active aero and also lowers the Speedtail by 35mm to eek out that 250mph top speed. This takes it down to just 1,120mm tall.
Pirelli's designed a special set of P-Zero tyres for McLaren to cope with all that speed and power.
The cabin is fully glazed and revealed by trick dihedral doors – power-operated, naturally. Detail engineering abounds: McLaren's fitted clever electrochromic glass that darkens the top of the windscreen at the touch of a button – so it doesn't need sun visors. It's a "new level of technical luxury".
"McLaren has never built a vehicle like the Speedtail before," said McLaren Automotive CEO Mike Flewitt. "The Speedtail is the ultimate McLaren road car; a fusion of art and science that combines an astonishing maximum speed with an iconic central driving position and a truly pioneering approach to bespoke personalisation."
It intentionally looks like sleek, record-breaking 'streamliners', he said, and "the luxurious three-seat cockpit offers a subline combination of an incredible driving experience, unmatched individualism and innovative materials never seen before in a road-going vehicle".
What a way to honour the original mighty McLaren. The lucky owners who are recently gathered in London for an exclusive (and private) first viewing are 106 of the most fortunate petrolheads on the planet.
McLaren Speedtail: in pictures
https://i1.wp.com/www.motoringresearch.com/wp-content/uploads/2018/10/McLaren-Speedtail-07-P.jpg?fit=1800%2C1200&ssl=1 1200 1800 Richard Aucock https://www.motoringresearch.com/wp-content/uploads/2018/12/mr-top-motoring.svg Richard Aucock2018-10-26 13:00:302018-10-26 13:01:42McLaren Speedtail is the 250mph, £2.1 million tribute to the McLaren F1
Forget Singapore: Britain is best for building electric cars, says Dendrobium Automotive
October 26, 2018 /0 Comments/in Car News /by John Redfern
Startup electric hypercar maker Dendrobium Automotive has reaffirmed that its radical electric D-1 will be built in the UK. This comes just days after Sir James Dyson announced that his planned electric car will be manufactured in his Singaporean factory.
Alanis Morissette would no doubt point out the irony that the concept of the Dendrobium D-1 was first envisaged by a company from Singapore. However, due to a lack of skills and expertise on the Southeast Asian island, Vanda Electrics turned to the UK to make the D-1 a reality.
The company is working with Williams Advanced Engineering – the technology offshoot from the Formula 1 racing team – on the initial development of the D-1. With a promised 1,800hp on offer from the electric powertrain, help from a race team certainly seems wise.
In fact, the D-1 shares much technology with the motorsport industry. Something which no doubt made choosing the UK as a manufacturing base an easier option.
Carbon fibre is used extensively throughout the D-1, forming the basis of the carbon fibre tub chassis and other key elements throughout. The lightweight material also features substantially in the two-seater interior, and will be important in pegging weight to the 1,750kg target set by the company.
Dyson 'very wrong'
Whilst reaffirming the decision to produce the D-1 in the UK, Dendrobium admits that Brexit does cause concerns for the project.
Chairman and CEO of Dendrobium Automotive, Nigel Gordon-Stewart stated, "Brexit is unquestionably causing real issues in investment in the UK" and that the "current 'brain drain' by EV development companies in the USA and Far East is also a huge concern."
Despite this, Gordon-Stewart believes "British engineering is, without doubt, the best in the world" and that the decision by Dyson to build in Singapore "seems very wrong" as a result.
The Dendrobium D-1 made a public debut earlier this year at the exclusive Salon Privé garden party event, attracting attention with its distinctive 'Bio-Aerial Locomotion' doors.
Dendrobium has also recently signed technology sharing agreements with an Australian-based battery company, and an intellectual property firm in the United States. The deal will be key to ensuring the powertrain and battery performance can meet the bold claims for the D-1.
https://i1.wp.com/www.motoringresearch.com/wp-content/uploads/2018/10/Electric-Dendrobium-D-1-will-be-built-in-Britain-001.jpg?fit=1800%2C1200&ssl=1 1200 1800 John Redfern https://www.motoringresearch.com/wp-content/uploads/2018/12/mr-top-motoring.svg John Redfern2018-10-26 11:54:382018-10-26 11:54:38Forget Singapore: Britain is best for building electric cars, says Dendrobium Automotive
Jenson Button's old BMW M5 V10 could be yours
October 26, 2018 /0 Comments/in Car News /by Gavin Braithwaite-Smith
For Jenson Button, driving away from a circuit in his 2005 E60 BMW M5 must have been like taking his work home with him. You can thank the F1-inspired 507hp V10 engine for the 'busman's holiday' nature of Jenson's super-saloon.
Jenson bought the car new and registered it JB05 BAR (he was driving for British American Racing at the time). During his ownership he won his first Grand Prix, became F1 World Champion and was awarded an MBE.
He sold the car in 2011 and reportedly drove the M5 to the NEC where it sold for £26,500 at the Coys Autosport International sale.
He reportedly dropped the car off with the auctioneers complete with his post and lunch still inside.
Now, it is up for sale again, this time at the Silverstone Auctions NEC Classic Motor Show sale, where it is expected to fetch between £35,000 and £40,000. We suspect Jenson's lunch will have gone off by now.
'More than I bargained for'
The lucky bidder and current vendor wants to spend more time in Spain, which is why the M5 is up for sale. "The reaction to the car has been incredible: everyone is interested in seeing a car that was owned by a Formula One World Champion," the vendor told Silverstone Auctions.
"When I went to get it taxed, they let me keep the original V5 as a souvenir, and my local BMW dealer even wants to use it for a sales promotion. It's safe to say that I got a bit more than I bargained for with this car!"
Even without the Jenson Button connection, a low-mileage E60 BMW M5 would make for a cracking purchase. Assuming you can live with the fuel bills – reports suggest that you could see fuel economy in single figures if you drive like an F1 star – this is one of the greatest all-rounders of the modern era.
A four-door Lamborghini Gallardo
It had a tough act to follow. The E39 M5 was regarded as a high point in the M division's back catalogue and the last of the hand-built cars. The E60 took things in its stride – with 507hp at 7,750rpm and 384lb-ft of torque at 6,100rpm, it was a little like driving a four-door Lamborghini Gallardo.
Top speed was limited to 155mph (203mph was possible with the speed limiter deactivated), while the 0-62mph time was blitzed in just 4.7 seconds. All this from a rear-wheel drive BMW M car with a sweet manual… ah, no, wait…
While the North Americans were treated to a manual gearbox, we had to 'make do' with the SMG semi-automatic sequential transmission.
The SMG is a complex system and one that isn't blessed with a blemish-free record for reliability. But driving the M5 at full chat, flicking through the gears via the paddle-shifters, is a riotous experience. The soundtrack, the performance, the poise – this M5 has got it all.
Mint and minted
Not that Jenson Button or the second owner have spent a huge amount of time behind the wheel. The 2005 car has covered just 17,000 miles and the condition is described as "mint". Rather apt, considering you'll need to be minted if you intend to use this as a daily-driver.
The JB05 BAR registration mark will stay with the car, along with a new race suit and paddock jacket from 2005, both signed by the F1 star. There's also a Parrot hands-free kit mounted on the dash, presumably so that you can have a petrol station on standby.
If you fancy Jenson's old car – frankly, who wouldn't – the auction is taking place over the weekend of 10 and 11 November 2018.
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https://i0.wp.com/www.motoringresearch.com/wp-content/uploads/2018/10/2005-BMW-M5-Ex-Jenson-Button-MBE-1.jpg?fit=1800%2C1200&ssl=1 1200 1800 Gavin Braithwaite-Smith https://www.motoringresearch.com/wp-content/uploads/2018/12/mr-top-motoring.svg Gavin Braithwaite-Smith2018-10-26 09:44:462018-10-26 09:44:46Jenson Button's old BMW M5 V10 could be yours
Mini simplifies model range to cut customer confusion
A must-have option for Mini buyers since the new model was launched back in 2001 has been the Chili Pack option – but not any more, because the firm has fully overhauled the specification process for buying a new Mini.
The multitude of add-on options – including the Chili Pack and its sister Pepper Pack – has been eradicated, with Mini now basing options around three 'styles': Classic, Sport and Exclusive.
This, reckons Mini, will make it much easier to buy a car. Indeed, the process has been narrowed down to just five steps, it says: choose model, performance, style, packs, personalisation… and that's it.
1: Model
There are five: select from 3-door Hatch, 5-door Hatch, Convertible, Clubman or Countryman
2: Engine
One (1.5 petrol), Cooper (1.5 petrol), Cooper D (2.0 diesel) and Cooper S (2.0 petrol) now relate to engine, in the new world of buying a Mini
3: Style
This is the new bit: Classic, Sport or Exclusive
4: Packs
Don't panic, there are just two here: Comfort or Comfort Plus
5: Personalise
This is where you pick exterior and interior colours and trims, plus other options and is likely to remain the most confusing bit of all. Mini will perhaps be hoping people don't get too carried away here, and stick to the option packs it details: Comfort, Comfort Plus, Navigation and Navigation Plus.
Even the most basic Mini now gets more standard kit. All have automatic headlights and wipers, ambient interior lighting and the exterior Mini logo projection gadget that shines the badge onto the ground at night.
Mini UK director David George said: "We know that customers today want a simple purchase experience, and this thinking has been central to the development of our new line-up.
"We have reduced complexity in our product offering, and harmonised options across the whole range, ensuring an easy customer journey whether in one of our retailers or on mini.co.uk."
Yes, online: Mini has launched a buy online sales system – the firm says prospective buyers can configure, arrange a test drive, agree finance and payment details and even get a trade-in value. The retailer steps in at the end to finalise the delivery date.
The new Mini styles
So what do you get with the three new Mini style packs? Here's the key features for each.
A 6.5-inch infotainment screen, DAB radio with Bluetooth and intelligent emergency call
John Cooper Works aerodynamic kit, spoiler, alloy wheels and suspension, John Cooper Works bucket seats and steering wheel, anthracite headliner. Only offered on Cooper and Cooper S
Exclusive alloy wheels, chrome exterior detailing, Mini Yours Lounge upholstery and steering wheel, Mini Yours trim and chrome detail. Again, only on Cooper and Cooper S.
https://i0.wp.com/www.motoringresearch.com/wp-content/uploads/2018/10/P90325632-highRes.jpg?fit=1800%2C1200&ssl=1 1200 1800 Richard Aucock https://www.motoringresearch.com/wp-content/uploads/2018/12/mr-top-motoring.svg Richard Aucock2018-10-26 09:22:232018-10-26 17:12:07Mini simplifies model range to cut customer confusion
The £2,500 grant for plug-in hybrids has now officially run out
A sales surge following the government's surprise decision to scale back the Plug-in Car Grant has resulted in changes being imposed early due to remaining funds running out.
Since the announcement was made on 12 October, car buyers have been rushing to the showrooms to take advantage of the soon-to-expire £2,500 saving on plug-in hybrids.
The revised scheme, which focuses only on fully electric and fuel cell cars (oh, and ultra-long range plug-in hybrids, of which there are precisely… none currently on the market) was due to go live on 10 November.
But so quickly have car buyers used up the remaining 3,000 full EV (£4,500) and 6,000 plug-in hybrid £2,500) grant cash, the scheme has already switched over to its new format. This awards full EVs a lesser £3,500 sum.
The cash actually ran out just 10 days after the revised scheme was announced, says the RAC Foundation. 900 claims a day were being made, more than six times above than the average for 2018.
"While ministers might have fallen out of love with hybrid technology," said RAC Foundation director Steve Gooding, "this last-minute rush to showrooms suggests the reassurance of running in part on conventional fuel is attractive to buyers with range anxiety, especially when it comes at an attractive price.
"The big question is whether motorists' enthusiasm for hybrids will hold up now that the plug has been pulled on the grant."
Details of the new scheme are now live on the government website. The only 'plug-in' cars now eligible for the £3,500 grant are detailed in full:
BMW i3 and i3s
BYD e6
Citroen CZero
Nissan e-NV200 (5-seater and 7-seater)
Volkswagen e-up!
The grant will pay for 35 percent of the purchase price, up to a maximum of £3,500. All must have CO2 emissions of less than 50g/km and travel at least 70 miles (which is why the Renault Twizy is not on the list).
Not all low-emission vehicles will get a grant, adds the government: only cars it has approved are eligible. This is why there's sometimes a delay between a new model being launched and it appearing on the Plug-in Car Grant list.
https://i2.wp.com/www.motoringresearch.com/wp-content/uploads/2018/10/P90244236_highRes.jpg?fit=1800%2C1200&ssl=1 1200 1800 Richard Aucock https://www.motoringresearch.com/wp-content/uploads/2018/12/mr-top-motoring.svg Richard Aucock2018-10-26 08:17:292018-10-26 08:17:29The £2,500 grant for plug-in hybrids has now officially run out
Porsche 919 duo take farewell drive through the German countryside
The Porsche 919 Hybrid Tribute Tour has come to an end with the committal of the 2017 Le Mans winner and the magnificent 919 Evo to the Porsche Museum. How did they get them there? They drove them, of course…
All too often, magnificent racers throughout the course of history have had their 15 minutes of fame, only to be scrapped, dumped or covered up once their term of service was done. We've heard tales of 917s being valued in the hundreds of euros in the late '70s, due to a chorus of complaints that they were taking up workshop space…
Not so today, as Porsche's 919 tribute tour has proven. First, an outright lap record at Spa in the incredible 919 Evo. Then, among other things, an outright Nürburgring Nordschleife lap record that definitely isn't being beaten any time soon.
It's been an emotional six months, both for race fans and for those in the now defunct three-time Le Mans-winning Porsche LMP1 program. Nevertheless, a worthy goodbye to what will go down in history as yet another legendary and marque-defining racing car from Porsche.
Of course, any other manufacturer might have had these cars quietly trailered across to the museum in Stuttgart, from the Weissach development centre.
Porsche, in its inimitable style, had them driven, by Mark Webber and Marc Lieb. Porsche does this fish out of water stuff so well and it's just such incredible imagery to see 2000hp's worth of fire-breathing racers trundling through rural and suburban Germany.
We assume no speed records were broken during this final run…
At the drive-in: McDonald's classic car collection up for auction
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British car production down again as market in 'turmoil'
https://i0.wp.com/www.motoringresearch.com/wp-content/uploads/2018/10/high_porsche_919_hybrid_evo_in_front_porsche_919_hybrid_2018_porsche_ag-4.jpg?fit=1800%2C1200&ssl=1 1200 1800 Ethan Jupp https://www.motoringresearch.com/wp-content/uploads/2018/12/mr-top-motoring.svg Ethan Jupp2018-10-26 07:19:572018-10-26 07:19:57Porsche 919 duo take farewell drive through the German countryside
Best Towing 2019: Every truck ranked
October 26, 2018 /0 Comments/in America /by John Moroney
There's more to towing than just raw power, though that certainly helps. To be a good hauler, the truck's transmission must be able to transmit all that power without overheating. The axles need to be able to carry the weight, with ratios chosen to maximize pulling power. The suspension has to control the load while still providing a decent ride.
The weight of the truck matters. Almost counter-intuitively, a lighter truck can pull more than a heavier one, all else being equal. With less weight to begin with, more power can be applied to the load.
Traditionally, manufacturers named their trucks according to carrying capacity, such as 100 for the half-ton model, 200 for the three-quarter-ton, and 300 for one ton. Today's trucks are far more capable, but tend to use the similar conventions, such as Ford F-150, Ram 2500, and Chevy Silverado 3500.
To compare towing capacity across models, we have grouped the trucks on sale in the U.S. into mid-size (the smallest size available), full-size, heavy-duty, and ultra-duty. We then loaded them up with the best engine choices and towing package for the job.
Please note that as-built prices may vary.
After years of neglect, the mid-size truck segment is heating up. Chevy's decision to release the Colorado in 2014 seemed to reinforce public interest. GMC followed suit with the Canyon, Ford is bringing the Ranger back this year, and even stoic Nissan has hinted that the Frontier will (finally) be updated next year.
These fun-sized trucks may be smaller in size that their bigger counterparts, but they're still capable of working for a living. They're generally used for towing weekend toys, like small campers, motorcycles, and personal watercraft.
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BASE PRICE: $29,990
PRICE AS SPECIFIED: $35,290
BASE TOWING CAPACITY: 3,500 pounds
MAXIMUM TOWING CAPACITY: 5,000 pounds
While its size groups it in with other small pickups, the Honda Ridgeline's unibody construction puts it in a class of its own, giving it a decidedly civilized and car-like demeanor.
One engine is offered across the model range: a direct-injected V6 with 280-horsepower and 262 lb-ft of torque. A button-operated traction management system keeps the Ridgeline moving forward in snow, mud, or sand, and of course on normal roads.
Two-wheel drive versions will tow a maximum of 3,500 pounds, while selecting all-wheel drive (AWD) ups the ante to 5,000. AWD models come with a heavy-duty transmission cooler, and all models come standard with an integrated tow hitch and 7-pin connector.
The first model with AWD availability (a $1,900 option) is the Sport ($35,290).
Nissan has confirmed that a new Nissan Frontier is coming, but not for another year. Until then, we will soldier on with the current generation, introduced in 2005 and updated in 2009, with a fuel economy upgrade in 2013.
Even fully maximized for towing, the stalwart Frontier offers the lowest price point in the segment. Our hauler of choice is the rear-wheel drive (RWD) King Cab SV with the optional V6 ($25,220 total), good for 6,710 pounds.
A Class IV tow hitch receiver can be factory installed for $230, and a Class III hitch and ball for an additional $84. A 7-pin trailer harness is $66, while the 4-pin is $51. Towing brake sub-harness? $26.68.
We do like the optional weight-distributing hitch ball mount, though it is a bit spendy at $370.
Toyota's dauntless Tacoma SR5 will pull an admirable 6,800 pounds when equipped with the 278-horsepower V6. The engine makes 265 lb-ft of torque and is paired with electronically-controlled automatic transmission with overdrive and a limited-slip rear differential.
Also included is the towing prep package with extra cooling for the engine, transmission, and power steering; a 130-amp alternator; a class-IV towing hitch receiver; four and seven-pin connector with converter; and trailer sway control.
In base form, the Chevy Colorado's 2.5-liter four-cylinder engine has enough power to comfortably trailer and motorcycle and enough gear for the weekend. For really big jobs, though, it's time to step up the LT with the optional 2.8-liter Duramax turbodiesel under the hood ($4,965). With 369 lb-ft of torque available, there's more than enough grunt to get things moving, and exhaust braking helps to keep things under control.
The LT is ready to pull right out of the box with an intelligent transmission tow/haul mode that reduces the shift pattern when hauling heavy loads, driving down a grade, or, of course, towing. The system is paired with a limited-slip differential that automatically locks wheel slip is detected. Also included is a two-inch receiver hitch, four- and seven-pin connectors, and an integrated brake controller.
Looking like a Chevy Colorado in an especially snappy suit, the GMC Canyon will also tow an impressive 7,700 pounds when properly equipped.
Like its corporate sibling, maximum towing is possible with the optional 2.8-liter turbodiesel ($4,965), available starting in SLE trim. The package also includes the transmission with tow/haul mode, the automatic limited-slip rear differential, two-inch receiver, integrated brake controller, and four- and seven-pin connectors.
BASE PRICE: TBA
PRICE AS SPECIFIED: TBA
BASE TOWING CAPACITY: TBA
MAXIMUM TOWING CAPACITY: TBA
Ford has promised that the hotly-anticipated 2019 Ranger will have best-in-class towing capacity, meaning that it has to clear the 7,700-pound bar set by the Colorado and Canyon twins.
Powering the pull will be a 2.3-liter turbocharged four-cylinder with a forged crank and connecting rods for increased durability, a version of which currently lives in the Mustang and makes 310 horsepower and 350 lb-ft of torque. The engine will be paired with a 10-speed automatic transmission, and the combo looks to be beefy enough to live up to Ford's claim.
The best-selling cars in America are full-size trucks, and there seems to be no ceiling on their success. The latest models offer excellent road manners, impeccable refinement, and all the latest amenities and comfort.
A rugged frame underpinning construction provides a stout backbone, and many new models make use of lightweight materials and construction methods to maximize their capability.
All models are offered with torque-rich engines for pulling power. For drivers who tow often or under less-than-ideal conditions, a diesel might be a sound choice.
The beefy 5.6-liter V8 under Nissan Titan's hood makes 390 horsepower and 394 lb-ft of torque, and is paired with a 7-speed automatic transmission. Even in the heaviest of configurations with all the options ticked, towing capacity is still over four-and-a-half tons, more than enough for most tasks.
We like the single cab 4×2 SV model ($33,610) for its combination of 9,740 pounds of pulling capacity and available towing options. The SV Convenience package ($845) adds a Class IV tow hitch receiver and four-/seven-pin wiring harness along with some desirable safety and comfort amenities. The SV Tow package ($495) adds heated tow mirrors, a trailer brake controller, and trailer light check, but must be paired with the SV Utility package ($1,145). A Class III hitch ball mount is available for $81.
Trailer sway control is standard on all Titans but base S models.
MAXIMUM TOWING CAPACITY: 10,200 pounds
Optimizing the Toyota Tundra for maximum pulling means choosing the 5.7-liter V8, available on SR5 grades ($33,030) and above. The big powerplant puts out 381 horsepower and 401 lb-ft torque and comes standard with a supplemental oil cooler. It's paired with towing-friendly six-speed automatic transmission with its own supplemental cooler and a transmission fluid temperature gauge.
The engine comes with a standard towing package that includes an automatic limited-slip rear differential with a 4.30 axle ratio, a heavy-duty battery with a 170-amp alternator, an integrated trailer brake controller, a four-/seven-pin connector, and heated outside tow mirrors.
A hitch ball mount is available for $65.
PRICE AS SPECIFIED: $44,495 (plus Max Towing Package, TBA)
With the new 2.7-liter turbo four-cylinder under the hood, the 2019 Silverado will pull a rather astonishing 7,200 pounds. Start adding cylinders though, and the capacity (unsurprisingly) jumps. The V6 will yank 8,000 pounds and the 5.3-liter V8 11,600.
Maximum towing power is found in the 6.2-liter V8, paired exclusively with four-wheel drive and available in LTZ trims ($44,495) and above. Combined with the Max Towing Package (price TBA), the 2019 Silverado will pull the full 12,200 pounds.
Chevy has announced a trailering app with a pre-departure checklist and trailer light testing function. An available advanced towing system (TBA) offers an auto parking brake assist, hitch guide with camera, and trailer tire pressure monitoring system.
But wait! There's more! A 3.0-liter inline six diesel is coming early in 2019, but details have yet to be released.
The 2019 Silverado is on its way to dealerships now.
GMC's handsome new 2019 Sierra is built on the same chassis as its corporate twin, the 2019 Chevy Silverado, and will be offered with the same powerplant options. It's no surprise then that the two share maximum towing capacities. The same diesel will be offered in the GMC starting in 2019.
It also has a trailering system and app, standard on Denali and SLT trim levels. Offered is a hitch view camera with guidance and an auto electric parking brake for positioning. Side view cameras and a trailer-mounted HD camera are available for added driving or reversing assistance.
The app features a pre-departure checklist, maintenance reminders, trailer light test, trailer electrical diagnostics, and trailer tire pressure and temperature monitoring. A theft detection system will send OnStar alerts if the trailer is removed without permission.
Ram's 1500 has shed 225 pounds for 2019, thanks to strategic use of high-strength steel, aluminum, and composites. The new frame is both stiffer and more durable, and maximum capacity has ballooned from 10,620 pounds to 12,750 in the rear-wheel drive quad cab with 6' 4" box.
Powering all this pull is the optional 395-horsepower 5.7-liter eTorque V8 ($1,995). The mild hybrid system uses a 48V motor/generator to boost torque significantly when needed, meaning that the available 410 lb-ft is easier to access across a broader rpm range.
The other part of the maximum towing equation is the Maximum Towing Package ($1,295). The kit starts with a 3.92 axle ratio for improved grunt, adds a Class IV receiver hitch, powered tow mirrors with supplemental signals, a trailer brake control, and a full-sized spare.
BASE PRICE: $27,705 (2018 pricing, 2019 may be slightly higher)
PRICE AS SPECIFIED: $38,225 (2018 pricing, 2019 may be slightly higher)
Ford's F-150 remains on top of the full-size pickup towing heap for 2019 (so far). The XL SuperCrew ($34,245) will tow a class-leading 13,200 pounds when equipped with the available 3.5-liter turbocharged V6 ($2,595), and Max Trailer Tow Package ($1,295).
The optional engine puts out a 375 horsepower and a massive 470 lb-ft of torque, even besting its 3.0-liter Power Stroke diesel sibling which makes only 250 horsepower and 440 lb-ft. The V6 is mated to Ford's 10-speed automatic with tow/haul mode.
The max trailering package includes a Class IV trailer hitch receiver, four-pin/seven-pin wiring harness, trailer brake controller, smart trailer tow connector, Pro Trailer Backup Assist with Tailgate LED, a 3.55 electronic locking rear differential, a 36 gallon fuel tank for extra range, an upgraded front stabilizer bar, beefier springs, and an upgraded rear bumper.
As powerful as full-size trucks are, drivers that need serious pulling power usually start their shopping in the three-quarter-ton section of the Pick-'em-up Mart. These heavy-duty haulers have suspensions, axles, and other components designed to deal with horse trailers, bigger boats, and large toy carriers. Gooseneck and fifth wheel hitches appear to place the load directly over the rear axle for even more capability. Optional engine specifications might seem more appropriate in heavy construction equipment
When it comes times to move mountains, these are the trucks for the job.
BASE TOWING CAPACITY: 11,590 pounds
MAXIMUM TOWING CAPACITY, CONVENTIONAL: 12,640 pounds
MAXIMUM TOWING CAPACITY, GOOSENECK: 12,760 pounds
The Nissan XD offers big capacity in base S trim, but we like the SV with the optional 5.0-liter Cummins V8 for bigger jobs. The diesel puts out 555 lb-ft of torque and adds half a ton to capability in a single spec.
Standard on the SV ($42,240) are towing features like a Class IV tow hitch receiver, trailer sway control, trailer brake controller, extendable tow mirrors, and trailer light check.
There are plenty of towing accessories offered to complete the kit, such as a weight-distributing ball hitch mount ($570) that includes a Class V ball, a factory-installed gooseneck hitch ball and anchor kit ($280), and a dealer-installed fifth wheel adapter ($650).
MAXIMUM TOWING CAPACITY, FIFTH WHEEL: 17,980 pounds
The big Ram 2500 needs very little tweaking to become a towing beast. It comes with a standard Class V receiver hitch and four-/seven-pin wiring harness, and simply adding the available 4.10 rear axle ratio ($145) boosts capacity to 13,900 pounds.
But, like most things in life, the fun begins when you start throwing money at it. For starters, add the Cummins I6 turbodiesel ($9,200) with a gargantuan 800 lb-ft of torque, paired with a heavy-duty transmission. Throw in options like as tow mirrors ($145), an anti-spin rear differential ($445), and automatic levelling rear air suspension ($1,695). And then, for serious capability, select the fifth wheel/gooseneck prep package ($495) or 20,000 pound direct-mount fifth wheel hitch ($1,075).
An all-new Ram 2500 has been announced and should debut January 2019.
BASE PRICE: $38,800 (2018 model, 2019 TBA)
PRICE AS SPECIFIED: $49,705 (2018 model, 2019 TBA)
GMC's big Sierra 2500HD has a powerful 6.0-liter V8 as standard equipment and will pull at least 13,000 pounds in any configuration, and 14,400 in double cab/8'-box form with two-wheel drive.
The optional Duramax 6.6-liter turbodiesel with 910 lb-ft of torque can only be added to crew cab models, but increases the maximum towing capacity to the full 14,500 pounds on a conventional hitch and 15,400 on fifth wheel.
While the Sierra is mechanically a near-clone of its corporate sibling, the Chevrolet Silverado, the lack of a regular cab/long bed configuration gives the towing advantage to the Silverado
With the Silverado 2500 HD, the big story is the big Duramax 6.6-liter turbodiesel ($9,395) with a gargantuan 910 lb-ft of torque on tap from a low 1,600 rpm. Even before adding the optional fifth wheel/gooseneck prep package, the 2500 will pull 14,500 pounds. With the package installed, the total jumps to over nine tons when installed in a truck with a regular cab.
The big diesel is paired with a heavy-duty Allison six-speed automatic transmission, compete with a tow/haul mode to reduce cycling and an exhaust brake for better control when descending steep grades.
The base 6.0-liter V8 gasoline engine is certainly no slouch, though. It will also pull 14,500 pounds with a conventional hitch, and 14,800 with a fifth wheel.
MAXIMUM TOWING CAPACITY, CONVENTIONAL: 18,000
MAXIMUM TOWING CAPACITY, FIFTH WHEEL: 18,500
Ford's F-250 Super Duty is a towing beast. The optional 6.7-liter V8 diesel ($9,120) puts out 440 horsepower and a mind-boggling 925 lb-ft of torque. For conventional towing, the crew cab/long bed pickup will pull an astounding nine tons, and fans of the fifth wheel can up that number the 18,500 pounds.
To reach maximum ability, the High Capacity Trailer Tow Package must be selected ($1,130). It adds a stronger rear axle, beefier hitch receiver, and front and rear springs with higher load ratings.
While not necessary for sheer power, we like the optional bird's-eye view camera and trailer reverse guidance system ($2,605), and trailer blind spot warning system ($1,455).
Ultra-duty
When you feel the earth move under your feet, it's undoubtedly because someone hooked it up to one of these one-ton ultra-duty haulers. These trucks are so massive that some states and provinces technically require a commercial license to legally drive one while it's fully loaded.
MAXIMUM TOWING CAPACITY, GOOSENECK: 23,100
When you want to move mountains and look good doing it, you reach for the GMC 3500HD. While we love the luxury, fully loaded Denali trim level, it's only available in a crew cab; the lower Sierra models get the job done.
The maximum brawn is available in regular cab spec with an 8' box and dual rear wheels, powered by the optional 6.6-liter V8 turbodiesel ($9,395). With a 3.73 rear axle selected, this setup will pull 10 tons with a conventional hitch, and over eleven and a half tons on a fifth wheel ($1,539).
The 3500 comes with a trailer hitch platform, 4-pin and 7-pin connectors, automatic rear locking differential, and a 7-wire harness with independent fused trailering circuits. A wide variety of towing hitches, balls, receivers, and safety systems can also be ordered.
MAXIMUM TOWING CAPACITY, FIFTH WHEEL/GOOSENECK: 23,300
We love the Silverado 3500HD in maximum towing configuration: Duramax 6.6-liter V8 turbodiesel ($9,395), four-wheel drive, dual rear wheels, long bed, and regular cab. It's like driving a battleship, but, y'know, fun instead of warlike.
As has been mentioned one or two times before, the big diesel mill has 910 lb-ft of torque and comes with exhaust braking, helping to keep the big rig under control on grades. Stability and traction control are standard, helping to keep the trailer in line.
The fifth wheel prep package is necessary for ultimate towing ($1,539).
BASE TOWING CAPACITY: 10,880
Powering the ultimate Ram towing machine is a 6.7-liter Cummins I6 twisting out a bone-shattering 930 lb-ft of diesel torque when paired with a heavy-duty six-speed Aisin transmission. Add in a regular cab, long bed, and dual rear wheels, and the Ram 3500 will draw 31,210 pounds. The optional powertrain does add $11,895 to the final price of the truck, but any arguments contrary to its addition can be settled with the words "930 lb-ft of torque." Enough said.
In order to handle the immense load, we added Mopar's Max Tow package ($3,500) with a 30,000 pound fifth wheel hitch, self-leveling air suspension, trailer brake control, and a 4.10 axle.
MAXIMUM TOWING CAPACITY, FIFTH WHEEL/GOOSENECK: 32,000 pounds
Ford's F-350 is powerful, but adding the 6.7-liter V8 turbodiesel ($9,120), dual rear wheels ($1,490), and 4.10 limited slip axle ($360) allows is to pull an eye-watering full sixteen tons on a fifth wheel. That is a full country music song worth of towing prowess.
The 350 comes with an integrated brake controller, towing mirrors, a beefy hitch receiver, and 4-/7-pin wiring harnesses.
In order to keep things under control we added the Ultimate Trailer Camera tow system ($1,880) with a 360-degree camera with reverse guidance, a boon to backing up a long trailer. A blind spot warning system with rear cross traffic alert ($1,665) is also available, and is calibrated for trailers up to 33 feet long.
https://i1.wp.com/www.motoringresearch.com/wp-content/uploads/2018/08/01-2019-Ram-1500-Limited.jpg?fit=2500%2C1667&ssl=1 1667 2500 John Moroney https://www.motoringresearch.com/wp-content/uploads/2018/12/mr-top-motoring.svg John Moroney2018-10-26 05:42:232018-10-26 05:42:23Best Towing 2019: Every truck ranked
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text:
La guerra gaucha és una pel·lícula argentina, dirigida per Lucas Demare, estrenada el 20 de novembre de 1942.

La pel·lícula va ser protagonitzada per Enrique Muiño, Francisco Petrone, Ángel Magaña i Amelia Bence entre d'altres. El guió va ser escrit per Homer Manzi i Ulyses Petit de Murat a partir del llibre del mateix nom (1905) de Leopoldo Lugones. Ha estat considerada «la pel·lícula de més èxit del cinema argentí, i també una de les millors».

La pel·lícula, de to èpic, transcorre en 1817 a la província de Salta (nord-oest de l'Argentina) en el context de les accions de guerrilla dels gautxos partidaris de la independència, sota el comandament del general Martín Güemes, contra l'exèrcit regular realista que responia a la monarquia espanyola.

Per a la filmació d'exteriors es va construir un llogaret a la mateixa zona on es van desenvolupar els esdeveniments que van inspirar la pel·lícula. Les escenes de conjunt, per les quals es va comptar amb mil participants, no havien tingut precedent al cinema argentí.

Tant la gènesi de la pel·lícula com el seu contingut es troben vinculats amb el particular moment històric de l'Argentina en el qual hi havia un intens debat sobre si el país havia de pronunciar-se en favor d'un dels bàndols o mantenir la seva neutralitat en relació a la Segona Guerra Mundial que es trobava en ple desenvolupament.

L'exaltació en l'obra dels valors lligats al nacionalisme expressats en la conjunció del poble, l'exèrcit i l'església en la lluita en defensa de la terra va ser considerada per alguns com una anticipació de la ideologia de la revolució que el 4 de juny de 1943 va desplaçar al desprestigiat govern de Ramón Castillo.

La pel·lícula va ser produïda per Artistas Argentinos Asociados, una cooperativa d'artistes creada poc abans i va requerir una inversió molt superior a la d'altres produccions de l'època, però el seu èxit de públic va permetre recuperar el cost a les sales d'estrena, on va romandre dinou setmanes.

Producció

La novel·la
Leopoldo Lugones (1874-1938) va exercir el periodisme i va desenvolupar una vasta obra literària, respecte de la qual Ricardo Rojas va dir:

Per escriure La guerra gaucha Lugones va anar a la província de Salta, a conèixer els llocs en què es va desenvolupar la lluita i registrar la tradició oral sobre la mateixa. Es tracta d'un relat èpic compost per diverses històries en què s'utilitza un vocabulari molt ampli i carregat de metàfores. Els diàlegs són curts i, en canvi, les descripcions i les visions subjectives són abundants. Les característiques del paisatge i la natura saltenya es descriuen en forma extensa i detallada i tenen gran importància com a elements del llibre.

Context històric
El 20 de febrer de 1938, va assumir la presidència de l'Argentina Roberto M. Ortiz, un radical antipersonalista, que havia expressat la seva intenció d'acabar amb el frau electoral sistèmic impost a partir del cop militar que va enderrocar al radicalisme el 1930. No obstant això, aquest propòsit va trobar resistència en sectors de la coalició política anomenada La Concordancia a la qual ell pertanyia. L'agreujament de la diabetis que patia el va obligar a delegar el comandament en el vicepresident Ramón Castillo, primer en forma provisional i a partir del 27 de juny de 1942 de forma definitiva. El nou president no estava d'acord amb la política d'Ortiz i va repetir des del seu càrrec les pràctiques de frau, desanimant així als que s'havien esperançat amb el canvi que havia proposat el seu antecesor.
Tot just es va iniciar la Segona Guerra Mundial el govern argentí va declarar el 4 de setembre de 1939 la neutralitat de país davant el conflicte, repetint així la posició que havia tingut durant la Primera Guerra Mundial (1914-1918). Gran Bretanya va donar suport a aquesta decisió ja que li interessava que Argentina es mantingués neutral i pogués seguir abastant-la d'aliments durant la guerra.

Al desembre de 1941 els Estats Units van entrar en guerra. El gener de 1942 es va realitzar la Tercera Reunió Consultiva de Cancilleres de las Repúblicas Americanas a Rio de Janeiro a instàncies dels Estats Units que aspirava a obtenir una decisió que obligués a la ruptura de relacions amb els països de l'Eix. L'Argentina, que durant els anys anteriors havia tingut continus frecs amb els Estats Units, es va oposar a tal pretensió i va influir en forma decisiva perquè s'aprovés "recomanar" la ruptura, en lloc de fer-la obligatòria.

Els problemes vinculats a la política exterior van assumir llavors major importància en l'Argentina i van reavivar el conflicte entre el sector polític aliadòfil, el neutralista i el que era més afí als països de l'Eix. Dins d'aquest últim, numèricament minoritari, militaven els partidaris del nacionalisme i alguns oficials de les forces armades. El tema de la posició del país enfront de la guerra va desplaçar les altres qüestions del centre de l'escenari públic.

A partir de la dècada de 1930 i seguint una tendència que era general a Llatinoamèrica, les idees nacionalistes es van enfortir en els camps i sectors més diversos a Argentina. En partits polítics com la Unión Cívica Radical i el Partido Socialista, en el sindicalisme socialista i en el sindicalista revolucionari organitzat en la Confederación General del Trabajo de la República Argentina creixien els corrents favorables a la intervenció de l'Estat per preservar els interessos nacionals i promoure la industrialització.

Aquest canvi ideològic era observable també en la cultura, amb la reivindicació del tango i de les arrels gautxes i indígenes.

La guerra gaucha va ser triada com a tema, guionitzada i filmada en aquest context de nacionalisme en expansió i debat sobre la guerra.

Situació de la indústria cinematogràfica a l'Argentina
En 1938 la producció de pel·lícules a l'Argentina es trobava en expansió amb 41 estrenes que van significar el debut de 16 directors. En 1939 la xifra va pujar a 51 pel·lícules i es va portar a l'Argentina la primera truca, la qual cosa significava un avanç tècnic important per a la qualitat de les pel·lícules. El cinema argentí tenia un enorme èxit i el cinema hispà, de Nova York, estava dedicat íntegrament a exhibir produccions de Lumiton i de l'Argentina Sono Film amb enormes recaptacions. En altres llocs dels Estats Units com Texas, Colorado, Florida, Arizona, Nou Mèxic i Califòrnia es repetia el fenomen. A Mèxic s'estrenaven gairebé totes les pel·lícules argentines. El 1940 van ser 49 les estrenes, tot i que començava a escassejar el cel·luloide en raó de la guerra, el 1941 va haver 47 estrenes i el 1942 van ser 57.

La productora Artistas Argentinos Asociados
Un grup integrat pels artistes en aquest moment desocupats Enrique Muiño, Elías Alippi, Francisco Petrone, Ángel Magaña, el director Lucas Demare i el cap de producció d'una empresa cinematogràfica Enrique Faustín es reunia habitualment al començament dels anys 40 en el cafè El Ateneo ubicat al carrer Carlos Pellegrini i Cangallo (avui Tinent General Juan D. Perón) de la ciutat de Buenos Aires.

La anomenada «barra del Ateneo», després de llargues deliberacions, va decidir acceptar la idea portada per Faustín de configurar una productora que treballés en cooperativa a l'estil dels United Artists of the United States i així es va formar el 26 de setembre de 1941 Artistas Argentinos Asociados Sociedad Cinematográfica de Responsabilidad Limitada.

La gestació de la pel·lícula
Filmar La guerra gaucha va estar des de l'inici en els plans d'Artistas Argentinos Asociados. Homero Manzi tenia aquesta idea des que havia fet el llibret de la pel·lícula Viento Norte i a força d'insistir va convèncer al director Lucas Demare de la viabilitat del projecte. Francisco Petrone va ser un dels quals més ho va recolzar i, recordant l'èxit de la pel·lícula Prisioneros de la Tierra, va proposar que el llibret fos elaborat per Manzi i Ulyses Petit de Murat. Els drets d'autor per a la pel·lícula es van adquirir a Leopoldo Lugones que a més de cobrar deu mil pesos, va rebre dos discos de jazz que no s'aconseguien al país.

Mentre, Elías Alippi, que havia de fer el paper de capità Del Carril, va emmalaltir de càncer (va morir el 3 de maig de 1942), amb la qual cosa els seus companys d'empresa sabent que no estava en condicions de sobreviure a les dures condicions de la filmació i, no volent reemplaçar-ho en vida, van postergar la filmació amb una excusa i van començar a rodar El viejo Hucha, on no tenia paper. Al recordar la proposta per fer el guió, Ulyses Petit de Murat va dir:A causa que amb El vell Guardiola s'havia gastat part dels diners necessaris per fer La guerra gaucha, els socis d'Artistas Argentinos Asociados que havien participat en ella van incrementar el capital de la societat amb els honoraris que els corresponien. Aquest esforç financer no va ser suficient i van haver d'associar-se amb <i>Estudios San Miguel</i> i malvendre els drets d'exhibició de la pel·lícula per a algunes zones. Gràcies a aquestes decisions es va poder filmar amb «una mica menys de constrenyiment però sense folgança».

El guió

Homero Manzi

Homer Manzi es va interessar des de jove per la literatura i el tango. Després d'una breu incursió en el periodisme, Manzi va treballar com a professor de literatura i castellà però per raons polítiques (afiliat a la Unión Cívica Radical) va ser expulsat de les seves càtedres i es va dedicar a l'art.

El 1935 va participar de la fundació de FORJA (Fuerza de Orientación Radical de la Joven Argentina), agrupació la posició de la qual ha estat caracteritzada com de «nacionalisme populista». Es va centrar gairebé exclusivament en la problemàtica argentina i Hispanoaméricana i en el seu discurs propugnava «reconquistar el domini polític de la nostra pròpia terra» ja que considerava que el país estava encara en una situació colonial. En relació al conflicte europeu recolzava la posició de neutralitat sostenint que cap gran interès argentí o Hispanoaméricano estava allí en joc, si bé la seva posició era de rebuix tant al feixisme com al comunisme.

El 1934 Manzi va fundar la revista Micrófono, que s'ocupava de la radiotelefonia i del cinema argentins i en col·laboració amb Hugo Mac Dougall va realitzar els guions de Nobleza gaucha (1937), nova versió de la pel·lícula muda de 1915, Huella (1940), pel qual van obtenir el segon premi de la Municipalitat de Buenos Aires i Confesión (1940), sense que cap de les pel·lícules tingués èxit.

El 1940 Manzi comença la que seria una llarga col·laboració amb Ulyses Petit de Murat, escrivint el guió de Con el dedo en el gatillo (1940) al que seguiria el de Fortín alto (1941).

Ulyses Petit de Murat
Ulyses Petit de Murat va néixer el 1907 i es va dedicar des de jove a la literatura i al periodisme. En el diari Crítica va estar al capdavant de la pàgina de música i després va codirigir amb Jorge Luis

Borges el seu suplement literari. El 1932 va passar a la secció de cinema de Crítica i el 1939 va escriure el seu primer guió cinematogràfic per a la pel·lícula Prisioneros de la tierra, adaptació de quatre contes d'Horacio Quiroga, realitzada en col·laboració amb un fill d'aquest, anomenat Darío Quiroga al que va seguir el 1940 en Con el dedo en el gatillo, en col·laboració amb Homer Manzi.

Els guionistes van començar per seleccionar les històries que podrien proporcionar-los els elements per al seu treball. El conte Dianas va ser triat com a base principal, d'Alertas es van prendre els personatges de General, el nen que avisa en la pulpería la presència dels espanyols i de la vella remeiera que és desdoblada en dues: la dona que actua al costat del sagristà Luderio i en Gimena Ramos, un dels amors del capità Miranda. De Sorpresa es pren el personatge del capità Del Carril i de Juramento el tinent Villareal. El músic cec de Sorpresa és refós amb el sagristà de Dianas i l'escena de la càrrega de la tropilla de Carga amb l'incendi de Al rastro.
Després es va fer una compilació dels vocables, costums, girs i modismes d'època utilitzables, per a això van utilitzar llibres i fins i tot van viatjar a Salta per conversar amb els vilatans. A continuació es va fer un primer text del relat i un desenvolupament de les imatges. En aquest punt el director i els actors van aportar els seus comentaris i, finalment, es va elaborar el guió definitiu.

El director Lucas Demare
Lucas Demare va néixer el 1907. Va estudiar música. El 1928 va viatjar a Espanya i es va incorporar com bandoneonista a l'Orquestra Típica Argentina. El 1933 va treballar com a intèrpret i cantor en les pel·lícules espanyoles Boliche i Aves sin rumbo.

Entusiasmat amb el cinema, Demare va renunciar a l'orquestra, on guanyava mil dòlars per mes, i va començar a treballar en els estudis com a peó sense sou. Va anar aprenent l'ofici i va ascendir ràpidament: pissarrer, tercer ajudant i assistent de direcció. Temps després ho van contractar perquè debutés com a director, però la guerra civil i els seus prolegómenos ho van impedir i va haver de tornar a Buenos Aires.

Emilio Zolezzi, que además de crítico de cine fue el abogado de Artistas Argentinas Asociados desde sus comienzos cuenta sobre el director: Quan va tornar d'Espanya el seu germà Lucio li va aconseguir una ocupació com a encarregat de pis en els estudis cinematogràfics Riu de la Plata. En 1937 va ser contractat com a director i guionista per a les pel·lícules Dos amics i un amor i en Vint-i-quatre hores de llibertat, ambdues interpretades per l'actor còmic Pepe Iglesias. En 1939 va passar a Pampa Films, una empresa amb majors pressupostos, per dirigir El fill del barri (1940), Cor de turc (1940) i Chingolo (1941), totes elles amb el seu propi guió.

En aquesta última pel·lícula, que va tenir bona recepció de crítica i de públic, "es va consolidar l'excepcional equip tècnic que ho acompanyaria posteriorment en Artistes Argentins Associats: el seu germà Lucio en la banda musical, l'assistent Hugo Fregonese, el montajista Carlos Rinaldi, l'escenògraf Ralph Pappier, el il·luminador nord-americà Bob Roberts (de la American Society of Cinematographers), el camarógrafo Humberto Peruzzi, l'electricista Serafín de l'Església, el maquillador Roberto Combi i algun altre."
La següent pel·lícula va ser El capellà gaucho, en la qual va iniciar la seva relació amb Enrique Muiño, però pesi al seu rotund èxit comercial va ser acomiadat per Pampa Films.

La filmació
Lucas Demare considerava que els mesos de gener i febrer (ple estiu) eren els més adequats per fer la filmació a Salta però quan tenien els diners necessaris van haver de postergar-la fins a l'hivern perquè li van informar que en els mesos d'estiu eren allí freqüents les inundacions. Demare va viatjar primer a Salta per recórrer la zona perquè atès que no coneixia aquesta província volia fer l'enquadrament de la pel·lícula sobre el terreny. Es va traslladar l'equip, unes vuitanta persones, que va anar a viure en un vell caserón que van llogar instal·lant-se en un gran saló i en dues petites habitacions i per a cadascun que arribava posaven un catre i un calaix de cervesa com a tauleta de llum; les actrius i Enrique Muiño, en raó de la seva edat, es van allotjar en un hotel.

A l'arribar a Salta li van presentar al cap militar coronel Lanús les recomanacions que portaven però no van trobar bona voluntat per part seva i en lloc d'ajudar-los posava obstacles, provocant que se'ls tanquessin moltes portes a la ciutat. Així explicava Demare com ho van solucionar:
Demare havia portat de Buenos Aires la roba de gautxo per als actors, però en arribar va advertir que no era apropiada per al clima buscat a la pel·lícula perquè era nova, de manera que quan trobava un gautxo autèntic que portava roba usada, encara que fos trancada li canviava per la nova.Per la seva banda Magaña i Chiola que en la pel·lícula havien d'usar uniformes van ser enviats per Demare a fer llargues cavalcades per «estovar» els uniformes i també els cossos no acostumats a cavalcar. Resultava així que moltes vegades els vilatans eren sorpresos en el camp amb l'aparició de dos oficials vestits a la manera d'aquella època.

Lucas Demare té a la pel·lícula diverses petites aparicions. En una de les escenes calia filmar l'incendi del poble (d'acord amb l'argument, les forces realistes obstaculitzen i ho incendiaven doncs s'havien adonat que el traïdor era el sagristà). La filmació havia de fer-se en una sola presa ja que, per descomptat, el poblat es podia incendiar una sola vegada, per la qual cosa tant Demare com els camerògrafs i la resta de l'equip es van vestir de gauchos o de realistes. D'aquesta forma si algun entrava en el focus d'una càmera semblava que formava part de l'acció i no arruïnava la presa. Mentre Demare dirigia, un cop de vent va portar el foc cap a ell fent-li perdre la perruca i deixant-li la barba postissa chamuscada.

En un altre moment, Demare va actuar com un soldat espanyol que, atacat pels gautxos, rep un cop de llança en el pit. Magaña explica: «La llança la hi tirava jo des de dalt de la càmera i li donava de ple en el pit. Li vaig fer un blau tan gran que després va caldre posar-li un apòsit. Tenia un hematoma tremend de tants cops, i ell ordenava: Una altra vegada! Una altra vegada! Jo pensava que ho anava a matar...» En la mateixa escena actuava, també caracteritzat, el maquillador, que en la baralla rebia una pedrada.

En una altra escena en la qual discuteixen els personatges que jugaven Amelia Bence, Petrone i Magaña aquest últim havia de rodar per les escales però dubtava de la seva integritat física. Llavors Demare es va posar d'esquena a la part alta de l'escala i es va tirar de cap, per demostrar-li que l'escena es podia fer sense riscos. I aquesta va ser la seqüència que va quedar en la pel·lícula.

L'escena en què un grup de cavalls baixava un vessant amb branques enceses lligades a les seves cues s'havia de captar de front. Per a això es va construir una casamata de pedra i acàcies en la qual es va situar el camerògraf Peruzzi que compte: «A l'ordre de "Llestos!", vaig veure venir a aquesta massa de caps i cascos a tota velocitat, i no vaig respirar fins que els vaig veure obrir-se just davant de mi mentre els captava anant-se pels costats… Vam haver de suplantar amb valentia, enginy i temeritat la tecnologia insuficient.»

A la filmació van prendre part més de mil persones per a les escenes de conjunt, en tant que vuitanta actors van tenir papers amb lletra. Entre els extres hi havia gautxos del lloc contractats per la productora i uns altres que van proporcionar els Patrón Costa, família adinerada de Salta, pagant-los de la seva butxaca. També van participar un professor d'esgrima i soldats facilitats per les autoritats militars i dos jugadors de pato vinguts des de Buenos Aires, experts en caigudes del cavall. Com els gautxos no es volien vestir d'espanyols van posar als conscriptes a actuar com a soldats realistes.

Localitzacions
Per a les escenes que transcorrien al poble crioll en el qual els espanyols havien establert la seva caserna general es va triar el poblat de Sant Fernando, a dos mil metres d'altura. Prop d'allí es troba el congost del Gallinato, on també es van filmar les escenes del campament gautxo i l'assalt contra l'habitatge de la dona de Miranda.

Amb material portat des de Salta en uns cinquanta camions es va construir un llogaret. Tenia una àrea de mil metres quadrats, amb quinze cases, església amb campanar, hospital, caballerizas, corrals, comandància, cementiri, forns i murs, tot el que quedava destruït pel foc en les escenes finals. Per al rodatge el director va demanar cinc-cents cavalls, quatre-cents cap de bestiar, bous, mules, rucs i gallines. A més, diversos elements de utilería: carrets, carretes, rodats de l'època, parcs i bagatges de l'exèrcit.

Les escenes d'interior i exterior de l'estada d'Asunción, les del campament realista de nit, l'interior del campanar i de l'església, la mort del noi i el número musical dels Hermanos Ábalos es van filmar en estudis a Buenos Aires

Sinopsi
A Salta, pel 1817, durant la Guerra de la Independència les forces irregulars que responien al general Martín Güemes fereixen en una acció de guerrilles a un tinent de l'exèrcit espanyol, peruà de naixement. Ho mantenen captiu en l'estança d'una patriota, de nom Asunción, mentre li donen atenció mèdica. Els gautxos que integraven les forces patriotes rebien ajuda del sagristà d'una capella, situada al costat del seient de les tropes realistes, qui fingia lleialtat al rei però que amb el so de la campana enviava missatges als gautxos ocults a les muntanyes. Quan els realistes descobreixen la seva acció ataquen i incendien la capella, el sagristà queda cec i, sense proposar-s'ho, guia als realistes fins al campament patriota i els gautxos són aniquilats. En la seqüència final, passada la batalla, els tres únics personatges amb vida, el sagristà ferit, un vell i l'oficial peruà, enamorat d'Asunción i convertit a la causa patriota, albiren les tropes de Güemes que arriben per seguir la lluita.

Pròleg de la pel·lícula
La pel·lícula comença amb un pròleg a la pantalla proporcionant les circumstàncies històriques del lloc i època en què se situa l'acció i avancen la posició dels seus autors:

 Des de 1814 a 1818, Güemes i els seus gautxos, a la frontera amb l'Alto Perú, abandonada per les tropes regulars, van sostenir una aferrissada lluita contra els exèrcits realistes. Aquesta lluita d'escasses batalles i nombroses guerrilles es va caracteritzar per la permanent heroïcitat dels adversaris. L'espessor de les muntanyes va acollir centenars de partides. La guerra de recursos es va obrir com un ventall mortal sobre els camps. Velles tercerolas, sabres picats, fones, garrots, llances, llaços i boleadores van ser les armes dels gautxos. Ni la gana ni la misèria van detenir a aquestes hosts primitives. A ells, als quals van morir lluny de les pàgines de la història, volem evocar en aquestes imatges.

Repartiment

Actors i actrius principals
 Enrique Muiño (sagristà Lucero) va néixer a Espanya el 5 de juliol de 1881 i sent un nen va migrar amb els seus pares a Buenos Aires. Després d'un petit debut teatral professional el 1898 va continuar realitzant diversos papers fins que va formar amb Elías Alippi una companyia teatral que va aconseguir molt èxit a l'Argentina i a Espanya. En el cinema va debutar a la pel·lícula Juan Moreira (1913) i després va treballar regularment des de 1937. El 1941 va rebre un Diploma d'Honor en els premis Còndor Acadèmic (atorgat per l'Acadèmia d'Arts i Ciències Cinematogràfiques de l'Argentina) per la seva feina com a millor actor a la pel·lícula El cura gaucho.
 Francisco Petrone (capità Miranda) el veritable nom del qual era Francisco Antonio Petrecca Mesulla va néixer el 14 d'agost de 1902 a Buenos Aires. Va exercir diversos oficis fins que va ingressar com a comparsa en la companyia teatral Vittone-Pomar i va iniciar una carrera actoral que va continuar fins a la seva mort. Va debutar en cinema amb Monte criollo (1935), pel·lícula que el situa com a actor de forta personalitat l'estil contingut del qual es va anar perfeccionant fins a ser capaç d'expressar corrents ocults i tensions interiors dels seus personatges. Va tenir després actuacions excel·lents en La fuga (1937) i Prisioneros de la tierra (1939).
 Ángel Magaña (tinent Vila-real). Va néixer a Buenos Aires el 24 d'agost de 1915. Després de debutar com a extra en 1935 en la pel·lícula El cavall del poble de Manuel Romero, va treballar en Cadetes de San Martín (1937) i en Prisioneros de la tierra.
 Sebastián Chiola (capità Del Carril). Va néixer a Rosario (Província de Santa Fe), Argentina el 1902. Va treballar com a forner i corredor d'assegurances. Va entrar a la vida teatral professional amb la companyia de José Gómez. Va debutar a Montevideo el 1925 amb l'obra Papà Leonard i poc després va integrar la companyia de Muiño i Alippi. Va actuar per primera vegada al cinema en el curt documental Petróleo (1936) al que van seguir Palermo (1937) i La fuga (1937).
 Amelia Bence (Asunción Colombres). Va néixer a Buenos Aires el 13 de novembre de 1919. La seva relació amb l'actuació va començar als cinc anys en el Teatro Infantil Labarden. Va estudiar al Conservatorio Nacional de Arte Escénico i va debutar en el teatre en Wunder Bar. La seva primera actuació en cinema va ser en Dancing (1933) i va tenir un paper destacat en La vuelta al nido (1938).

Actors i actrius en papers secundaris

Altres col·laboradors
 Assistència de direcció: Hugo Fregonese
 Fotografia: Bob Roberts
 Càmera: Humberto Peruzzi
 Escenografia: Ralph Pappier
 Instrumentació: Juan Ehlert
 Muntatge: Carlos Rinaldi

Música i danses
La banda sonora va ser a càrrec de Lucio Demare. Va néixer a Buenos Aires el 9 d'agost de 1906. Als sis anys va començar a estudiar música, a partir dels vuit tocava el piano en sales de cinema. Era encara l'època del cinema mut. El 1926 va viatjar a París per unir-se a una orquestra mentre continuava la seva labor de compositor. Va actuar amb gran èxit en diversos països i després va tornar a l'Argentina on va reunir la seva pròpia orquestra.

A Espanya el 1933 va compondre la música de dues pel·lícules en les quals també va actuar. Va iniciar la seva participació al cinema argentí el 1936 amb la música de la pel·lícula Ya tiene comisario el pueblo, dirigida per Claudio Martínez Payva i va seguir el 1938, en col·laboració amb Francisco Canaro, amb Dos amigos y un amor, dirigida pel seu germà Lucas Demare.
Va continuar component per pel·lícules, una de les quals va ser Prisioneros de la tierra, amb l'adreça de Mario Soffici, per al segell Pampa Film i després es va vincular amb la productora de pel·lícules Artistas Argentinos Asociados per la qual va musicar El Vell Guardiola.

Els números musicals i danses natives van estar a càrrec del conjunt dels germans Ábalos.

La banda musical de La guerra gaucha —executada generalment fora de quadre— té com a objectius centrals ambientar les escenes i crear climes de major o menor distensió. Un aspecte comú d'aquestes pel·lícules de caràcter èpic és el de realçar el caràcter dels esdeveniments —per exemple l'enfrontament, l'arribada de la cavalleria, la mort dels protagonistes, etc. El cançoner que, sol estar dins de quadre, té funcions descriptives, narratives i dramàtiques.

Recepció
La guerra gaucha va ser molt ben acollida per la crítica i el públic i va rebre nombrosos premis. La crònica de l'Heraldo de Buenos Aires expressava:

D'altra banda, la crónica del diari La Nación deia:Claudio España va escriure:La opinió del crític José Agustín Mahieu va ser la següent:César Maranghello opinà queA les dinou setmanes d'exhibició, havien vist la pel·lícula 170 000 espectadors, i aleshores portava només quatre setmanes consecutives d'exhibició a Montevideo.

Premis
La pel·lícula va rebre els següents premis:

 Asociación de Cronistas Cinematográficos de la Argentina: Millor Film, Millor Director, Millor Adaptació (Ulyses Petit de Murat i Homero Manzi).
 Academia de Artes y Ciencias Cinematográficas de la Argentina: Còndor i Diploma en les categories Film, Director, Adaptació (Ulyses Petit de Murat i Homero Manzi), actor Principal (Francisco Petrone), Muntatge, So i Càmera.
 Comissión Nacional de Cultura: Millor Adaptació (Ulyses Petit de Murat i Homer Manzi).
 Municipalidad de la Ciudad de Buenos Aires: Primer Premi en les categories Film, Director, Adaptació (Ulyses Petit de Murat i Homero Manzi), actriu Principal (Amelia Bence), actor Principal (Francisco Petrone), Fotografia, Música i So.
 Asociación de Cronistas Cinematográficos de La Habana (Cuba / 1948): Millor Pel·lícula Estrangera estrenada a Cuba en 1947.

Aspectes econòmics
Com a conseqüència de la postergació de l'inici de la filmació els productors van gastar part dels diners que havien reunit per a aquest fi en el rodatge de El viejo Hucha i per reposar-ho van haver de malvendre anticipadament els drets d'exhibició de La guerra gaucha per a algunes zones. Finalment, cuidant moltíssim la despesa, la producció de la pel·lícula va costar $ 269 000 moneda nacional. que es va amortitzar totalment en les dinou setmanes d'exhibició a les sales d'estrena.

No obstant això, la inexperiencia en els negocis de la majoria dels associats i els escassos recursos amb els quals havien iniciat la societat van fer que aquest èxit de crítica i de públic no es reflectís en a part econòmics, a la qual cosa es va sumar el problema de l'escassetat de pel·lícula verge que afectava a l'Argentina.

Trajectòria posterior dels participants
Després de la guerra gaucha Lucas Demare va dirigir importants pel·lícules com la multipremiada Su mejor alumno, Los isleros i El último perro. Homero Manzi i Petit de Murat van seguir realitzant guions de pel·lícula, alguns d'ells en col·laboració. Manzi va seguir component tangos de reconegut mèrit fins a la seva mort i Petit de Murat, que en 1980 era el llibretista viu que més guions havia fet al món, va escriure obres teatrals i assajos, va tenir importants càrrecs en entitats gremials i va presidir el Fondo Nacional de las Artes.

Enrique Muiño, Francisco Petrone, Ángel Magaña, Sebastián Chiola i Amelia Bence van prosseguir les seves carreres actorals en importants pel·lícules i Lucio Demare va seguir vinculat al cinema com compositor de bandes sonores de nombroses pel·lícules en tant que seguia la seva carrera de músic de tango. El llibretista Homero Manzi, els tres assistents de direcció Hugo Fregonese, René Mugica i Rubén Cavallotti i tres col·laboradors més, Ralph Pappier, Carlos Rinaldi i René Mugica van arribar a dirigir les seves pròpies pel·lícules, i fins i tot Fregonese va fer algunes d'elles als Estats Units. Per la seva banda el camerògraf Humberto Peruzzi va iniciar anys després una extensa carrera com a director de fotografia.

Nova versió de la guerra gaucha
En 2011 es va anunciar una nova versió de la guerra gaucha a estrenar-se l'any següent, amb direcció de Norman Ruiz, però el projecte no es va concretar.

Referències

Enllaços externs
 La guerra gaucha  en Cinenacional.com

 La guerra gaucha en el Museu del Cinema

Autorització
 Aquest article és una obra derivada de «La guerra gaucha» d'Héctor Guido Calvo. Text reproduït amb l'autorització de l'autor sota la llicència GNU Free Documentation License.

Pel·lícules de l'Argentina en blanc i negre
Pel·lícules històriques de l'Argentina
Pel·lícules basades en novel·les
Pàgines amb traduccions sense revisar

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text:
Atlanta's Fintech Ecosystem Matures With Global Investment, Outreach
May 8, 2019 | Trevor Williams
Canada was the premier international partner at this year's FinTech South conference. Pictured: Metro Atlanta Chamber Chief Economist Tom Cunningham, Export Development Canada's Michael Gonsalves and Robert Pelletier, and the chamber's senior director of technology ecosystem expansion, Grant Wainscott. Photo: Trevor Williams
Looking at Georgia's financial technology industry, it wouldn't seem like there's much more room to grow.
The sector employs more than 38,000 people the state, and industry-leading companies that have helped generate the "Transaction Alley" moniker process 57.7 billion payments a year — about two-thirds of the total in the U.S.
But the areas where commerce is growing around the world aren't always aligned with where Atlanta's advantages lie.
The city is a juggernaut for consumer card payments, but that model doesn't have the same potential abroad, where mobile is leapfrogging the traditional move to cards, and prepaid is more common than credit.
And on the business payments front, there are still many gaps to explore — especially with cross-border flows of money for trade, investment and even remittances.
At this month's Fintech South, the annual conference anchored by some of the biggest names in payments, it became evident that Atlanta's fintech scene is evolving.
The city is both welcoming new entrants from abroad and witnessing the organic growth of industry-leading innovators like Cardlytics (advertising), Kabbage (small business finance) and GreenSky (point of sale finance), some of which are taking their solutions to new markets.
Even as the payment itself becomes somewhat commoditized, local companies are still finding new niches. Brightwell helps cruise ship fleets pay staff from around the world, while Greenlight offers a "debit card for kids" that can be used in 70-plus countries and is popular for study-abroad trips. Both of those firms took home Technology Association of Georgia's ADVANCE Awards for fintech innovation this year. Yellow Card Financial, a startup that offers gift cards for cryptocurrency that could upend the traditional remittance market in Nigeria and other countries, is also based in Atlanta and put its best foot forward at TAG's Fintech South Innovation Challenge.
Some experts say that the Atlanta's path to global fintech domination means waking up to solutions and opportunities arising outside U.S. borders.
Glen Sarvady, principal at 154 Advisors, said foreign investment is making up a greater proportion of some 120 fintech companies in the Atlanta ecosystem, and cross-border payments and B2B payments are among the top untapped opportunities.
"If you think about where the pain points reside and where opportunity for improvement in the system is, I would say those two are the greatest and therefore the best opportunity for innovation and disruption," Mr. Sarvady said during a fintech event organized by the Cumming-Forsyth County Chamber of Commerce April 25.
PrimeRevenue sits at the intersection of the two as a leader in supply-chain finance. The company got its start about a decade ago helping some of the world's biggest companies get paid more quickly for goods sourced around the globe.
The marketplace allows some of its 100 bank partners to fund approved, vetted invoices. By the end of the year, PrimeRevenue will process more than $300 billion in B2B payments from 30,000 customers in 90 countries.
The allure of PrimeRevenue's platform is unlocking cash a company has already earned. On its platform, a supplier can get paid immediately and the buyer can elect to defer payment, said CEO P.J. Bain, who spent the first 20 years of his career in factory automation and managing other elements of physical supply chains.
Getting cash upfront helps smaller companies — which create most jobs in the U.S. — better smooth out gaps in their cash flow and can mean the difference between thriving and surviving at all.
"The key to great supply chain management is to accelerate your inventory terms, and that's what we're doing. We're accelerating the cash conversion cycle. We're speeding up the flow of money through the supply chain," Mr. Bain told Global Atlanta in a FinTech South interview.
Most of the company's growth is now happening "downstream" in the middle market, including in countries like Germany and the Netherlands as well as in the U.S. Its growth is supported by 250 employees spread from the Atlanta headquarters to offices in Singapore, London, Prague and two cities in Australia.
On the consumer side, U.K.-based PPRO is helping merchants better capitalize on global e-commerce.
The company, which put its U.S. headquarters in Atlanta last year, helps its customers — big-time payment processors like First Data — connect their merchants to the world of "local payment methods," or everything but the credit or debit card.
In Mexico, that might mean electing online to pay in cash upon pickup at an Oxxo convenience store, or using digital wallet Skrill to purchase virtual goods within a video-game world. In the Netherlands or Germany, it could be a simple bank transfer via iDEAL. In India, the wallet app Paytm is ubiquitous, as are mobile payment apps WeChat Pay and Alipay in China.
The point is that the areas of the world where some of the greatest growth is occurring are eschewing plastic — and U.S. producers could miss out if they're not sensitive to consumer preferences.
"The U.S. e-commerce the market is at about $800 billion, but only 11 percent is cross-border, and that's only predominately to four countries. China, Mexico, Canada and the United Kingdom represent 93 percent of that 11 percent," said Ronnie D'Arienzo, PPRO's chief revenue officer, in an interview.
He added that companies should first evaluate where they're trying to sell and explore local methods, especially given that half of online shoppers say they'll abandon a shopping cart that doesn't offer their preferred way to pay, according to PPRO's research.
Southeast Asia, for instance, is showing rapid e-commerce growth rates, with Malaysia already doubling every year.
"If you're not offering the payment methods in those markets, you're really missing out on an opportunity," Mr. D'Arienzo said.
PPRO has its own Payment Almanac listing payment methods around the world, and it plans to use a $50 million investment from PayPal partly to build out global offices and a sales training platform for customers. PPRO will educate processors' sales staff on how to position various methods to help merchants drive sales.
Of course, as payments go global they will also face new compliance issues, especially with the emergence of more stringent privacy regulations. Atlanta even has a company addressing that issue: OneTrust, which says it is "dual-headquartered" in London and Atlanta — with an office in Frankfurt, Germany.
Alex Bermudez, a OneTrust privacy consultant focused on the Americas, says it's data, not industries, that are regulated these days. For payments firms, going global will mean dealing with various standards in different parts of the globe that go beyond requirements specific to their own industry.
"Fintech has enabled so many wonderful new services and companies, and payments as an industry has literally paved the way for billion-dollar startups. It's so critical. But with that information exchange you have the other side, which is how the data is being exchanged internally here in the U.S. and around the world between different companies. It's creating additional scope and risk on the privacy, security and regulatory side," Mr. Bermudez said, also while speaking at the Forsyth County Fintech Factor event a day after FinTech South.
The conference itself maintains a global focus, with Canada serving as this year's international partner country and bringing nine companies. Atlanta is also seeing the industry as a global calling card, exemplified by a recent Invest Atlanta trip to Brazil and recent local participation in conferences like Money 20/20 Asia in Singapore.
To learn more about the ecosystem, visit www.georgiafintech.org or read more from Global Atlanta on fintech here.
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M, #62991, b. 15 November 1858, d. 11 March 1861
Last Edited=22 May 2004
Francis Robert William Bagot was born on 15 November 1858.1 He was the son of Colonel Alexander Bagot and Gertrude Letitia Hallifax.1 He died on 11 March 1861 at age 2.1
[S8] BP1999 volume 1, page 163. See link for full details for this source. Hereinafter cited as. [S8]
Maj.-Gen. Edward Richard Bagot1
M, #62992, b. 4 January 1808, d. 20 July 1874
Consanguinity Index=0.04%
Maj.-Gen. Edward Richard Bagot was born on 4 January 1808.1 He was the son of Rt. Rev. Hon. Richard Bagot and Lady Harriet Villiers.1 He married Matilda Perkins, daughter of Henry Perkins, on 15 March 1842.1 He died on 20 July 1874 at age 66.1
He was appointed Knight Redeemer of Greece.1 He lived at Ashtead Park, Ashtead, Surrey, EnglandG.1
Children of Maj.-Gen. Edward Richard Bagot and Matilda Perkins
Evelyn Bagot1 d. 21 Apr 1877
Ethel Bagot1 d. 11 Oct 1885
Lt.-Col. Ponsonby Bagot1 b. 11 Jun 1845, d. 6 Dec 1921
Lt.-Col. Villiers Spencer Bagot1 b. 7 Apr 1847, d. 24 Mar 1929
Matilda Perkins1
F, #62993, d. 4 July 1889
Matilda Perkins was the daughter of Henry Perkins.1 She married, firstly, Major Frederick Oswald Perkins before 1842.1 She married, secondly, Maj.-Gen. Edward Richard Bagot, son of Rt. Rev. Hon. Richard Bagot and Lady Harriet Villiers, on 15 March 1842.1 She died on 4 July 1889.1
From 15 March 1842, her married name became Bagot.1
Children of Matilda Perkins and Maj.-Gen. Edward Richard Bagot
Henry Perkins1
M, #62994
Henry Perkins lived at Hanworth Park, London, EnglandG.1
Child of Henry Perkins
Matilda Perkins+1 d. 4 Jul 1889
Major Frederick Oswald Perkins1
M, #62995, d. before 1842
Major Frederick Oswald Perkins married Matilda Perkins, daughter of Henry Perkins, before 1842.1 He died before 1842.1
Lt.-Col. Ponsonby Bagot1
M, #62996, b. 11 June 1845, d. 6 December 1921
Lt.-Col. Ponsonby Bagot was born on 11 June 1845.1 He was the son of Maj.-Gen. Edward Richard Bagot and Matilda Perkins.1 He died on 6 December 1921 at age 76, unmarried.1
He gained the rank of Lieutenant-Colonel in the Scots Guards.1
Anne Hughes1
F, #62997, b. 26 October 1775, d. 11 September 1837
Last Edited=3 Apr 2020
Anne Hughes was born on 26 October 1775.2 She was the daughter of Reverend Edward Hughes and Mary Lewis.2,3 She married Sir Robert Williams, 9th Bt., son of Sir Hugh Williams, 8th Bt. and Emma Bridget Rowlands, on 11 June 1799.2 She died on 11 September 1837 at age 61.1
She was also known as Anne Lewis.2 She descended via the Lewises of Llysdulas from the Bukeleys of Brynddu.1 From 11 June 1799, her married name became Williams.2
Children of Anne Hughes and Sir Robert Williams, 9th Bt.
Charlotte Jemima Williams+1 d. 3 Mar 1895
Emma Williams d. 8 Jan 1865
Amelia Jane Williams+1 d. 17 Oct 1898
Sir Richard Bulkeley Williams-Bulkeley, 10th Bt.+4 b. 23 Sep 1801, d. 28 Aug 1875
Captain Robert Griffith Williams+ b. 26 Jul 1809, d. 13 Apr 1865
Eliza Martha Williams+4 b. c 1813, d. 23 Oct 1887
Major Arthur Wellesley Williams+5 b. 6 Oct 1817, d. 17 Nov 1891
[S15] George Edward Cokayne, editor, The Complete Baronetage, 5 volumes (no date (c. 1900); reprint, Gloucester, U.K.: Alan Sutton Publishing, 1983), volume III, page 214. Hereinafter cited as The Complete Baronetage.
[S6] G.E. Cokayne; with Vicary Gibbs, H.A. Doubleday, Geoffrey H. White, Duncan Warrand and Lord Howard de Walden, editors, The Complete Peerage of England, Scotland, Ireland, Great Britain and the United Kingdom, Extant, Extinct or Dormant, new ed., 13 volumes in 14 (1910-1959; reprint in 6 volumes, Gloucester, U.K.: Alan Sutton Publishing, 2000), volume IV, page 382. Hereinafter cited as The Complete Peerage.
[S264] David Gardiner, online unknown url, David Gardiner (unknown location), downloaded 5 March 2007.
Reverend Edward Hughes1
Last Edited=24 Mar 2018
Reverend Edward Hughes married Mary Lewis, daughter of Robert Lewis.1
He lived at Kinmel Park, Denbighshire, WalesG.1
Children of Reverend Edward Hughes
Colonel James Hughes2 d. 26 Nov 1845
Hugh Robert Hughes+3
Margaret Hughes+
Children of Reverend Edward Hughes and Mary Lewis
Martha Hughes4
William Lewis Hughes, 1st Baron Dinorben of Kinmel Park+3 b. 10 Nov 1767, d. 10 Feb 1852
Anne Hughes+5 b. 26 Oct 1775, d. 11 Sep 1837
[S22] Sir Bernard Burke, C.B. LL.D., A Genealogical History of the Dormant, Abeyant, Forfeited, and Extinct Peerages of the British Empire, new edition (1883; reprint, Baltimore, Maryland: Genealogical Publishing Company, 1978), page 289. Hereinafter cited as Burkes Extinct Peerage.
Lt.-Col. Villiers Spencer Bagot1
M, #62999, b. 7 April 1847, d. 24 March 1929
Lt.-Col. Villiers Spencer Bagot was born on 7 April 1847.1 He was the son of Maj.-Gen. Edward Richard Bagot and Matilda Perkins.1 He died on 24 March 1929 at age 81, unmarried.1
He gained the rank of Lieutenant-Colonel in the Rifle Brigade.1
Evelyn Bagot1
F, #63000, d. 21 April 1877
Evelyn Bagot was the daughter of Maj.-Gen. Edward Richard Bagot and Matilda Perkins.1 She married Augustus Woodley Bernal on 25 September 1869.1 She died on 21 April 1877.1
From 25 September 1869, her married name became Bernal.1


text:
Herrania är ett släkte av malvaväxter. Herrania ingår i familjen malvaväxter.

Kladogram enligt Catalogue of Life:

Bildgalleri

Källor

Externa länkar

Malvaväxter
Herrania


Personalised Christmas cards are a great pick for the special people in your life. The one card choice that is designed for them and them alone. With advances in technology the ability to offer personalised greetings and gifts has become easier and the industry has continued to embrace the trend. The result is a greater choice of personalised designs for retailers and consumers. It also means some fabulously inventive and sweet designs for me to share with you here.
Today's post is a pick of my five favourite personalised Christmas cards from this year's selection.
1. With a fun, fluffy tail added to the back of the card this personalised design is a great choice for kids. Designed by Spotty n Stripy, the Personalised Robin Fluffy Tail Christmas Card is £5.50 from Spotty N Stripy's NOTHS shop.
2. A fun design, kids will adore. These cards come complete with an 'Undercover' Elf' badge. The bold designs also look great on a festive mantelpiece long after the badge has been grabbed. Retailing at £5.50 they can be purchased from the Little Cherub Design NOTHS shop.
3. Perfect for a loved one is the Luxury Personalised Christmas Cards of Five Dollar Shake. Each card is embellished with glitter and gems for a sparkly finish. Designs are available in regular and extra large sizes; priced £7.99 – £11.99 from the Five Dollar Shake website.
4. With signature cute rabbit design this adorable design is by Emma Talbot of The Little Brown Rabbit. A great choice for the one you love. 'Kiss Me' Personalised Card from, £4.90 from The Little Brown Rabbit website.
5. My final pick is a card that can be sent from the whole family. Christmas carols meet festive jumpers in this fun 'Tis the Season to be Jolly' Christmas Card. Prices start from £1.80 from the Honeytree Publishing website.
NextCard & Gift Network is Five Today … Read All About It!