The Dunkley Pramotor allowed mother’s and nannies to effortlessly take baby on a trip around town without getting warn out
Built by British motor firm, Dunkley, in Birmingham, the Dunkley Pramotor was the company’s fourth attempt at a useful automobile to meet unmet needs.
Launched in 1923, the one-wheeled power pack was designed to be a practical mother’s helper, but in reality the bizarre machine earned Dunkley immortality.
The mother, or more often the nanny, would stand astride the single wheel of the scooter having attached it to the back of the pram.
The early machines were kick started, meaning nanny had to jump on with zeal and hope for the best.
They were originally designed with one horsepower, horizontal, single-cylinder two-strokes.
Initially, there was only one gear and once kick started, the noisy machine’s hectic progress was controlled with twin handlebars bolted to the back of the pram, with a hand-controlled clutch.
From the ‘inventor’s notebook’ it appears they intended the device to enable mothers to seem as though they could effortlessly glide behind the pram
Throwing caution to the wind, Dunkley introduced in 1924 the two-speed series.
Had there been such considerations as health and safety at the time, perhaps speeding along the road, baby-first in a non-crumple proof, open top vehicle, without any kind of restraint, may not have been permitted.
But thanks to the early freedoms to innovate potentially dangerous contraptions at will, people paid anything between 40 to 135 guineas for the Dunkley Model 20 Pramotor and the Saloon Pramotor with 26 x 2 in Palmer Cord motor tyres, respectively.
One of Dunkley’s earlier models was a ‘Patent Self-charging Gas Motor Car’, pictured, which took its supply of gas from any ordinary gas pipe or street lamp post, as shown to the right
For sporting nannies there was the option of this space-age looking 21 horsepower engine – a 750 cc two-stroke single – which at 75 guineas promised performance far beyond the roadholding capabilities of the average perambulator
“Fox [Studios] should start paying as much attention to me as they are paying to Elizabeth Taylor,” Marilyn Monroe told Lawrence Schiller, hatching the idea that would turn out to be the break of the young photographer’s life: for him to photograph her nude. In an adaptation of Schiller’s memoir Marilyn & Me, the June issue of Vanity Fair reveals never-before-published pictures from that shoot, as well as details of Schiller’s conversations with the star.
In 1960, as part of an ongoing battle to get Fox to take her more seriously, and out of jealousy over Taylor’s success, Marilyn came up with an attention-grabbing plan: a poolside shoot in which she’d jump in the water with a bathing suit on—and come out without it. “Larry,” she said, “if I do come out of the pool with nothing on, I want your guarantee that when your pictures appear on the covers of magazines Elizabeth Taylor is not anywhere in the same issue.” Marilyn was making only $100,000 for what would be her last film, Something’s Got to Give, in 1962, while Taylor was receiving a million dollars for Cleopatra. She wanted to show Fox that she could get the same kind of coverage as the publicity bonanza generated by Taylor’s very public affair with her co-star, Richard Burton. When Hugh Hefner agreed to pay $25,000 for a nude shot of Marilyn—the most money Playboy had ever paid for a photograph—Schiller thanked her for creating such a big payday, joking, “See what tits ’n’ ass can do?” “That’s how I got my house and swimming pool,” Marilyn said, laughing. “There isn’t anybody that looks like me without clothes on.”
Just 23 years old at the time, Schiller, at the set on assignment for Look magazine, had no idea that he was getting to know the icon in some of her most vulnerable moments. In an adaptation of his memoir about their sessions together, Schiller recounts intimate and telling conversations that illuminate the private struggles that consumed the starlet in her final days.
“I could tell you all about rejection,” Marilyn said to Schiller. “Sometimes I feel my whole life has been one big rejection.” “But look at you now,” he said. “Exactly,” she replied. “Look at me now.” Confused, Schiller protested, “You’re a star! Your face is on magazine covers all over the world! Everyone knows Marilyn Monroe!” “Let me ask you, Larry Wolf [Schiller first introduced himself to Monroe as the Big Bad Wolf]—how many Academy Award nominations do I have?” “I don’t know,” he said. “I do,” she said. “None.”
Marilyn even confided her deepest worry. “I’ve always wanted a baby,” she said. “Having a child, that’s always been my biggest fear. I want a child and I fear a child. Whenever it came close, my body said no and I lost the baby.” She talked to Schiller about being afraid that she’d wind up like her mother, who had been in and out of mental institutions her whole life.
She reflected often on her assumed identity, and where Norma Jeane fit in. “I never wanted to be Marilyn—it just happened. Marilyn’s like a veil I wear over Norma Jeane,” she admitted to Schiller. During a photography session, she told him, “I always have a full-length mirror next to the camera when I’m doing publicity stills. That way, I know how I look.” Schiller asked, “So, do you pose for the photographer or for the mirror?” “The mirror,” she replied without hesitating. “I can always find Marilyn in the mirror.”
However, Schiller reveals, Marilyn’s attitude about her sex-symbol status fluctuated wildly. While she was at times boastful of her looks and what they procured for her, she was also by turns insecure and angry. “It’s still about nudity. Is that all I’m good for?” she demanded of Schiller. “I’d like to show that I can get publicity without using my ass or getting fired from a picture,” she continued. “I haven’t made up my mind yet.”
It was to be their last conversation: the very next morning, Marilyn was reported dead at 36. One of her final acts had been to return the nude photo to Schiller, which he found waiting for him at his house. She had written, “Send this to Playboy, they might like it.”
She has sported earrings featuring his initials and has been seen on a near-daily basis holding hands with her rumoured new boyfriend Kanye West.
And Kim Kardashian resembled a dizzy schoolgirl in love yet again yesterday as her new beau gazed adoringly at her as they strolled through New York together.
Kanye couldn’t stop smiling as he held hands with the 31-year-old reality star, who looked almost shy as she turned her head away.
Adoring: Kanye West held hands and gazed at new love Kim Kardashian as they headed back to his apartment building in New York City
The star wore her long dark hair straight and loose over one shoulder and showed off her toned legs in a full cream skirt.
A loose black blazer, towering black heels and low cut top completed the look.
Kanye, 34, looked a little more casual in black leather trousers, a pair of bright yellow trainers and a navy blue hoodie.
Suddenly shy? Kim looks down at the ground, while Kanye can't stop smiling as he escorts his new love through the city
The show of affection was a little strange, considering the couple had earlier taken great care to avoid being seen together as they met up at a New York midtown hotel.
They arrived and left by separate doors, despite recently having arrived at the opening of Scott Disick’s restaurant together and taking a romantic stroll around Manhattan at the weekend.
According to Khloe Kardashian, Kanye is popular with the famous family, who said her sister’s new relationship was not yet ;serious.’
Lunchtime rendezvous: Kim and Kanye both arrived at the same Manhattan hotel yesterday afternoon, stayed for an hour then left… by separate doors.
Appearing on US show Watch What Happens Live, Khloe said: ‘I don’t think it’s serious. I think it’s too soon. But because they’ve been friends for so long, it’s just so easy and that’s something I love seeing for Kim – the easiness and how happy she is.
‘It’s just more of a great friendship and friendships make the best relationships.
She added: ‘We’ve known Kanye for like nine years. He’s great with the family, but again we’ve known him for so long. It’s not like some stranger getting into a hurricane.’
Pretty pretty good: Kim looked lovely in her outfit but unusually hurried into the hotel to meet her new beau
When the 2012 NFL Draft kicks off Thursday night, the first pick sure looks like Andrew Luck. Meanwhile, Robert Griffin III is all the rage. The 2011 Heisman Trophy winner is expected to go second. But just because RG3 lit it up at Baylor doesn’t mean he’ll do the same in the NFL. Success against Stephen F. Austin does not guarantee success against the New York Giants, and the list of Heisman winners who bombed at the next level is not exactly short. Witness these 10 busts from just the past 25 years. Lotta QBs, just sayin’… —Monty McMahon
Celebrities flock to the “Coachella Music Festival 2012″ in Coachella, California on April 13, 2012. The festival is located about a 90 minutes outside of Los Angeles. Coachella attendees are known for their hard partying ways. The desert music festival kicked off the first of two weekends of shows on Friday night.
The long and legendary supermodel era of the ’90s can be summed up in one gorgeous and distinct photograph: Herb Ritts’ now-iconic shot of Naomi Campbell, Cindy Crawford, Christy Turlington, Tatjana Patitz and Stephanie Seymour huddled together in the nude.
But the 1989 sitting almost didn’t happen.
As Campbell recalls, Turlington was on a Calvin Klein contract and reportedly wasn’t allowed to participate. “We said, ‘How can you not be in this picture?’” Campbell says. “And she jumped in, and that was it!”
That black-and-white image is just one of nearly 80 photographs on display at the J. Paul Getty Museum in Los Angeles as part of a new exhibition and book on the photographer. Herb Ritts: L.A. Style, on view through Aug. 12, focuses on the portraits and nudes from Ritts, who documented models, musicians, actresses and other celebrities for magazines such as Interview, Rolling Stone and Vanity Fair throughout his career.