‘Fill it up Cobber.’

I miss the days where either the Garage owner or pump attendant would wander out to “pull” petrol for you when you pulled up on the garage driveway.
Here are some old Aussie Servos to have a gander at.
But first, you’ll note there are no self serve servos.
I hated them with a passion, mainly because it meant people losing jobs all around the industry.
I avoided self serve garages for a long time (just like ATM’s) right up until 1993, when I couldn’t find anyone to serve me unless I pretended that I just had a heart attack.




Factory workers of the 50s and 60s by Broomfield,

Maurice Broomfield’s spectacular photographs of men and women at work in British factories in the 1950s and 60s capture a time of optimism and endeavour,
Photographs: Estate of Maurice Broomfield/Victoria and Albert Museum.

Taper Roller Bearing, British Timken Works, Daventry, Northamptonshire,
Tapping a Furnace, Ford, Dagenham, Essex, 1954
Bloomfield (1916-2010) was born in Derbyshire and left school at 15 to work as a lathe operator in Derby’s Rolls Royce factory.
Photographs: Victoria and Albert Museum, London/© Estate of Maurice Broomfield
See more images via Source: Brave new production line: factory workers of the 50s and 60s | Art and design | The Guardian

Dazzling Vintage Shots of Neon Lights.

Brighten up your day with this glowing gallery, in which you can travel back in time.
A deserted Art Deco Waffle Shop, 1925.  Photograph: Buyenlarge/Getty
Cars waiting to enter a drive-in, Los Angeles, 1935.  Photograph: Bettmann/Corbis
Crowded pizzeria ‘King of Pizza’ in New York, 1950.  Photograph: Mondadori/Getty
See more Images via I saw the sign: dazzling vintage neons – in pictures | Art and design | The Guardian.

Sydney gets Electricity, 1904.

On the evening of 8 July, 1904, the lives of Sydneysiders were changed forever when the Lady Mayoress of Sydney, Olive Lees, turned a switch-key at the powerhouse in Pyrmont.
“I have much pleasure in switching on the electric light for the city of Sydney,” she announced to the small group of government officials, engineers and professionals who had gathered in the rain to witness the birth of Sydney’s electric era.
“I trust it will be a boon to the citizens and an encouragement to the enterprise of the City Council,” said Lees as the electric current was transmitted to 343 arc lamps in the inner city just after dusk, at 5pm.
From Circular Quay to Redfern Railway Station, and from Hyde Park to Darling Harbour, the city was aglow with electric-powered light for the first time.
Sydney’s first power supply
For more than half a century prior, the city had been lit by gas-powered lamps.
These produced about 40 candlepower of light each. At busy intersections, the strongest gaslights shone at 400 candlepower.
“There is no comparison between the old and the new style of lighting,” reported the Sydney Morning Herald on 9 July 1904, the day after the electric arc lights were switched on – each shining at 2000 candlepower.
“Gaslights have been completely overshadowed by the brilliance of the new electric arcs,” the paper reported.
The city was transformed. “What was particularly noticeable was the marked difference the more powerful light made in certain streets, which at night [had] hitherto presented a somewhat gloomy appearance,” reported the Sydney Morning Herald.
“In Bridge Street the lamps have been arranged along the centre of the road, owing to the splendid width of the thoroughfare; and last night the row of powerful lights looked remarkably well. In Moore Street…the light was equally brilliant.”
via Sydney gets electricity – Australian Geographic.

The ‘Bee Gees’ dominated the 1970s.

A 1977 publicity photo of the Bee Gees for a television special, “Billboard #1 Music Awards.” From top: Barry, Robin, and Maurice Gibb.
The Bee Gees’ dominance of the charts in the disco era was above and beyond Chic, Giorgio Moroder, even Donna Summer.
Their sound track to Saturday Night Fever sold thirty million copies.
They were responsible for writing and producing eight of 1978’s number ones, something only Lennon and McCartney in 1963/64 could rival—and John and Paul hadn’t been the producers, only the writers.
Even given the task of writing a song called “Grease” (“Grease is the word, it’s got groove, it’s got a meaning,” they claimed, hoping no one would ask, “Come again?”), they came up with a classic.
At one point in March they were behind five singles in the American Top 10.
In 1978 they accounted for 2 percent of the entire record industry’s profits. The Bee Gees were a cultural phenomenon.
Three siblings from an isolated, slightly sinister island off the coast of northwest England, already in their late twenties by the time the Fever struck—how the hell did they manage this?
Pin ups in the late sixties, makers of the occasional keening ballad hit in the early seventies, the Bee Gees had no real contact with the zeitgeist until, inexplicably, they had hits like “Nights on Broadway,” “Stayin’ Alive,” “Night Fever,” and the zeitgeist suddenly seemed to emanate from them.
This happened because they were blending white soul, R&B, and dance music in a way that suited pretty much every club, every radio station, every American citizen in 1978.
They melded black and white influences into a more satisfying whole than anyone since Elvis.
Simply, they were defining pop culture in 1978.
Read further via Islands in the Stream.