The Taylor Cabinet

The Taylor Cabinet


Zachary Taylor

Zachary Taylor (1784-1850) served in the army for some four decades, commanding troops in the War of 1812, the Black Hawk War (1832) and the second of the Seminole Wars (1835-1842). He became a full-fledged war hero through his service in the Mexican War, which broke out in 1846 after the U.S. annexation of Texas. Elected president in 1848, Taylor entered the White House at a time when the issue of slavery and its extension into the new western territories (including Texas) had caused a major rift between the North and South. Though a slaveholder, Taylor sought to hold the nation together𠄺 goal he was ready to accomplish by force if necessary𠄺nd he clashed with Congress over his desire to admit California to the Union as a free state. In early July 1850, Taylor suddenly fell ill and died his successor, Millard Fillmore, would prove more sympathetic to the interests of southern slaveholders.


The Official History of the Cabinet Secretaries

This book is the official history of British Cabinet Secretaries, the most senior civil servants in UK government, from the post-war period up to 2002.

In December 1916 Maurice Hankey sat at the Cabinet table to take the first official record of Cabinet decisions. Prior to this there had been no formal Cabinet agenda and no record of Cabinet decisions. Using authoritative government papers, some of which have not yet been released for public scrutiny, this book tells the story of Hankey’s post-war successors as they advised British Prime Ministers and recorded Cabinet’s crucial decisions as the country struggled through the exhaustion that followed World War II, grappled with a weak economy that could not support its world ambitions, saw the end of the post-war economic and social consensus and faced the 9/11 attack on the Twin Towers symbol of Western dominance. It looks at events through the eyes of politically neutral senior civil servants, the mandarins of Britain. It shows how the dramatic foreshortening of timescales and global news have complicated the working lives of those who daily face the deluge of potentially destabilising events – the skills required to see dangers and opportunities around corners, when to calm things down and when to accelerate action why secrecy is endemic when government comes close to losing control or when political ambition threatens self-destruction.

This book will be of great interest to students of British politics, British history and British government.


TAYLOR, Teddy (1937-2017).

Edward MacMillan Taylor was born in Glasgow on 18 April 1937. He was educated at Glasgow High School and University, where he joined the Conservative Party. He became a Councillor at 22 and in 1964 he was elected for Glasgow Cathcart in a by-election. He married Sheila Duncan in 1970.

He served as Minister for Health and Education in the Scottish Office during Edward Heath’s government, but resigned shortly afterwards in opposition to Heath’s decision to join the ECC. A member of Margaret Thatcher’s shadow cabinet in opposition, he lost his seat when the Conservatives returned to government in 1979, although he won the Southend East by-election in 1980 and held the seat until he retired in 2005. He was one of the ‘Maastricht Rebels’ who voted against John Major’s bill to implement the Maastricht agreement in 1992, and lost the party whip, continuing to sit as an independent.

Sir Teddy Taylor died on 20 September 2017, and his interview has been featured on our blog.

Click here to listen to the full interview with Sir Teddy Taylor in the British Library.

Transcript of clip

I went in to the tea room, and the only people I knew were actually Labour MPs from Glasgow, they were very nice people so I went to have a cup of tea with them. It was very funny, I was just sitting down there, having a chat with them, and then there was a very nice man called Harold Wilson you might remember him, who came and said ‘Who are you?’ and so I said: ‘I’m Teddy Taylor’ and he said ‘You are a conservative?’ I said ‘Yes’ ‘What are you doing in this table?’ and I said ‘Well, these are my friends’ and he said ‘Oh, that is one thing that you’ll have to learn, we have segregation here’. He was very nice and just told me that something I should know for the future that we all sit in different places so we don’t listen to other people’s conversations. […] I found this when we went for lunch…I said ‘I don’t know where I’m going to sit’ and they said ‘The division here: that side is all the Labour side, that side is the Conservative side and one small, narrow table in the middle of the circle for the Liberal Democrats’. […] It worked perfectly like all these Parliament things do until something went wrong. Not then, but at an election a wee bit ahead there was a man elected to Parliament, for the first time as a Welsh Nationalist, called Gwynfor Evans. A very nice man, I got to speak to him and become very friendly. He was the first Welsh Nationalist, so he come in to get his lunch and he says ‘Where can I sit?’ and they say ‘ I’m afraid there is nowhere for you to sit, you would have to go to the other place to eat downstairs’. Which he did. He went to the dungeon downstairs, but they don’t have the tablecloths and waitresses, they just have a blackboard that never changes…He never complained, he went there for six months and enjoyed his lunches there, no trouble at all, but then we had a lady elected, you probably know, called Winnie Ewing who was elected as the Scottish Nationalist. Oh dear, dear, she caused all kind of trouble saying that it was upsetting, unfortunately for a woman and the Scots were feeling ashamed that they were not given a proper seat and something should be done about it. So they had a special meeting at the House of Commons Catering Committee and they said ‘Well we don‘t want to have a nationalist seat because that will just encourage more of them to come’. So eventually they decided to have what they call a Minority parties table.

Summary of interview

Track 1 [00:36:37] [18th January 2012]: Sir Teddy Taylor [TT] comments on growing up in Glasgow and Grammar schools. [2:40] Memories of TT’s father and home life. [4:11] Story about Glasgow antique shop. [5:06] Comments on wartime Britain and bombing. [07:46] Description of family home and lifestyle. [09:23] Memory of childhood holidays with Auntie. [10:55] Description of TT’s mother and collapse of his father’s business. [14:38] Comments on TT’s sister and growing up with cousins. [17:01] Remarks on school life and story about debating society. [19:24] Memories of school friendship group. [20:19] Story about having to wear a kilt to school. [20:52] Comments on other school activities and exams at university. [22:21] Description of change between school and university life. [23:31] Story about confronting communist lecturer and switch from history to politics and economics course. [26:22] Story of getting first newspaper job at Glasgow Herald and then at Clyde Shipyard Association. [28:50] Comments on relationship with shipyard Union bosses and negotiation process. [30:47] Remarks on relationship with shipyard employers. [32:31] Comments on Union representatives’ relationships with members and Union rules preventing competitiveness.
Track 2 [1:00:42]: Joined Conservatives because of Grammar schools Comments on Conservatives and debating society at University [0:53] Description of Glasgow Parliamentary debating society, met in Christian Institute. [02:34] Story about being asked by Alec Hatton to be council candidate for the Progressive Party at 21. [04:50] Story about telling the University Conservatives of candidature. [05:50] Remarks on relationship with University Conservatives. [6:45] Description of local election campaign in Townhead. [9:00] Story of By-Election campaign in Cowlairs. [10:42] Remarks on standing for election. [11:13] Story about selection for parliamentary candidate and parliamentary campaign. [14:13] Remarks on family’s opinion of political involvement. [14:40] Description of political meetings at Townhead and Springburn. [15:50] Story of standing for council for Cathcart [16:36] Comments on work as a councillor and ward. [17:16] Comments on nastiness in Cathcart politics and restoring majority. [18:30] Description of employers and union colleagues’ reaction to TT’s election. [20:15] Story of selection for parliamentary seat and campaign in 1964. [22:13] Story of going to Parliament for the first time, problems of low salary and finding somewhere to live, and feelings on winning, arguments over strategy and campaign team, and excitement in the constituency. [24:58] Remarks on joining Thatcher’s shadow cabinet and devolution. [25:40] Remarks on losing the seat and political ‘crusade.’ [26:45] Comments on EEC, selling council houses and grammar schools. [29:00] Comments on beginning parliament, and working constituency surgery. [33:10] Remarks on relationship with local councils and handling casework. [36:17] Comments on relationship with local associations and constituency activity. [39:09] Stories about visiting MPs. [41:00] Comments on experiences of campaigning and press. [42:46] Comments on anti-devolution campaign’s impact on Cathcart seat. [43:45] Remarks on shadow cabinet. [46:20] Story about Margaret Thatcher phoning TT to commiserate loss of TT Cathcart seat in 1979. [47:14] Story of standing for Southend. [49:10] Remarks on reaction of constituency party and election. [50:30] Comments about family moving to Southend. [51:26] Comments on loosing Cathcart seat and Party class image [53:55] Comments on Margaret Thatcher’s popularity and policies. [56:08] Story about argument between TT and Margaret Thatcher over treaty. [56:49] Comments about time out of cabinet during 1980s. [57:00] Comments on resigning from Heath’s cabinet and on TT’s relationship with Ted Heath and John Major. [59:06] Remarks on Ted Heath’s election and policy on Common Market.
Track 3 [00:10:28]: Story about entering the House of Commons and beginning parliamentary business, and meeting the Chief Whip, Willie Whitelaw. [02:33] Mentions that he knew only Labour MPs from Glasgow, and meeting Harold Wilson, who told him about the party segregation in the Tea Room. Mentions election of Gwynfor Evans and there was no-where for him to sit further problems after Winne Ewing elected and how the Catering Committee dealt with it, and Bernadette Devlin. [06:26] Comments on learning to speak in the House and understanding parliamentary business. [7:01] Story of maiden and second speeches. [07:50] Comments on foreign affairs, crusades and trip to Afghanistan. [19:49] Remarks on process of writing parliamentary speeches. [telephone interruption]
Track 4 [00:47:44]: Comments on Common Market and Group of 8: its strength because the government had majority of 7, and they held the balance of power. [1:24] Explains system of whipping. [4:20] Comments on power of Parliament changing and European parliament. [05:26] Remarks on backbench tactics, and parliament’s relationship with Europe. [09:18] Comments on MEP’s and democracy. [09:59] Discussion about groupings of MPs and anti-market organisations outside Parliament. [13:48] Comments on Lisbon treaty and EU. [15:31] Remarks about social life as an MP. [17:12] Feelings about having left parliament. [17:59] Comments on how being an MP affects family life. [20:06] Comments on alcohol and politics. [24:08] Remarks on MPs’ workloads, meetings and office support. [25:31] Comments on MPs drinking. [26:30] Comments on boredom in parliament and filibustering. [28:49] Description of relationship with political opposition. [30:27] Relationship with others in Conservative party. [32:00] Story of deciding how the Group of 8 would vote. [33:08] Story of how the Group of 8 came together in January 1995. [36:21] Comments on friendship in Parliament. [37:25] Comparison of reality with expectations of Parliamentary life. [38:00] Remarks on using Parliamentary questions and written answers. [38:25] Comments on parliamentarians TT admired, particularly Harold Wilson and Gordon Brown. [40:50] Story about Enoch Powell and graveyard. [43:00] Comments on Keith Joseph. [44:35] Feelings on retiring from Parliament and living in Southend. [45:50] Comments on strong beliefs on EU and Middle East.


Collecting 1880-90's Antique Vintage Cabinet Card Victorian Photos

It's best to search for ancestors by entering one term in the search box below such as surname, a city or town, a county, a state, a country or a keyword such as England, Civil War, CDV, Minnesota, Pennsylvania etc.

1890 Wedding Cabinet Card Photo. On reverse: "Mr. Joseph Brimicombe married Miss Eunice E. Wilcox on Oct. 11, 1899" is handwritten in
beautiful old period dip pen ink.

1880-90's Cabinet Card Photograph: Baby Blair Townsend, Michael Deniston & John Townsend by Hoverman Studio, Spencerville, Ohio, Allen County.

Cabinet card photo albums were all the Victorian rage, as well as the stands and frames to display this larger medium, which offered closer portraiture views of the individual. With so much ancestral migration, imagine the wonderful feeling of receiving a cabinet card photo of a far away relative in the mail. You could slip this close up, intimate and large "likeness" into a standard Victorian parlor photo album sleeve, and for all to see. The actual term "cabinet card" is thought to refer to the fact that it was large enough to be displayed on a cabinet, or in a cabinet, and still be easily viewed from across the room.

Many early photo albums offer a few back pages for the declining old CDV photos, but as the century progressed, the emphasis became the new larger cabinet format. The 1870's shows a mix of CDV and cabinet card use by photo galleries. By the 1880's, the cabinet card in studio photography became the norm. Overall the "cabinets" serve as wonderful close up portraiture of our ancestors their dress, hair styles, fashion and the 19th c. "look." We rarely need magnification to clearly see faces on a cabinet card photograph, as opposed to the earlier and much smaller CDV.

The early cabinet cards of the 1860's to 1870's can exhibit quite plain photographer backmarks or no mark at all. They were mounted on a one ply bristol board, as early cardboard technology was not as of yet underway. They may are often very simple in design. Sometimes there was a front mark printed under the image, with just a simple name and location of the photographer. As an increased interest in advertising developed, we can see the concept becoming more and more valued and refined in the post Civil War years of what Mark Twain called the "Gilded Age."

Here we begin to see cabinet card photos with fancy gold inks, beveled edges, rounded corners, all over fancy backmarks, and printed Victorian images of cherubs, cameras, iconic women and Columbia images, patriotic themes, early stunning typography, 1876 Philadelphia Centennial attributes, classic design, and references to photography as "art" and the photographer as an "artist." We can directly see the history of advertising at play in early photography. These products of studio photography were increasingly designed to impart the idea of class and opulence, with more emphasis on the photograph as an overall presentation package. (see fancy advertising backmark below)


1880-90's Cabinet Card Photograph of Miss Huzzy and Jessica Terwilliger, MA with fancy Elmer Chickering photographer backmark. This Royal Studio photo has a full ornate photographer's backmark with fancy Victorian calligraphy and script, and highest award seals for prizes won in the 1890 Massachusetts 17th expo of the Massachusetts Charitable Mechanic Association.

If not, we invite you to "adopt" a family member or photographer, and do some online genealogy research on the area or name. We will happily add the info you may find to the listing. These spirits await being found by their 21st century families and historian friends. We have thousands of family identified lost family photographs here, and you'll poke around. Enjoy and good luck!

— Debra Clifford, Ancestorville.

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debra on facebook at Ancestorville Genealogy on the topic of lost family antique items, early photographs, genealogy surnames and family history topics. Search our site for your lost family antique material by family surname, county, town, city and state.

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Posted by Debra Clifford on Nov 30, 2016


How a story about the horrors of housing projects became part of a horror movie

The victim of the murder, 52-year-old Ruthie Mae McCoy, may have been schizophrenic, but definitely was paranoid. On an April evening in 1987, she was shot to death by someone who entered her apartment through the hole in the bathroom wall for her medicine cabinet. McCoy heard the intruder or intruders coming, called 911, and told the dispatcher frantically that someone had "throwed the cabinet down" and was breaking in. Two neighbors also called police and reported hearing gunfire in McCoy's apartment. Yet the officers who responded to her door that night left without entering, and it was not until a return visit two days later that they found McCoy, decomposing on the living room floor.

It sounds like a nightmare, of course. But that's what the high-rise projects often were.

McCoy lived in the Grace Abbott Homes, which were near Roosevelt and Loomis. The seven Y-shaped, 15-story Abbott towers housed 3,600 poor African-Americans, most of them children being raised by single mothers, aunts, or grandmothers. Members of a faction of the Black Gangster Disciples, the Paymasters, roamed the halls, calling out, "We got what you want, we got what you need"—meaning the rock cocaine, heroin, PCP, and reefer they were selling. Robbery, theft, and burglary were rampant, Abbott residents doing what they had to in order to buy what they wanted and needed.

The Abbott Homes back then were but one example of the abomination of Chicago's public housing. There were also Robert Taylor Homes, Stateway Gardens, Ida B. Wells Homes, Dearborn Homes, and the Ickes Homes on the south side Rockwell Gardens and the Horner Homes on the west side and Cabrini-Green on the near north side. Most of these were built or expanded in the 1950s and '60s. Chicago Housing Authority officials had wanted public housing to be integrated, racially and economically, to the extent possible, given that public housing would be mainly for those of modest means. They suggested sites in a variety of neighborhoods, including white, middle-class areas. But white aldermen weren't about to tolerate public housing projects in their wards, so the projects ended up in black ghettos, where they soon filled with African-Americans on public aid. The projects were woefully funded by the Department of Housing and Urban Development, and CHA saved what money it could by not maintaining them.

  • Sun-Times/Rich Chapman
  • A bathroom in a vacant apartment in the Abbott Homes in 1991. Chicago's high-rise housing projects were often in disrepair.

I wanted "Bathroom Mirror" to give readers a sense of the plight of the people living in the Abbott Homes. The media, like most everyone else, tended to neglect the projects. Medicine-cabinet break-ins weren't rare in the Abbotts, I learned in reporting this story, but they'd never been written about. ("Bathroom Mirror" describes the mode of entry.) And despite the bizarre circumstances of the McCoy killing, Chicago's dailies and other media virtually ignored it.

McCoy's death seemed especially tragic because of the progress she was making in her life. She'd been visiting a neighborhood psychiatric clinic regularly and taking GED classes. "She was learning to trust people here, come to them with her troubles," the clinic's coordinator told me. "I'm not saying Ruthie didn't have problems. But she was doing things to conquer those problems."

A reader commented Monday on the superficial similarities between the story I wrote and the 1992 movie Candyman. That horror film about urban legends centered on a killer in Cabrini-Green who entered apartments through his victim's medicine cabinets.

There are other similarities. The movie opens with the telling of the story of a Cabrini-Green resident named Ruthie Jean who called 911 for help, wasn't taken seriously, and was later found slashed to death. Ruthie Jean has a neighbor named Anne Marie McCoy. A newspaper—the "Chicago Dispatch"—displays the headline "Who, What Killed Ruthie Jean?" with the subhead "Life in the Projects." In 1990 I'd written a second story, about the trial of two men belatedly accused of McCoy's murder. That piece was titled: "Cause of Death: What killed Ruthie Mae McCoy—a bullet in the chest, or life in the projects?"

I think I know how some of the real story got grafted onto Candyman.

Several months after "Bathroom Mirror" ran in the Reader, I got a call from John Malkovich. He'd been in town for a Steppenwolf production when the story was published, and he'd read it. He said he saw a movie in it, and we met in a bar near Steppenwolf to discuss this.

Malkovich told me he was struck by the tenor of the Abbott Homes. He wanted to render it for audiences who had no idea of the nightmarish conditions in the high-rise projects. He was interested in directing or helping produce such a film.

That seemed fine to me. But Malkovich went on to propose that the lead character be a white reporter investigating a medicine-cabinet killing.

I told him I was uncomfortable with the idea of a movie about poor black people focusing on a middle-class white person. Malkovich said he understood that reservation, but explained that movies whose dominant roles are black usually didn't get funded.

He said he'd propose the general idea to a few producers. I didn't hear back from him, so I assumed no one had been interested.

  • Sun-Times
  • An Abbott hallway in 1988. Break-ins through medicine cabinets were not uncommon in the project in 1986 and 1987.

When Candyman came out in 1992, I paid it no attention. Someone eventually pointed out to me the parallels between Candyman and "Bathroom Mirror," and I rented the film and watched as much as I could stand.

The movie was adapted from a short story, "The Forbidden," by Clive Barker, an English author who specializes in horror fiction. The main character is a grad student researching urban legends. She's especially interested in the one about Candyman: dare say his name into a mirror five times, and a man with a hooked hand will appear and slash you to death with his hook. Such a tale of course requires copious blood, gore, and violence. The grad student was white Candyman was black.

The film got mostly favorable reviews. The New York Times's Janet Maslin liked Candyman's "spooky atmosphere." Roger Ebert gave the movie three stars. "Urban legends tap our deepest fears," he observed, "and one of the most subterranean involves the call for help that is laughed at or ignored."

Ebert may not have realized that in the projects, it was hardly a deep fear that calls for help would be neglected—it was simply expected.

Our critic, Jonathan Rosenbaum, wrote that the film "depends for much of its shock and suspense on demonizing ghetto life beyond its real-life horrors, which is another way of saying that it exploits white racism to produce some of its kicks."

Barker's short story was set in England. I presume that one of Malkovich's Hollywood chats eventually got to the Candyman people, who thought medicine-cabinet slayings in a U.S. housing project would lend their tale verisimilitude.

Candyman did well enough at the box office to spawn two sequels—Candyman: Farewell to the Flesh and Candyman 3: Day of the Dead.

Most of Chicago's housing projects, including the Abbott Homes, were demolished in the last 15 years. Communities were severed by this, but starting anew with public housing here was necessary. The wrongful policies, however, have hardly been corrected. Some new mixed-income developments opened, but the razing of the projects has resulted in a significant net loss of low-income housing. The CHA's Plan for Transformation has largely failed at moving project residents into more integrated housing many residents have instead wound up in other poor African-American neighborhoods and suburbs. In coveted neighborhoods near downtown, the Plan for Transformation has often seemed instead like a Plan for Gentrification.

I was glad to learn that Longform was giving "Bathroom Mirror" a second wind, and I hope you'll consider making time for it. I know that a story of more than 10,000 words is a big commitment, but I think it reads like it's barely 8,000. (The second story, about the trial, weighed in at 12,000 words. What can I say? Back then "long-form" really was.)

I also recommend High Rise Stories, a collection of interviews of former project residents that was published last year. And of course Alex Kotlowitz's 1992 account of life in the Horner Homes, There Are No Children Here, is indispensable.

Urban legends may captivate us more than urban realities. But the grim realities of the projects were experienced by many people still living in Chicago today, and we show our respect by at least being aware of them.


Link Taylor Colonial Pine FOR SALE

Has this set been sold? I lost my identical china cabinet in Tropical Storm Allison in 2001. I was able to save the table and chairs. Would you consider selling the cabinet alone.
Becky Mouser <phone>

hello,
Is the still available? Where are you located?
Thanks

Sorry. No this is not available any longer. I will need to find out on how to delete this post. Thank You

Can I ask where did you purcahse the cabinet from?

I am looking for a Link Taylor pine night stand.

I have a Link Taylor 'Settlers White Pine" desk- beautiful piece of furniture!

I have a Link Taylor 'Settlers White Pine" desk- beautiful piece of furniture!

I have one for sale. I would say it's in fair condition.

Do you have any pics of the desk and is it still for sale?

I was actually replying to someone asking for the matching night stand

Ah thanks. I have been looking for a desk like this for 2 years and can't find anyone selling.

I have one for sale, have you found one yet ? Link Taylor settlers white pine desk


The Taylor Cabinet - History

1969 was a year giants rocked the earth, and they wanted big amps. By that point in history, rock music was the baddest man in the whole damn town. Stadiums and outdoor festivals was where the action was&mdashMadison Square Garden for chrissakes. Fifty watts just wasn't enough to move that chick in the 61st row in her hand-embroidered bellbottoms. It wasn't as if nobody was filling the void&mdashwitness the stacks of Marshalls, mountains of Hiwatts, and truckloads of Dual Showmans doing more to promote tinnitus in a single generation since WWII.

Only In America
Ampeg needed to compete. The team of amp designer Bill Hughes and Roger Cox&mdashwith input from Bob Rufkahr and Dan Armstrong&mdashset about to create what Cox referred to as "the biggest, nastiest bass amplifier the world had ever seen." Using the same sort of madness that drove Dr. Frankenstein, the team came up with a 300-watt all-tube phantasmagoria they called the Super Vacuum Tube&mdashor SVT, to save on vowels. To fully grasp the monstrosity of their creation, the SVT's 300-watt output stomped the deafening 200-watt Marshall Major by a full 100-watts!

Unveiled at the 1969 NAMM show in Chicago, the SVT head alone weighed 95 lbs and contained fourteen tubes, six of which were massive 6146 power tubes. To heat all those tubes, massive transformers with magnetic fields powerful enough to cause genetic mutations were necessary. And what kind of speakers were able to handle all that power? Nothing less than two cabinets sporting eight ten-inch speakers and weighing 105 lbs. each.

After surveying his creation, Cox was actually concerned about potential liability&mdashwhen your engineers warn of the possible harm their designs could cause, you'd better listen. Ampeg's management did and devised a warning label which read:

"THIS AMP IS CAPABLE OF DELIVERING SOUND PRESSURE LEVELS THAT MAY CAUSE PERMANENT HEARING DAMAGE."

Her Satanic Majesty's Shakedown Cruise
Some say we make our own luck, but they're usually the people with all the luck. Luck came to Ampeg, not from their own doing, but by the lack of knowledge concerning international voltages on the part of the Rolling Stones. It seems the Stones shipped their Fender amps over to the States to rehearse for their soon-to-be-legendary '69 world tour, plugged them in, switched them on, and the resulting smoke and burn first made the roadies think Keith had nodded out again, until they remembered that the amps were set up for UK voltage.

The Stones may have been "The Greatest Rock n' Roll Band In The World," but like all bands, they liked to get free gear. In a panic, now deceased Stones keyboard player and road manager Ian Stewart contacted Rich Mandella, Ampeg's Hollywood liaison, desperately begging for amps for the tour that was now only weeks away.

Mandella, knowing a good thing when he saw it, loaded up all the SVT prototypes and some old 4x12 cabs into his pickup and headed down to the Warner Brothers lot where the Stones were rehearsing in an unused soundstage. Keith, Mick Taylor and Bill Wyman plugged in to the SVT prototypes and proceeded to turn them up to a level that reduced the un-hip to flaming piles of goo. The Stones may have had sympathy for the devil, but they gave no such kindness to the SVT prototypes. Mandella began to notice that the prototypes were getting close to meltdown under Keith's relentless bashing. According to Mandella, "Everything he was doing in rehearsal just kept getting louder and bigger and crazier, with two or three heads per person. I'd watch the amps, and when I could see one was about to explode, I'd just switch heads."

Since those prototype SVT heads were the only ones in existence&mdashproduction was still a ways away&mdashit was decided in a very smokey room that Mandella would accompany the Stones on the tour as their personal Ampeg technician. While the Stones rocked, and the audience grooved, and the Hell's Angels kicked the living crap out of everybody within a pool cue's length, Rich Mandella was behind the backline making sure everything was sorted. If you want a sample of the mayhem, check out Gimme Shelter, the Stones' own documentary of the 1969 world tour. But if you wanna hear those early SVTs blasting for all they're worth, rush right down and pick up Get Yer Ya Ya's Out, the best live album ever made.

In The World Of 300-Watt Amps, Perspective Is Hard To Come By
Since then, the SVT has become the bass amp that all rock bassists dream of, whether they're famous or completely unknown. Ampeg has modified the SVT concept for a wider variety of sounds, but fortunately, they still make the SVT-VR, which are virtually identical to the ones the Stones used to put their Jack Daniels bottles on top of. (The SVT-Classic is also available, and is very similar to the original.)

Former Bass Player editor Scott Malandrone put the SVT in perspective this way: "The SVT has done for the sound of electric bass what the Marshall Super Lead had done for the electric guitar&mdashit would give the instrument an identity." We couldn't say it better ourselves.


For all Sales categories, buyer's premium excluding Cars, Motorbikes, Wine, Whisky and Coin & Medal sales, will be as follows:

Buyer's Premium Rates
27.5% on the first £10,000 of the hammer price
25% of the hammer price of amounts in excess of £10,000 up to and including £450,000
20% of the hammer price of amounts in excess of £450,000 up to and including £4,500,000
and 14.5% of the hammer price of any amounts in excess of £4,500,000.

VAT at the current rate of 20% will be added to the Buyer's Premium and charges excluding Artists Resale Right.


Largely Responsible for the Annexation of Texas

Tyler believed that he deserved the credit for Texas' admission as a state. Three days before he left office, he signed into law the joint resolution that annexed it. He had fought for the annexation. According to him, his successor James K. Polk ". did nothing but confirm what I had done." When he ran for reelection, he did so to fight for the annexation of Texas. His chief opponent was Henry Clay who was opposed to it. However, once Polk, who also believed in its annexation, came into the race, Tyler dropped out to ensure Henry Clay's defeat.


Watch the video: Reduced depth base cabinet