Club Triumph Round Britain Reliability Run: The Starring Cars!
This page is all about this years entrants and their cars-send a pic and some words and see your car here!
UPDATE CARS THAT DESERVE A WHOLE PAGE TO THEMSELVES!!-click on the cars in bold for the full story..
Dave has kicked us off with the Iron Maiden..a name given due to the comfort level offered by the seats!
Owned by David Langrick from Nottingham.
Car 29 in the 2016 RBRR.
Owner has entered 13 consecutive Runs since 1990 - with 13 Finishes.
The car has completed 7 runs - 2016 will be its 8th bash round.
"My 1500HL Dolly was purchase a couple of years back both to use as a Triumph to fit both kids in and also to use on the RBRR. The first time Jason Chinn saw it he christened it "The Flying Log" and the name kind of stuck a bit like poo to a blanket. Very Apt as his naming was due to the 70s poo brown bodywork in glorious "Gusset Brown". Also very apt as like a turd it's also Brown on the inside. In fact after 2 days and 2,000 miles on the RBRR with the gasses emitted by 3 blokes stuffing themselves with pies it probably smells like one too! The car used to be owned by Darren Sharp our Club Secretary and he completed an RBRR in it back in 2006, "Team Flying Log" were successful in 2014 so the 2016 run will be the 3rd time of asking"
CAR No 58 My car has been completely rebuilt over an 18 month period to fast road specification, and returned to the road in June 2013. I use the car for track days, trips to Lemans, Round Britain Reliability Runs, and the 10 Countries car run held once every years. The car is very reliably and a pleasure to own and drive.
My son Stuart and I are RBRR 'first timers', as team 23, in my 1976 Spitfire 1500.
At this moment in time, the Spit is currently undergoing a restoration, for which I am aiming to have completed and back on the road by the end of June.
This should give us a fair bit of time to carry out some long distance road trials and driving in poor weather/hard rain to check for leaks, wiper capability etc.
We are looking forward to meeting other teams and to completing the first, of hopefully many more to come, RBRRs!
Team No. 24. Steve Radley, Darren Sharp, Dave Saunders.
Looking forward to the 2016 event as ever and as many more before me or the car can't take it any more!
Our 1971 Triumph TR6 was purchased back in 2012, as a simple father and son simple restoration project with the aim at passing on simple car maintenance skills. Unfortunately, it quickly turned into a complete bottom up nut and bolt restoration, and required us to teach ourselves MIG welding, complex electrical wiring and the nuances of the Lucas PI system.
The car was finished in 2014, and along with all of the usual TR6 upgrades, the car features a custom wiring loom, and complete home made interior by very patient wife/mother.
This will be the first RBRR that we have entered, and will be a proper test of the hard work that has gone into getting the car back on the road. Available in hard and soft top form (we're still debating the pros and cons of each) and can't wait to be on the start line in October.
Round Britain Reliability Run. The car emigrated to Belgium sometime early this Century but was repatriated four years ago.
Driven by Richard, who last drove the run in 1990; Grant, a South African; and Bob, an ex-Police driver. The only problem so far is that all of us are big blokes and the back seat of a Stag isn't big at all.
Here's a picture from 26 years ago - Broadfields has gone, the car has gone, and I can only wish I was so thin these days!
Spitfire 1500 GBW678V Owned and restored by me 14 Years ago.
1st. RBRR 2012 my co driver was life long friend Steve.
Had a few problems with the new petrol pump I fitted but finished OK.
2nd. RBRR 2014 my co driver was my oldest son Daniel.
Clutch release lever pin fell out. Finished OK with gear crunching for the last 1000 miles.
3rd. RBRR 2016 will be with my old work mate Chris.
Hoping for a trouble free run and another successful finish.
Lessons learned from the first RBRR was to give the car a good workout at least a month before the start to make sure any new bits fitted are OK.
I have now entered every RBRR since 1988 and have managed to complete all, apart from the last one in 2014, retiring at Blyth in my GT6 due to rocker shaft oil starvation issues.
So, my first RBRR was in 1998 when I entered the event using the GT6 with my old friend Daryl Stonor. Diz, as he is known, owned a GT6 in the mid eighties and therefore was familiar with driving these little cars, even in 1998 they seemed to feel a lot older and more involving than moderns, nowadays they seem completely different as one has to drive them and think about what one is doing!
The RBRR had been on my radar for some years, I had joined CT in 1994 with the express purpose of entering the event, but for some reason I did not, probably thinking I had the rest of my life to do such a thing. In retrospect, this is completely wrong, seize the moment! The thoughts behind entering the RBRR were simple, the year before my Dad had passed away and it made me think that I needed to start doing things before I became too old. I had been following the nascent old car rallying scene and always thought that the GT6 would make a good tarmac rally car, indeed watching one of the first Pirelli Classic Marathon videos that Duke issued, one novice team had a GT6 mk1 had done really well before retiring due to transmission issues. Remembering this, I felt that although the RBRR is not a competitive event, it would be good to use her and see what it would be like to drive her for such a long distance. By this point I had owned the car for 15 years and had more or less replaced or worked upon every aspect of the car.
So we entered the 1998 RBRR and did a fair bit of planning for the event, following the Drivers Meeting at The Plough we realised that the event was going to be a lot harder than we thought. The following days before the weekend's start were spent marking up a road atlas and trying to familiarise ourselves with the route. We also discussed costs for the event, and after the obvious realisation that the cost of fuel was always going to be a limiting factor decided that we should keep the engine speed down, not get too carried away and just drive within the pack of the event.
The day of the event dawned well and after starting the car, I could smell coolant. A quick examination and I realised that the bottom hose was leaking. After picking Diz up in Staines, we shot to Twickenham to buy a full set of hoses from Bill Livingstone of Six Spares (good bloke was Bill), we then legged it to the start at The Plough, arriving within time to have a brief meal and chill out before the start. Once the event got going we quickly got into the flow of the event, even allowing for horrendous traffic on the A1 (m) and sitting in a jam just before Blyth Services. After leaving Blyth the moment when I realised that I would be taking part in more than one RBRR happened: We were toddling up the A1 (m) at the speed of 65-70mph by the cooling towers at Wetherby, when I looking at my rearview mirror I could see a lot of cars coming up quickly on the outside lane of the road, these cars all had dim lights, therefore marking them out to be Triumph motor cars. The first car being a yellow TR3A (subsequently found to be Andy Flexney's super example)that was being followed by six or seven big Saloon Triumphs, the noise and impression of speed was immense and exciting. I looked at Diz, muttered something about forgetting about economy, knocked the car out of overdrive and went after them, joining the tail of the pack. The rest of the event seemed to be similar, lots of great roads that offered the chance of fast but safe driving. In fact I thought/think the GT6 was an ideal RBRR car as it is great on fast A roads. At the finish of the 1998 event, I got out of the car totally knackered but full of smiles at having taken part in the best event/challenge of my life! I loved it!
Now for years I had been in another Triumph club, where without being rude the only fun was either parking in a field with other Triumph cars, or going to watch various people who obviously had deeper pockets than mine competing in either hillclimbs or races, therefore not a lot of fun was being had. The RBRR seemed to offer all types of driving, people who seemed to like their Triumph cars, quality scenery and of course some fantastic machinery. So the RBRR has become a way of life, the only downer being that it was only held every two years, the wait back then seemed interminable!
This 'way of life' became ever so true following my entry into the 2002 event. I wrote upon my entry form that I was willing to help out in anyway with the organisation of the event. Blimey, what do they say, 'Never volunteer'! Derek Pollock, one of the two that originated the RBRR back in 1966 and the main organiser at this point wrote back to me saying that he would be pleased to have me on board. So for that 2002 event I helped out where I could especially with Nigel Abdullah when he needed to go recce'ing for the new sections of the event. Derek decided that the event should be organised by someone new for 2004, so I took over, doing everything apart from the Route (Nigel) and compiling the Road Book (Derek). I thoroughly enjoyed the experience, it was a bit nerve wracking, but ultimately I did not make any errors so have remained as the main organiser since then. Luckily, the event being so popular has meant that some good people have offered help, and we now have a very capable team of six people including myself doing the work. I cannot over emphasise how enthusiastic the organising team is about the RBRR, they all take the job seriously, and work their socks off to produce an event that is challenging but also a lot of fun. In fact I have to sometimes temper their enthusiasm as they are always coming up with new ideas, some being truly bonkers, but some that are inspired!
The best things about the RBRR are the start, seriously I cannot think of anywhere I would wish to be but at the start of the event on the first friday of October in even numbered years, fantastic. It is a busy day for me as I seem to be running around making sure all is good, meeting and greeting entrants, so many of them being good friends. What I love about the RBRR is that one always has the stress about thinking about if the car will make it around, this gives the event an extra edge of worry/excitement! Once going, one has to fall into the mindset of thinking about getting to the next Control on time. Then of course, one starts to drive the roads and after the A1 section, the roads just get better and better, the obvious faves being the whole section from JOG to Stirling and then the saturday night Welsh section, a chance to stretch your car and driving prowess. The event is always tempered by news about some retirements, however, one has to keep going. The finish is always great, smiles a mile wide on so many faces, it is terrific! The thought that all the finishing cars have done over 2000 miles in one weekend, more than most cars will ever do in such a short period of time. Sometimes one read about Triumph cars being unreliable, I cannot agree, one only has to rock up to the finish of this event and be proved wrong.
As mentioned above the only downer about the RBRR is that it is only run every two years, and CT membership between did seem like one was always waiting for the announcement of the next RBRR. However that has changed with the 10 Countries Run being introduced in 2005, following the success of CT member, Martin Randle's unofficial first one in 2003. Funnily enough, by taking part in that event lead to the cementation of many friendships within Club Triumph that I still enjoy today. After that, the RBRR and with the formation of the Club Triumph forum, Triumph life has become fantastic fun. But still for me the one Club Triumph event that is truly magical is the Round Britain Reliability Run.
So the Club Triumph Round Britain Reliability Run, it is a top event!
Chris gunby told me I was mad to do this in this car.
Solid some v light surface rust an immaculate interior and saffron!
The car currently is 25miles off 10,000 from new .
I have had triumphs 25yrs and this will be my first rbrr and hopefully a great car to do it in.
Car No.50 is Mabel, a white 1972 Stag on the very first RBRR for the car, but the second for the driver. The last time was 26 years ago in a 2.5PI masquerading as a 2000.


So, why do people want to sell their own homes without relying on the help and support of professional real estate agents? It keeps coming up time and time again: to save money.
Depending on the service used, the sale fee can range from 4% to 6% of the total property sale amount. In order to avoid this, some people try to sell their property on their own in the attempt to save some money.
Unfortunately, they forget the fact that those agents are trained to do that for a living and know almost all the required tips and tricks on how to do it right. It is their job and no one can do it better.
The owner can stumble along the way upon many little bureaucratic and marketing aspects. This puts the owner at a loss, thus preventing him from making the property sale efficient, smooth, and most lucrative.
Let's look at the most common things people can overlook when not relying on professional real estate agents and their extensive experience.
You should always be aware of the correct market value of your property when selling. An overpriced listing of the property will end up scaring off all potential buyers. On the other hand, selling the correct market value can cause you to lose some of your hard earned equity. In order to get the right listing price, the property needs to be evaluated neutrally.
Due to emotional attachment, many sellers tend to add value to some decorating aspects of the house, not realizing that the potential buyer might consider it a hindrance.
It might be anything from room decorations, tapestry, and wall painting to added structural changes.
Anything that requires changes or costs money to remove might not appeal to the client. That is why a neutral evaluation is a good thing to do before listing the property on the market. There are lots of variables that can affect the house pricing.
We are talking about aspects including house/apartment size, location, number and quality of the services in the area, availability of reliable public transportation services, and neighborhood reputation, among many others. It is also subject to the regular house market pricing levels of the area.
Homeowners lacking real estate agent specific training and experience are faced with the almost impossible task of evaluating all the aspects that affect the market price and the variables within that.
Real estate agents have current, extensive knowledge of the setting trends of the market. They are also experts in pricing and all the details that affect it. They have the professional skills to evaluate the selling property neutrally as they do not let their emotions affect the quality of their work.
One of the most common mistakes in FSBO is in property marketing. When the private seller starts to advertise his/her property, the pictures might not be lucrative and the description of the house not professional enough, therefore failing to give all the necessary, correct information to the potential buyer.
It is exceptionally easy to give too little or too much info on the related matters. Therefore, making professional and tempting property ads can turn out to be a challenging job.
Another aspect that needs to be acknowledged is the fact that with a little work and investment, many aspects of the house can be positively presented. Cleaning and arranging the house is essential before any showing. Investing in a few plants and storing away personal items and unnecessary pieces of furniture can make the house look cozy without being too personal.
Failing to do so can imply sloppy maintenance and reduce the earnest interest of the potential buyer. If it's a house, taking good care of the garden and walkway can do miracles as far as giving potential buyers a perfect first impression. It's also imperative to fix all the minor possible flaws in the house.
A little renovation can get you a long way and really boost the property value. Sometimes, using the services of a professional staging expert can do wonders.
One must remember that potential buyers will have every little detail under a magnifying glass since they are prepared to invest a lot of money in the property they decide to buy.
In opposition to owners, real estate agents are professionally trained when it comes to property presentations.
They will make sure the house will be as presentable as it can ever be.
They will use all the methods in the book to make the presentation as pleasant and convincing as possible. They might change the lighting of the rooms, rearrange some pieces of furniture, or offer refreshments and/or fresh baked pastries to all attendants.
They will do whatever is needed to make the premises look as cozy and comfortable as it can be in order to persuade the potential buyer that this is the perfect place for them.
They can easily recognize among the people at the presentation those who are truly interested in investing in the place.
MLS (Multiple Listing Service) is the way to go. Many property owners who desire to sell their home/house/apartment fail to market their property accordingly because they don't want to spend few hundred extra $$$ to list their property on the MLS.
That is one of the greatest mistakes people make when selling FSBO. MLS is basically a huge and comprehensive database which is normally used by real estate brokers.
It's a very good way to attract the interest of many potential buyers as well as their buying agents. Even if you decide to use FSBO, working with buying agents is the way to go in order to obtain a fast buy.
Real estate agents have access to MLS. That is how they are able to find potential buyers for any and all of their clients. They usually also have tons of personal and professional contacts to refer back to when needed.
Contrary to owners, agents work on commission. Striving to obtain a hot deal at the highest possible price is in the agent's best interest.
They will put all their skills and experience to work in order to get it because, contrary to owners, agents make their living out of this and have a reputation to uphold.
Not knowing what papers are needed for selling your property can cost the owners that opt for FSBO dearly. There are lots of documents and many disclosures with accurate dates that need to be signed and submitted for filing.
One must consider scheduling appraisers, arranging necessary inspections, and meeting many other conditions. Failing to meet the required accuracy and dates might cost the owner and buyer extra money and time – this time in the courtroom.
That is why all the aspects of the official documents and agreements within the selling contract must clear and execute within the set legal date limits. Real estate agents have thorough training in timely handling all the necessary paperwork concerning a property sale.
When it comes to contract terms and necessary documents, real estate agents hardly ever make any mistakes.
It's part of their job to do the paperwork right. They have their good reputation to uphold, so they are going to do their part to finish everything in an accurate and timely manner.
It is easy to welcome potential buyers inside your house and give them a tour, but when they start to ask about escrow, oil-, gas-, and/or water-rights, maybe even about the possibility to lease the property, do you know what to say to them in order to appear professional?
Most people can't, and that is another mistake that people usually make when selling FSBO. This is also one of the reasons why people use real estate agents, as they are trained effortlessly give answers to questions you normally can't even think of.
Unlike private owners, real estate agents are trained and experienced to look for all the details that buyers may want to know more information about.
They have a checklist of any and all matters that affect the property. They will have all related answers prepared, just as any true professional should. Again, it's their reputation and expertise on the line, so mistakes and misinformation are something they should avoid at any cost.
Selling a house is art. It's all too easy to describe something with sentimental value to someone who doesn't see it the same way. It's easy to use the wrong kind of adjectives or to exaggerate and say the wrong things at the wrong time.
What seems to be wholehearted and innocent to you might actually be annoying to a stranger. It might be quite hard for the owner to present his/her property neutrally, because of the emotional attachments linked to it. That can be a hindrance to the property selling process and is another common mistake made by people when selling FSBO.
On the other hand, real estate agents have professionalism when it comes to property presentations. They know exactly what words to use, to make the sale happen. They can put bad property aspects in a better light. To repeat, selling is an art, and no one knows better the tricks of the trade than an realtor when comes to selling the property.
There are plenty of blunders to be made when selling your own property without the support of professionals. You need to be available for all the contacts, set up home-showings, and answer to various questions. There is much to do.
The house should be clean, empty of unnecessary furniture pieces, pets, and personal objects. It might even be a good idea not to have the kids home.
Real estate agents have experience dealing with all of that. They present the premises for houses on a daily basis, all throughout the year. Where you, as a private owner/seller, might stumble, they will succeed. That is because of their exquisite training and vast experience in the field.
They are familiar with all the probable mistakes and problems that might occur and complicate the process. They know how to dress up all the risks, take advantage of all the loopholes, and avoid the possible downsides of the deal, since it's in their best interest to do so.
That being said, FSBO (or "For Sale by Owner") is truly an option for those with real estate experience and good negotiating skills. For all the others, FSBO is not recommended unless accompanied by thorough research on the subject.
Real house market professionalism and knowledge is something you can only achieve through training and experience.
Try to avoid all the most common mistakes that people make when selling FSBO and refer back to a professional real estate agent if you feel overwhelmed.
Selling your house is important. Make sure your home gets the attention it deserves as your most important financial investment. The result will be well worth it.


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Organist Catherine Ennis To Perform Powerful Programme at St David's Hall
St David's Hall
Tuesday 22 March
ACCLAIMED organist Catherine Ennis will perform a powerful programme featuring Bach at St David's Hall on Tuesday 22 March.
In association with Cardiff Organ Events, this captivating Lunchtime Concert at 1pm includes the iconic German composer's Fantasia and Fugue in C Minor and Chorale prelude: Allein Gott in der Höh sei Her. Works from Buxtehude, Telemann, Widor, Alain and Briggs will also be performed.
Catherine is the Director of Music at the London City Church of St Lawrence Jewry, as well as an influential teacher, writer, publisher and organ consultant. Her lunchtime series in London and international appearances have established her reputation for lively playing. Furthermore, Catherine was President of the Royal College of Organists during its 150th anniversary celebrations in 2013-15.
Before the concert a mouth-watering selection of sandwiches, hot drinks and hand-made cakes will be available from our arts café Celf on Level 4. Delicious speciality Welsh cheese and antipasti platters can be booked in advance.
Experience the spell-binding skills of one the UK's finest organists with Catherine Ennis in this this magical Lunchtime Concert – the perfect way to break up your day!
Buxtehude Ciacona in E Minor
Telemann Sonata in D (Grave – Presto – Andante – Scherzando)
Bach Fantasia and Fugue in C Minor BWV 537 & Chorale prelude: Allein Gott in der Höh sei Ehr, BWV 663
Widor Scherzo & Cantabile, movements III and IV from Symphony No 6 in G
Alain Aria
Briggs Variations on a City "Grace", Laudi Spirituali
The performance starts at 1pm and lasts for approximately 50 minutes.
Tickets are priced £5.75 in advance and £6.75 on the day.
Reductions of £1 off each ticket for standard concessions.
To book your seats, please visit www.stdavidshallcardiff.co.uk
or call the Box Office on 029 2087 8444.

redpajama_set_name: RedPajamaCommonCrawl


The race starts at the East Woahink Lake boat ramp. Swimmers will be sent off in waves with a standing in water start and will swim a counter clockwise loop. Keep all buoys on your left until you arrive back at the dock. Exit up the ramp and into the transition area.
As you leave the park you'll head east and explore the scenic back roads and foothills of the coastal range. The sprint bike is an out and back with a small loop on the end before heading back to the park. This course includes rolling hills (716 of elevation gain) and great views. Check out the bike course video below!
After a quick cross county loop around East Woahink, you will tuck into the trails of Honeyman State Park weaving your way along the lakes and though the campground. A combination of grass, gravel and dirt trails, paved roads and even some sand make this a very fun point to point course. Aid stations at miles 1.1 and 2.2.


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Walking The Floor Over You – Ernest Tubb
Published on : December 2, 2019 December 6, 2019 by lifestoryrecording
Wolfman Ernie's Break Through Single
Ernest Tubb Record Shop, Nashville, Tennessee
"I want my music to be simple enough, so that the boy on the farm out there can learn it and practice it and try to play it, " Ernest Tubb in conversation with Peter Guralick, Lost Highways
"You gotta change your name son, how about Texas Crisp?"
That's the fist thing the head buck cats at the record label would have done, before morphing Ernest Tubb into a monstrous changeling torn from his West Texas plainsman roots. Thankfully, in 1941, the labels were not yet the Dr. Frankenstein's that they evolved into, albeit from what I can gather about Ernest Tubb, he wasn't a man for changing for nobody. He hailed from the old world, off a farm near Crisp, Texas, off little known Route 45, just south of Dallas, where he worked the fields listening to crackling phonograph records of Ethel Waters and Bessie Smith. One Saturday night, the thirteen year old Ernest Tubb was sprawled out on his bed, wrecked after a week of back-breaking graft, when he heard Jimmie Rogers on the wireless yodeling and he knew what was meant for him.
He took to rambling the farm, being like Jimmie, or at least how he thought Jimmie would be with nothing to go on, except that miraculous voice. He took a fair ribbing from his family, but he got to being pretty good at yodeling himself, but man, he needed a guitar so bad. It would take a while, things like a guitar weren't easy to come by in Texas in the 1920s. Whilst travelling by thumb express from Benjamin to San Antonio, he saw a guitar in a store window in Abilene, he had five dollars, fifty cents, all he had in the world, he gave it up for that guitar.
He dug ditches in San Antonio, pedaling into town on his lunch breaks to sing Jimmie Rodgers songs in service clubs, landing him a fifteen minute slot on 250-watt radio station KONO. He would clamber out of his warm bed at five in the am, leap on his bicycle and pedal through the freezing desert air for his five thirty slot, singing Jimmie Rodgers songs into a can for gratis.
In 1935, idly looking through the phone directory, his eye found Mrs. Jimmie Rodgers. Sweet Lord. He called, she answered, it was the Mrs. Jimmie Rodgers. She believed in Ernest, heard something in his voice that set him apart from the many other Rodgers imitators. She set up a tour for him and off he went, dressed in a suit of Jimmie's, clutching Jimmie's two thousand dollar guitar. Cripes.
Stuff still didn't come easy. He slogged about Texas for the Texas Brewing Company flogging beer by performing at beer drive-ins. A change in direction occurs on the vinyl he cut for Decca Records in Houston in 1940. He recorded the self-penned, I'll Get Along Somehow and Blue Eyed Elaine. Sans tonsils. Yodeling was no more. Ernest had discovered his own style.
In the long, hot summer of 1941, the last summer before Pearl Harbor with Joe Di DiMaggio knocking home runs out of every stadium and Jelly Roll breathing his last, Ernest arrived in Bunny Briggs' tiny Dallas studio to cut a record about which he had a damn good feeling. Initially, he was bugged to discover that his regular guitarist Jimmie Short wasn't there. Fay Smith, the studio guitarist stood in. The producer Dave Kapp was dissatisfied with the result but Ernest thought the opposite and begged for it to be released. Fortunately Kapp relented or we would never have heard the fantastic single Walking The Floor Over You.
It was a hit, selling over 400,000 copies in the first year alone. Ernest was a twenty-seven year overnight success. Boy, it's a supreme track. Two minutes and thirty-seconds of foundation stone honkytonk with Shakespearean themes of broken promises, heartbreak, anguish, unrequited love, abandonment, treachery, betrayal – all delivered with Ernest's smooth vocal, now again exhorting the young Fay Smith with, "Oh pick it out Smithy" and "Oh, do it pretty son," on what is one of the first electric guitar solos in country music.
HunkypapaCountry Music, Ernest Tubb, Honky-tonk, Walking The Floor Over You
As Seen at Weberweise U-Bahn, Berlin
Are you aware that you are aware?
Am I a Boomer, Doomer, Bloomer or Zoomer?
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Fresh TV and Teletoon have proven that vampires and geeks are a winning combo in kids' TV as My Babysitter's a Vampire claimed the 2012 Shaw Rocket Prize at an industry gala held last evening in Ottawa.
Executive Producer Brian Irving was on hand to accept the $50,000 award on behalf of Fresh TV. The Toronto-based production company will be donating the entire cash award to the Canadian Film Centre (CFC) and the Writers Guild of Canada (WGC) to support their film and TV scholarship programs.
My Babysitter's a Vampire took a bite out of four other competitors to claim the top prize. The TV series has previously won a GOLD Pixie Award while the companion interactive website, Humans VS Vampires, has won Kidscreen, Digi and Creativity Awards.
Produced by Fresh TV in association with Teletoon Canada and FremantleMedia Enterprises, My Babysitter's a Vampire is a special effects enhanced live-action adventure comedy for tweens. Now in its second season, the series follows the heroics of three geeky, sci-fi loving best friends and their smoking hot vampire babysitter as they defend their town against an avalanche of scary supernatural phenomena.
A big hit with young fans in 26 countries, My Babysitter's a Vampire was the No. 1 U.S. cable show among kids 2 – 11 in its time slot during its premiere season run on the Disney Channel. A second season recently concluded on the Disney Channel and is currently airing on Teletoon.
This is the eighth year for the prestigious Shaw Rocket Prize, which recognizes leaders in quality children's television and digital media production in Canada.


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redpajama_set_name: RedPajamaGithub


having set the Plugin since yesterday on our WordPress, the buttons sliding on middle right side are not all dynamics. In the PLugin Settings (Question n°3: Where do they need to be displayed), I chose only "Share" and "Like" functions for each button but neither FACEBOOK nor GOOGLE+ show anything. What can i do ?
Also I wanted to have these rectangular buttons on each PRODUCt page like the Plugin menu permits and selected FB share + FB comment + G+ + Pinterest ….but on our site, only the G+ and Pinterest are visible… why ?
Thanks Eric for your question.
I see them all fine, see https://www.screencast.com/t/dSkbbof8Y. Which browser are you using? Are you using any extensions (ad blockers etc.)?
Regarding the other issue, please open a separate thread.
Well it still doesnt work well. I have checked the settings of my FIREFOX browser and there is no blocker box ticked for Trackers & Cookies, neither for Popups.
We tried to reproduce it on our end but couldn't see the same issue.
This indicates that our plugin is in conflict with your website or with another plugin which you have installed.
We suggest reaching out to your theme creator or ask somebody with coding knowledge to help you.
And another suggestion: does it work fine with this plugin: https://wordpress.org/plugins/ultimate-social-media-plus/?
Ok apparently I still has the original ULTIMATE (English version) installed , although not active. Now only the ULTIMATE PLUS is installed and operating, and no other module/plugin of similar topic exists.
Ok, so the same thing happens with both plugins?
If yes, then the problem must be specific to your website.


text:
Henry Hitz
The Humanity of Animals and the Animality of Humans
Electoral Politcs
Ego as a social construct
October 14, 2016 henryhitzUncategorized
(October 10, 2016) I think it's safe now to start planning for what happens beyond the election. It seems likely that Hillary will win. She might even have a supportive congress, which would open her up to considerable pressure to abide by the platform that she and Bernie worked out. We should think about where to focus our efforts. Criminal justice reform would be my number one. Reduce the prison population by half in the next 3 years. Pardon all the nonviolent drug convicts. Force her to deliver to the Black community what she so generously promised. To move in this direction, all we need to do is get behind Black Lives Matter and the Movement for Black Lives and follow their exceptional leadership.
The second thing would be the wars in the middle east. We've come to understand that the elected government doesn't have much influence over this, that foreign policy is in the hands of the national security state (the armed forces, the intelligence agencies, the military industrial complex that Eisenhower warned us about). But that secretive community is not monolithic. There seems to be a consensus strategy of fomenting chaos in the middle east, but there are differences as how far to go against Russia. It's hard to know whether the new Russian scare is designed to bolster Clinton's chances in the election (don't change horses in midstream), or whether there is real danger of war. One place to draw the line in the sand is no U. S. soldiers should be fighting in Syria, nor Special Forces, nor CIA. How about advocating for a People's Summit on Peace in the Middle East? Invite people from all countries, hold it in Dubai or some neutralish country, maybe Al Jazerra could help organize it, but do it over social media. Kind of like those World Social Forum held a few years back in Seattle and Brazil. NGO's, grassroots folks, anyone who wants peace in the middle east. We do need to be prepared to resurrect the peace movement worldwide. I think we need to start talking about complete world disarmament. Pie in the sky, you say? Yes, but the little halfway measures around the edges aren't working. Let's start with the damn nuclear arsenals.
Voting Strategically
The Black Panther Party and Democratic Centralism
Squirrels in the Wall
Squirrels in the Wall―a novel told in stories by a collection of interspecies voices―presents a unique and darkly hilarious blend of human and animal perspectives in a single setting on a Wisconsin lake. The stories provide a kaleidoscope of heartbreak among both human and animal characters as they confront abuse and death. You can read an amazing review here: https://www.eastbaytimes.com/2019/12/03/oakland-author-henry-hitz-talks-squirrels-his-interspecies-romp-of-a-novel/
Here's an excerpt about the holidays:
A couple days before Christmas, Father gets it in his head that we are going to have a "traditional" Christmas. That doesn't just mean turkey and plum pudding, no sir. It means we have to go cut down our own tree from the farm. And that's not all. It also means we have to kill our own Christmas dinner. Can you believe it? And you know, once the old man makes up his mind, there's no talking him out of it. Usually he hates things like holidays. Really, I think he hates "family," although to be fair I guess he sometimes thinks the individuals in it are sort of OK. Mostly he's very withdrawn from the family, in a world of his own.
But then he'll get this fixation, like a "traditional" Christmas, and look out, here comes Mr. Family!…
Father wakes Barney and me at seven o'clock sharp so we can go out and cut the tree down and pick out a goddamn chicken. I want to just tell him no. "C'mon, Dad, how about we go into town and buy a tree and a turkey like everyone else? That's tradition." But you don't argue with Father like that anymore than you call him "Dad." You just don't…
On this rollicking journey, we meet a suicidal toad, a cat, two mice, a bee, grandfather's ghost, and a turtle who possesses Barney in a climactic tale of environmental activism gone awry. Other stories reflect the points of view of Barney's mother, sister, and older brother; together, they construct a collage of spectacular family dysfunction ― and of healing love.
Henry Hitz laces this riveting, thought provoking journey, Squirrels in the Wall, with dollops of juicy humor. Dogs, bees, a fox, humans, turtles, and other assorted critters–both dead and alive–all ponder, question, and wonder about that line blurring life and death. "Life is death's dream?" Under the masterful hand of Mr. Hitz, we are in for a thoroughly enjoyable and informative read.
–Francine Thomas Howard, author of two Amazon bestsellers: Page from a Tennessee Journal, and The Duke of Union County
In 1977, a fireman named Dan White saved a woman and her babies from a fire in the Geneva Towers apartments in San Francisco. It is this scene which opens White Knight, the story of one witness to that fire, Barney Blatz, and his entanglement with the political and personal catastrophe which followed. With the November, 1978 Jonestown Massacre of 912 people and, three days later, White's murder of Mayor George Moscone and Supervisor Harvey Milk, the city and Barney unraveled. "There's a bumper sticker that reads 'Time is nature's way of keeping everything from happening at once,' but this November, it isn't working."
A powerful tale set in San Francisco during the turbulent late '70s. Hitz makes you feel that you were there, and shows how we came to grasp that 'the personal is political' and, alas, vice versa. An elegant debut novel.
-Clifford Irving, author of Trial and Autobiography of Howard Hughes
Election Post Mortem
Dismantling Systemic Racism in the Schools
The OWG Brigade
Will we need to make the country "ungovernable?"
Top 13 Movies Celebrating Black Liberation


During the 2016 Purdue Conference on July 11-14 we had the opportunity to present two of our recent works on CFD of positive displacement machines. One popular topic was the industrial application of scroll machines. For this particular area we had the chance to once again compare physical experimental data with our CFD results.
The comparison of our CFD results with the measurements showed good agreement and we were very pleased with these results.
The transient numerical simulations of a dry vacuum scroll pump were performed with the commercial CFD software code ANSYS CFX. The meshes for the working chamber were created with CFX Berlin's popular TwinMesh and the stator meshes with ANSYS Meshing. The simulations considered compressibility, turbulence, and heat transfer effects using ideal gas properties for the fluid. The pressure ratio between inlet and outlet was varied as well as the gap size. The results were compared with analytical and experimental data.
In the paper, we showed time dependent information such as pressure, velocity, and temperature for specific locations in the chamber volume. In addition to that, integral values such as power, torque, and mass flow were presented. Finally, cross-sectional views were plotted for different positions and time steps.
The comparison of the CFD results with the experimental data indicated that the working mechanism and flow conditions within the dry scroll vacuum pump were well captured by the simulation. The grid generation accurately considered axial gaps. The heat transfer from the process gas to the ambient over the casing had a main impact on the increase of the pressure over the rotation angle.
The pressure increase of the adiabatic process is faster than specifying a constant wall temperature.
In order to keep the challenge up, future investigations will focus on the heat transfer through the casing of the pump. Also, further investigations are planned for a mesh refinement study to include real gas properties.
If you would like to read the full paper you can find it here. For all of you who prefer to have a look on the full conference slide show this is available via the following download button here.


Was Cable or Stryfe the clone, and who had the cure for the Legacy Virus?
John Romita Jr. made a spectacular return as the artist of Uncanny X-Men starting with issue 300 in 1993. However, his return was fairly short-lived, ending with #311 in 1994. "After I got on the X-Men, then I got screwed off of it again by a guy named Kelly Corvese," Romita Jr. revealed in Modern Masters vol. 18. "They asked me to do the Punisher/Batman crossover, so I asked for one month off of X-Men to do the Punisher/Batman. They gave it to me, and then they wouldn't let me back on because (artist) Joe Madureira was discovered."
"(Editor) Bob Harras was pleasant to me up front, and then didn't like my work behind my back," Romita Jr. explained. "He didn't want to cause trouble at the company, so he let me work without telling me he wasn't thrilled with my work, and I was kept off of a lot of books, and I was screwed out of doing the X-Men by (assistant editor) Kelly Corvese when Bob Harras should have done the right thing, and he didn't."
In 1993, the X-Men books were littered with new plot twists and a few of them were abandoned before reaching any resolution. In the Stryfe's Strike File one-shot, a new character named Holocaust was introduced: "Hero? Villain? Anarchist? How does one classify a mutant who dares to frustrate the Upstarts at dawn, singlehandedly destroys a Sentinel-processing plant at noon, and attempts to slay the X-Men at dusk?" it was asked. "He does not speak, his thoughts are cloaked (...) and his mutant powers seem to adapt to any given situation."
However, Holocaust never appeared in the X-Men books, but a different-looking, alternate universe version of him was introduced in the 1995 Age Of Apocalypse crossover. "We know Holocaust had a human form and something happened for him to need the crystal armor," Uncanny X-Men writer Scott Lobdell told Hero Illustrated in 1995. "Theoretically he could be the janitor at the high school and you wouldn't know it."
Another character that never appeared was the new Hellfire Club leader Shinobi Shaw's mother despite an introductory mention by writer Fabian Nicieza in X-Men vol.2 #22.
In Uncanny X-Men #299, writer Scott Lobdell introduced a telepathic mutant in the employ of anti-mutant legislator Senator Kelly, but readers never found out if that was a good or a bad thing. He appeared again in Uncanny X-Men #322 and 323 in 1995, thinking about dark days about to dawn, but besides a cameo appearance in X-Men vol.2 #51 in 1996 that was the last that was seen of him.
A cure for the Legacy Virus?
In X-Factor #68 from 1991, Scott Summers (Cyclops) had to send his son, Nathan, into the future to save the boy from a techno-organic virus infection. Then, in 1992/1993, the X-Men line of books featured a crossover entitled X-Cutioner's Song, which featured the villain Stryfe. It was suggested that Stryfe was the adult Nathan come back from the future to torment his parents for deserting him and that Cable was a clone of Stryfe.
"When the Cable character was first created, it was decided that he was to be the clone of the child that got sent to the future; the son of Scott (Summers, Cyclops) and Madelyne Pryor," Uncanny X-Men writer Scott Lobdell confirmed in Comics Creators On X-Men. "The actual son became Stryfe, who grew up to do horrible, horrible things, and his clone was Cable."
"I remember calling (editor) Bob (Harras) up and saying, "If Scott sent this kid into the future and this kid becomes a raving mass murderer, that kind of suggests that Scott is partially responsible for turning his son into this horrific creature." However, if Cable was the real son, the clone then becomes the flawed version that went off and did those horrible things."
And so it was revealed in Cable #6-8 in 1993/1994 that it was Cable who was actually Nathan and that Stryfe was the clone of Nathan.
The X-Cutioner's Song crossover ended with Stryfe unleashing the deadly Legacy Virus on mutantkind. Then, in Excalibur #80, plotted by Scott Lobdell in 1994, Stryfe granted his rebellious servant droid, Zero, full awareness, including full access to data that might lead to a cure for the virus. However, Zero was destroyed, but not before downloading the data into the technorganic being, Douglock. But Douglock never realized that Zero had given him the means to find a cure for the dreaded virus. In Excalibur #98, written by Warren Ellis in 1996, Douglock was captured by the secret government organization Black Air, and their technicians extracted the information from him, but never did anything with it.
In 1995, the X-Men books featured the Age Of Apocalypse crossover set in an alternate reality. When things returned to the normal Marvel Universe, plans were afoot for a few changes in the books' character line-ups.
"We've dissolved the concept of Blue team and Gold team," Scott Lobdell told Hero Illustrated. "Uncanny X-Men and X-Men will both be working with the whole cast. While the stories will still be grounded within the individual books, the subplots will be weaving much, much tighter between the two."
"Northstar may end up joining the X-Men," Scott Lobdell told Wizard #41. "He's one of the new candidates." Asked if he would pick up the issue of Northstar being gay, Lobdell answered: "If he appears in the book, yes. I don't think it would be fair to introduce him into the book and not explore every facet of the character."
But Northstar did not join the X-Men at this point and the changes planned for X-Factor didn't happen either. In The Age Of Apocalypse Universe, the series introduced a pair of twin mutants, Jesse and Terry Bedlam, called The Bedlam Brothers. Editor Kelly Corvese announced in Wizard #41 that the regular Marvel Universe version of one of the twin characters from The Age Of Apocalypse was coming on board. It would be X-Factor's first non-Caucasian character. The Age Of Apocalypse version of the new character had a twin brother in his universe, but the version in the regular universe would not have a brother.
During The Age Of Apocalypse, one of the twin brothers was supposed to die and then the other twin would come to the regular Marvel Universe, meaning that two of the same character the Age Of Apocalypse version, who just lost his twin brother, and the version in the Marvel Universe would be existing at the same time in the same universe. However, none of the Bedlam Brothers died or made it to the regular universe, but the character idea was in used in 1998 in X-Force #82, where the Marvel Universe version of Jesse Aaronson (Bedlam) joined the team.
"It's interesting to note that (The X-Men) weren't popular at all during the 60s," comic book writer Mark Millar speculated in Comics Creators On X-Men in 2006. "However, Len Wein and Dave Cockrum's revamp just seemed to capture the zeitgeist and Chris (Claremont) and John (Byrne) took the whole thing to a new level when they did a few years on the book."
"Creatively, the book was close to perfect and even when it wasn't, in the 90s, the momentum from the 80s was so strong that it took five years before people realized they weren't enjoying it after Claremont left. (...) I don't know if it's possible to recapture the excitement of the Claremont era it might just be unique to Chris."
"It's been four years and the book has evolved in a vastly different direction," Claremont noted in Wizard #51. "Characters have evolved in different directions; they build their own audiences. If I came back, I would either have to tap into storylines, characters and approaches that I am not comfortable with or I would have to set in motion a storyline to take the book to what I was comfortable with, which would mean invalidating huge chunks of continuity."
"You have a lot of fans out there who enjoy the book as it is now. I would feel wrong coming in and just saying to them, "Well, screw you. This is my stuff. I am imposing my interpretation back on the X-Men. I am going back to the way I thought it was cool.""
"You don't do something for 18 years of your life, you don't stay associated with a company for your entire working life, without missing it one way or another," Claremont admitted in Comics Focus #1. "Of course I miss it."


text:
Kerschek ist der Familienname folgender Personen:

 Hans Kerschek (1932–1995), deutscher Journalist und Schriftsteller, inoffizieller Mitarbeiter der DDR-Staatssicherheit
 Sven Kerschek (* 1973), deutscher Musiker
 Wolf Kerschek (* 1969), deutscher Musiker und Komponist, Professor an der Hochschule für Musik und Theater Hamburg

redpajama_set_name: RedPajamaWikipedia


text:
The township of Elswick had originally formed part of the Barony of Bolam and was owned by Tynemouth Priory from 1120-1539, with a fishery present on the site. One of the earliest references to the coal mining industry of the north east occurs in 1330, when it was recorded that the Prior of Tynemouth let a colliery, called Heygrove, at "Elstewyke" for a rent of £5 per year. Elswick Colliery had 3 pits working from 1860 onwards. Elswick was owned by the Crown from 1539 to 1628, until it was sold by Charles I.
The Priors held a mansion in the middle of Elswick which was later occupied by Elswick Hall. Having been rebuilt a number of times, the last rebuild took place in 1810. The grounds of Elswick Hall became Elswick Park in 1881. Elswick changed significantly in the late 19th Century with the extension of the railway from Carlisle to Newcastle in 1839 and the establishment of Armstrong's manufacturing works in 1847. Population increased rapidly during this period with the construction of Tyneside flats from Scotswood Road to accommodate the workforce.
The Elswick works was founded in 1847 by engineer William George Armstrong. It manufactured hydraulic machinery, cranes and bridges and, later, artillery. In 1882 the company merged with the shipbuilding firm of Charles Mitchell to form Armstrong, Mitchell & Company. Armstrong Mitchell merged again with the engineering firm of Joseph Whitworth in 1897, forming Armstrong, Whitworth & Co.
Elswick station was opened in 1889 to serve the area. It was located at the western end of the Elswick Works, whose workforce made up a significant proportion of travellers. The area suffered as a result of the inter-war and subsequent depressions, culminating in the demolition of the Elswick works. The station was closed and then demolished in 1967.
Elswick was hit hard by the decline of Tyneside's shipbuilding industry during the second half of the 20th century. According to a report by The Independent newspaper, unemployment stood at nearly 30%.
York Street.
A very old street sign at the junction with Elswick Road.
Gloucester Terrace, Elswick Hall care home.
Gloucester Terrace.
Westmorland Road.
Elswick Road.
New Fire Station on Rye Hill.
Nesham Street.
Riverside Dene (Cruddas Park) Flats.
Cruddas Park House.
The Globe Public House on Railway Street.
Railway Street.
Newcastle Bangladesh Association, Elswick Road.
Chesterfield Arms Public House, Elswick Road.
Northbourne Street.
Remains of Armstrong Works by the River Tyne.
Information Boards at Armstrong Works.
Pigeon Crees on Skinnerburn Road.
The River Tyne at Elswick.
Cruddas Park Shopping Centre.
Cruddas Park Library.
Metropolitan Bar, Westmorland Road.
Opened in 1973 as the Gold Cup and was named after the steeplechase sponsered by Whitbread. Now the Metropolitan Bar.
St Michael's R.C. Church.
Roman Catholic parish church. 1889-91 by Dunn, Hansom and Dunn. Snecked sandstone with ashlar-coped rock; faced plinth, ashlar dressings and quoins; graduated Lakeland slate roof with ornamental red ridge on transepts. Presbytery of rock-faced sandstone in irregular courses; ashlar dressings and quoins, and Welsh slate roof with stone gable copings. Listed Grade 2. Source: Sitelines.
Church of St. Stephen, Brunel Street.
Sitelines - Elswick Road, Chesterfield Arms (Independent) PH
Sitelines - Elswick Rd, Nos. 246-248, Laidlaw House, Masjid
Sitelines - Elswick, Westmorland Road, Gold Cup Public House
Sitelines - Brunel Street, Church of St. Stephen
See my other photos around Elswick:


text:
Artwork by and books about Don Ed Hardy.
A Southern California native born in 1945, Hardy acted on his childhood determination to become a tattoo artist and underwent a tattoo apprenticeship while simultaneously receiving a B.F.A. degree in printmaking at the San Francisco Art Institute in 1967. His specialization in intaglio printmaking, with its "speed of line, rhythm, variety, and density of structure" prepared him well for the career that followed. He turned down a graduate fellowship offer from Yale School of Art and decided instead to begin tattooing professionally.
In 1973 at the invitation of the Japanese tattoo master Horihide, Hardy moved to Gifu, Japan where he studied and tattooed. The following year he opened Realistic Tattoo in San Francisco, a private studio where he undertook unique tattoo commissions tailored to his clients' wishes and needs. Encouraging unique tattoo commissions from his customers created a permanent shift in Western tattooing with an emphasis on the potential of tattooing as an artistic expression
In 1986 Hardy moved to Honolulu to concentrate more on his art. For the next ten years he would commute back and forth to San Francisco to tattoo. Hardy discovered that he could utilize imagery he developed as a tattoo artist in compositions that were large and complex. Brushes and pens on paper and canvas presented a challenging departure from tightly controlled tattoo work.
Hardy returned to printmaking in 1992, and early etchings created at presses in Chicago and San Francisco reveal a simple style akin to the "flash" in his tattoo repertoire. Later prints—particularly those done with Mullowney Printing (Nara, Japan, and San Francisco), Shark's Ink (Boulder, Colorado), and Magnolia Editions (Oakland)—are larger, colorful, and more ebullient. Hardy describes them as a mix of "the grotesque, humorous, subtle, and flamboyant."
Major career exhibitions include his first retrospective "Tattooing the Invisible Man" that was mounted at Track 16 Gallery in Santa Monica in 1999, his epic 500 foot scroll 2000 Dragons which was the focus of exhibitions in five different cities, and his finally major 2019 retrospective "Deeper Than Skin" at the de Young Museum in San Francisco. In addition to showing his own works, Hardy has curated a number of exhibitions for both galleries and nonprofit spaces and frequently lectures at museums and universities. His work has appeared in numerous periodicals, books, and films internationally. He has written and published more than thirty books on alternative art under the Hardy Marks imprint that he and his wife, Francesca Passalacqua, formed in 1982.
In 2000, he was awarded an Honorary Doctorate by the San Francisco Art Institute. In 2008 he retired from tattooing to concentrate on art making. Hardy divides his time between his studios in Honolulu and in San Francisco.
Classic tattoo
David Levi Strauss
Permanent Curios
tattoo paintings
Don Ed Hardy: Permanent Curios [Softcover]


Full detached 5 bedroom duplex with boys quarter, well finished, interlock ground, marble finishing, popscreeded walls, cctv cameras, fitted kitchen, intercom in all rooms, classic roofing, automated gate, jacuzi bathtops, steam baths, cubicle baths and uk toiletories and doors. We have them in different locations like ikeja GraN opebi estate, magodo Gra 1 and 2 , omole estate phase 1 and 2, adeniyi jones and lekki. For me infon call us on 08086805688 or 07034409418. For photos 2268977c on blackberry.


text:
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    protected $Writable = false;

    protected $Description = 'Anatomical Reference For Scout';
}


text:
Out now! Bumperhead from D&Q, by Gilbert Hernandez
Gilbert Hernandez's (Love And Rockets, Marble Season) new semi-autobiographical graphic novel is a must-read book for the fall! The legendary cartoonist gives us a striking work with magnificent black and white illustrations. A fragmented story about drugs, rock, punk, and teenage crushes, Bumperhead is filled with true characters and conveys strong emotions.
Bumperhead tracks Bobby's life's turning points, as he goes from childhood to old age. Hernandez's stylish strokes beautifully highlight the murky nature of the universe in which the main character evolves. Thus, his work subtly depicts a desecrated world in which even the sky appears threatening to young Bobby, bullied because of his large head.
In Bobby's agonizing suburbs, the Pope is taking a poop on a friend's i-pad. Hernandez's depiction of the town focuses on the strange and the arbitrary. In these gloomy suburbs, a child is fatally allergic to peanuts, a neighbour speaks faster than his lawnmower and a mother prefers cigarettes to children.
Divided into five parts, Bumperhead first traces Bobby's transition from childhood to adolescence, a narrative punctuated by drugs and music. These vibrant stories even echo my own teen experiences, as a hungover Bobby realizes with dismay "I'm still as drunk as I was last night."
The crucial stages in Bobby's life are also anchored in the interest he finds in successive beautiful women. Although Bobby loves women, they are never around for long and love appears as something changing and ephemeral.
Finally, Bumperhead tells the psychological development of a character that struggles with inner conflicts. More than words, it is through Hernandez's beautiful illustrations and his especially expressive rendering of looks, that the reader accesses the emotional charge of the story. The lack of real communication is also spun through numerous relationships. As a result, Bobby's frustration grows as we advance in the narrative. Silence is indeed one of the main themes and the brutality of whatever is left unsaid is multiplied by the black strokes of Hernandez. Bravo!


text:
Q: Why left shift 24 bits changed the value of unsigned long in C? I expect 0b11010010 << 24 should be the same value as 0b11010010000000000000000000000000.
I tested it in C, 0b11010010 << 24 doesn't work as expected if we saved it in c unsigned long.
Does anyone know how C unsigned long works like this?
#include <stdbool.h>
#include <stdint.h>
#include <stdio.h>

int main(){
    unsigned long a = 0b11010010000000000000000000000000;
    unsigned long b = 0b11010010 << 24;
    bool isTheSame1 = a == b;
    printf("isTheSame1 %d \n",isTheSame1);

    bool isTheSame2 = 0b11010010000000000000000000000000 == (0b11010010 << 24);
    printf("isTheSame2 %d",isTheSame2);
}

isTheSame1 should be 1 but it prints 0 as following
isTheSame1 0
isTheSame2 1

Compiled and executed by gcc main.c && ./a.out
gcc --version
Apple clang version 14.0.0 (clang-1400.0.29.202)
Target: x86_64-apple-darwin22.2.0
Thread model: posix

Updated
As Allan Wind pointed out, I added UL suffix and now it works as expected.
    unsigned long a = 0b11010010000000000000000000000000UL;
    unsigned long b = 0b11010010UL << 24;
    bool isTheSame1 = a == b;
    printf("isTheSame1 %d \n",isTheSame1);

    bool isTheSame2 = 0b11010010000000000000000000000000UL == (0b11010010UL << 24);
    printf("isTheSame2 %d",isTheSame2);

A: The constant 0b11010010 has type int which is signed.  Assuming an int is 32 bits, the expression 0b11010010 << 24 will shift a "1" bit into the sign bit.  Doing so triggers undefined behavior which is why you're getting strange results.
Add the UL suffix to the constant to give it type unsigned long, then the shift will work as expected.
unsigned long b = 0b11010010UL << 24;

A: You are doing a left shift of a signed value (see good answer of @dbush)
In absence of suffixes numbers have int or double types
b = 0b11010010 ;  /*  type int */
b = 1.0;          /*  type double */

If you want want b in your example as unsigned long  use a suffix:
b = 0b11010010UL;  /*  type unsigned long  */

or a cast:
b = (unsigned long)0b11010010;  /*  type unsigned long  */

A: With 32-bit (or smaller) int, 0b11010010 << 24 is undefined behaver (UB).  It attempts to shift into the sign bit.
When int is 32-bit (common), this often results in a negative value corresponding to the bit pattern 11010010-00000000-00000000-00000000.
When a negative value is saved as an unsigned long, ULONG_MAX + 1 is added to it.  With a 64-bit unsigned long the value has the bit pattern:
11111111-11111111-11111111-11111111-11010010-00000000-00000000-00000000

This large unsigned long in not equal to 0b11010010000000000000000000000000UL and so the output of "isTheSame1 0".
Had OP's long been 32-bit, it "might" have worked as OP had intended - yet unfortunately still replying on UB.

Appending an L
32-bit unsigned long: 0b11010010 << 24 suffers the same UB problem as above - yet might have "worked".
64-bit unsigned long: 0b11010010L is also long and 0b11010010L << 24 becomes the value 0b11010010000000000000000000000000, the same value as a.
Appending an U
32-bit unsigned: 0b11010010U << 24 becomes the value 0b11010010000000000000000000000000, the same value as a.
16-bit unsigned: 0b11010010U << 24 is undefined behavior as the shift is too great.  Often the UB results in the same as 0b11010010U << (24-16), yet this is not reliably done.
Appending an UL
32 or 64-bit unsigned long: 0b11010010UL << 24 becomes the value 0b11010010000000000000000000000000, the same value as a.

Since the left hand side of the = of the below is unsigned long, better for the right hand side constant to be unsigned long.
unsigned long b = 0b11010010 << 24;   // Original
unsigned long b = 0b11010010UL << 24; // Better

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