Vilified as the great failure of all London Transport bus classes, the DMS family of Daimler Fleetline was more like an unlucky victim of straitened times. Desperate to match staff shortages with falling demand for its services during the late 1960s, London Transport was just one organization to see nationwide possibilities and savings in legislation that was about to permit double-deck one-man-operation and partially fund purpose-built vehicles. However, prohibited by circumstances from developing its own rear-engined Routemaster (FRM) concept, LT instituted comparative trials between contemporary Leyland Atlanteans and Daimler Fleetlines.The latter came out on top, and massive orders followed. The first DMSs entering service on 2 January 1971. In service, however, problems quickly manifested. Sophisticated safety features served only to burn out gearboxes and gulp fuel. The passengers, meanwhile, did not appreciate being funnelled through the DMS's recalcitrant automatic fare-collection machinery only to have to stand for lack of seating. Boarding speeds thus slowed to a crawl, to the extent that the savings made by laying off conductors had to be negated by adding more DMSs to converted routes! Second thoughts caused the ongoing order to be amended to include crew-operated Fleetlines (DMs), noise concerns prompted the development of the B20 quiet bus variety, and brave attempts were made to fit the buses into the time-honored system of overhauling at Aldenham Works, but finally the problems proved too much. After enormous expenditure, the first DMSs began to be withdrawn before the final RTs came out of service, and between 1979 and 1983 all but the B20s were sold as is widely known, the DMSs proved perfectly adequate with provincial operators once their London features had been removed. OPO was to become fashionable again in the 1980s as the politicians turned on London Transport itself, breaking it into pieces in order to sell it off. Not only did the B20 DMSs survive to something approaching a normal lifespan, but the new cheap operators awakening with the onset of tendering made use of the type to undercut LT, and it was not until 1993 that the last DMS operated.
This third edition of Applied Transport Economics has been completely revised and updated to cover the latest developments and thinking in transport economics. Professor Stuart Cole examines the application of economics techniques first to commercial transport operations, and second to public policy issues such as investment, integrated transport and competition, and third to the role of transport in its wider economic context. The style and approach, which proved so popular in the first two editions has been retained. This approach provides a transport economics text book for a) managers who are not familiar with economics techniques, b) students preparing for examinations in transport and other areas of business and public policy where an applied approach to economics is required, and c) economists entering the transport field. Fully and extensively updated throughout, this third edition will contain: *new information on SE Asia and Eastern Europe *updated and extended case studies *a new bibliography; *an extended further reading section.
'Dress as though your life depends on it, or don't bother.' (Leigh Bowery, 1985) Outlaws dives into the anarchic energy of London's 1980s club scene, celebrating the avant-garde, experimental designs of Leigh Bowery and his fellow fashion renegades, including John Galliano, Stephen Linard, BodyMap, Pam Hogg, Rachel Auburn and Wayne Hemingway. This unique and daring creative movement sparked an explosion of outrageous fashion. Outlaws features specially commissioned photography of original outfits crafted by 28 trailblazing clothes designers. They are accompanied by first-hand accounts from musician Holly Johnson, DJ Mark Moore, artist Peter Doig and photographer Dave Swindells, as well as rare photos and flyers from club nights where these outfits were worn, such as Bowery's legendary Taboo. Outlaws captures a subculture that defied norms and pushed the boundaries. It is a tribute to the visionaries who reshaped British pop culture and blazed a trail to high fashion.
Charlotte Brunsdon's illuminating study explores the variety of cinematic 'Londons' that appear in films made since 1945. Brunsdon traces the familiar ways that film-makers establish that a film is set in London, by use of recognisable landmarks and the city's shorthand iconography of red buses and black taxis, as well as the ways in which these icons are avoided. She looks at London weather – fog and rain – and everyday locations like the pub and the housing estate, while also examining the recurring patterns of representation associated with films set in the East and West Ends of London, from Spring in Park Lane (1948) to Mona Lisa (1986), and from Night and the City (1950) to From Hell (2001). Brunsdon provides a detailed analysis of a selection of films, exploring their contribution to the cinematic geography of London, and showing the ways in which feature films have responded to, and created, changing views of the city. She traces London's transformation from imperial capital to global city through the different ways in which the local is imagined in films ranging from Ealing comedies to Pressure (1974), as well as through the shifting imagery of the River Thames and the Docks. She addresses the role of cinematic genres such as horror and film noir in the constitution of the cinematic city, as well as the recurrence of figures such as the cockney, the gangster and the housewife. Challenging the view that London is not a particularly cinematic city, Brunsdon demonstrates that many London-set films offer their own meditation on the complex relationships between the cinema and the city.
The Olympian was Leyland's answer to the competition that was threatening to take custom away from its second-generation OMO double-deck products. Simpler than the London Transportcentric Titan but, unlike that integral model, able to respond to the market by being offered as a chassis for bodying by the bodybuilder of the customer's choice, the Olympian was an immediate success and soon replaced both the Atlantean and Bristol VRT as the standard double-decker of the NBC. It wasn't until 1984 that London Transport itself dabbled with the model, taking three for evaluation alongside trios of contemporary double-deckers.The resulting L class spawned an order for 260 more in 1986, featuring accessibility advancements developed by LT in concert with the Ogle design consultancy, but the rapid changes engulfing the organisation meant that no more were ordered. During the 1990s company ownerships shifted repeatedly as the ethos of competition gave way to the cold reality of big business, an unstable situation which even saw London's bus operations broken up.The L class was split between three new companies, but the backlog of older vehicles to replace once corporate interests released funding ensured the buses up to a further decade in service. Finally, as low-floor buses swept into the capital at the turn of the century, Olympian operation at last declined, and the final examples operated early in 2006.This profusely illustrated book describes the diversity of liveries, ownerships and deployments that characterised the London Leyland Olympians' two decades of service.
London is in a mess, with homelessness, poverty, unemployment, transport problems and environmental problems. This book looks at what has gone wrong, exploring policy directions that could make the city a more humane and livable place.
In 1979, fresh from its general election victory, the Conservative government began formulating plans to deregulate bus services and privatise the companies operating them in England, Scotland and Wales. London was not to be excluded, so from the outset, London Buses was broken up into several areas and from 1985, a tendering system was introduced which permitted other operators to bid for the routes. Opposition from the Labour group at the Greater London Council had to be dealt with – eventually achieved by abolishing it in 1986. However, as each subsequent year passed, promises that deregulation was coming were not met. In late 1992, the privatisation timetable was set, and was ultimately completed at the end of 1994. The issue of deregulation never resurfaced. Copiously illustrated with over 270 photographs, virtually all of which are being published for the first time, this is the story of London Buses over those sixteen tumultuous years. To give greater context to the narrative, annual vehicle acquisition listings show how purchasing policy changed over the period; important route changes, tendering gains and losses and a fleet list for the entire period are also included.