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The Star
31-05-2025
- Automotive
- The Star
Celebrating two centuries of railroading
THE INTENT to move wagons or carts on some kind of permanent tracks easily began many centuries ago, with records showing lots of effort to move cargo hauled by animals. In Europe, wagonways (or tramways) were operated as far back as the 1550s to haul mined materials, though they tend to be horse-drawn, with the carriages or wagons running on wooden planks placed on the ground to provide a smooth platform. In the mid-1700s, the increasing popularity of steam-powered engines allowed the option of moving away from animal or human powered propulsion for transport. During the First Industrial Revolution (1760-1840), mainly in Britain, many steam-powered machinery were introduced, fuelling the growth of factories and mass manufacturing. Improvements in the iron (and later steel) manufacturing process also allowed rail to make further inroads. In the late 1760s, the Coalbrookdale Company began to fix cast iron plates to the upper surface of wooden rails to increase their service life and strength to take on ever heavier loads. Many parties tried various ways to improve the stability of the contact point between metal wheel and rail, in the end resulting in the flanged wheel and edge-rail which is now standard for railways all over the world. Improvements in metallurgy and furnace technology eventually allowed steel rails to completely replace cast iron. In particular, the Bessemer process developed by Henry Bessemer in 1856 lowered the cost for mass production of steel, further fuelling the Second Industrial Revolution (1870-1914), which by then had spread to Europe, North America and Japan. Improvements to the steelmaking process to make more durable (and the same time, cheaper) steel came through the open hearth furnace method, nudging out the Bessemer process towards the end of the 19th century. Improvements to rail allowed progressively heavier loads to be imposed on the line through heavier locomotives and longer trains, with focus at that time was always on how move cargo efficiently, rather than passengers. Stephenson steps on One particular significant moment took place on Sept 27, 1825, when George Stephenson's showed off his steam-powered Locomotion No. 1. The train travelled nearly 42km between Shildon, Darlington and Stockton, an area about 400km from Central London, setting off a movement that transformed mobility forever. The Stockton and Darlington Railway (S&DR) ran from 1825 to 1863, and is recognised as the first public railway to use steam locomotives. Its first line connected coal mines and associated infrastructure near Shildon with Darlington and Stockton in County Durham. Using rail to transport coal proved to be a financially viable model, and the line was soon extended to a new port at Middlesbrough. While coal-laden wagons on S&DR were hauled by steam locomotives from the onset, initial passenger service was performed using horse-drawn coaches until the animal brigade was replaced by steam locomotives in 1833. Much has evolved since then, with rapid advances in internal combustion engines that led to diesel quickly replacing coal and wood to power locomotives. Electrification, in turn, displaced a good number of diesel locomotives, especially for passenger trains. By the early 20th century, the steam locomotive has been relegated to history as diesel and electric trains reigned supreme until today. Continuous refinement in engineering and modern industrial requirements led to creation of high-speed rail (HSR), with the first HSR, Japan's Tōkaidō Shinkansen, commencing operations between Tokyo and Osaka in 1964. HSR is a network that uses trains that run significantly faster than those of traditional rail, using an integrated system of highly specialised rolling stock and largely dedicated tracks (none or little mixing with cargo or slower trains) to allow commercial operations of up to 350kph. While there is no iron-clad definition of HSR worldwide, HSR today generally refers to lines built to handle speeds of at least 250kph, or upgraded lines that allow at least 200kph The development of HSR systems like those in China, Japan and Europe has further revolutionised low carbon mobility. Putting aside the ultra-expensive magnetic levitation technology, the best systems utilising wheels on rail now allow for top speeds of up to 350kph, such as the newly built Jakarta to Bandung HSR, as well as the latest generation of HSR in Japan. Engineers are continuing to push the limits of HSR, with China, for example, now testing HSR trains that can hit 400kph in commercial operations. So far, its CR450 prototype has surpassed 450kph during testing. Asean-wise, Thailand is currently building its maiden HSR line to connect with China via Laos, while Vietnam recently approved a HSR line to cut the extremely long travel time of its rickety conventional railway between Hanoi and Ho Chi Minh City And while there has been no public announcement, Indonesia is quietly plotting how to extend its maiden HSR line from Bandung to Surabaya via Yogjakarta, even as it looks at improving overall speeds at its existing lines. Regional rails All over the world, governments are increasingly persuading commuters to minimise flying and driving to cap global-warming emissions. More drastic movements include putting social pressure on those who tend to fly, such as the 'flight shaming movement,' also known as flygskam in Swedish, which gained popularity with champions like Greta Thunberg plugging rail travel as a more sustainable transportation option. Rail has always been promoted as a means social and economic integration, with proposals such as the Trans-Asian Railway (TAR) and Pan-Asian Railway floated over the decades. Promoted by the United Nations Economic and Social Commission for Asia and the Pacific (Escap or Unescap), TAR refers to the network spanning Asia that connects 28 countries (including Malaysia) through 117,500km of railway lines. Meanwhile, the Pan-Asian Railway (PAR) is the vision that connects South-East Asia with Central Asia, all the way to Europe via Kunming, China. On April 18, Transport Minister Anthony Loke reiterated Malaysia's readiness to develop PAR, especially to reach China to boost trade, particularly in the halal industry. To date, Malaysia has launched a pilot project known as the Asean Express, a joint cargo service between KTM Bhd and the State Railway of Thailand (SRT), last year. 'This is a collaboration between KTMB, SRT and partners in China to transport cargo from Malaysia to Chongqing, with a transit time of nine days,' he said, adding that some regulatory challenges, even among Asean members, like various customs regulations, must be overcome first before a totally seamless cargo train service can exist. Much excitement was also generated over chatter about the resumption of direct passenger services from Butterworth to Bangkok. However, the journey is still a long one, time wise, as the lines in the southern part of Thailand as still not electrified. This means, even if the ETS in Malaysia can move quickly, one still has to contend with the slower diesel trains, which are further constrained by the largely single-track formation from Hat Yai all the way to Bangkok. Meanwhile, those looking for speedy rail travel using ETS from Kuala Lumpur to Johor Baru will most likely have to wait until next year, as KTMB has not offered any ETS tickets covering the segment from Segamat to Johor Baru for any travel up to end of this November when its advance sales opened on Friday. (May 30). For mobility observer Wan Agyl Wan Hassan, Malaysia missed a crucial chance to highlight its urban rail network during the recent Asean Summit in Kuala Lumpur, which was marked by many road closures to ease the movements of VIPs and delegates. 'We missed a golden opportunity to spotlight rail as a smart, reliable solution for urban mobility; when thousands were forced to reconsider how they move. We failed to nudge the people towards public transport that's already built and waiting. And of course, there is also a glaring absence of integrated communication on mobility options,' he said. As the largest rail urban public transport operator here, Prasarana only announced increased train frequencies during peak hours, while the police and some highway concessionaires took turns to announce what roads will be closed. 'There needs to be a whole-of-government approach when it comes to things like these. And there should also be some out-of-the-box thinking like providing free train services during the Asean Summit to get more people on rail. So far, the thinking seems to revolve around only on how to allow cars to move smoothly,' said Wan Agyl. All said, rail will be marking a quiet milestone here tomorrow (June 1) after the first railway in Malaysia opened between Taiping and Port Weld (now Kuala Sepetang) in Perak on June 1, 1885. According to KTMB, celebrations for the 140th anniversary of rail here will take place beginning July, with details to come soon. > 'Railway 200' BRITAIN'S Network Rail is taking the lead in celebrating two centuries of modern rail though a year-long celebration called Railway 200. 'The Stockton and Darlington Railway opened on Sept 27, 1825, connecting places, people, communities and ideas and ultimately transforming the world. 'Railway 200 will be a year-long nationwide partnership-led campaign to celebrate 200 years of the modern railway and inspire a new generation of young pioneering talent to choose a career in rail. It invites community, rail and other groups to get involved,' said the company on the movement's website at More interesting information on the history of rail can also be found at
Yahoo
06-05-2025
- Business
- Yahoo
CHARLES PAYNE: What every American needs to do when the stock market is sinking
Investing in the market is a lifelong endeavor -- the sooner you start, the better off you will be. Looking at the last hundred years, it seems like an easy decision. Since the late 1970s, anyone would take all the gains in the S&P 500 against the occasional loss. Investors aged 18 to 81 are fortunate to live in this era. Investors today are already carving out: A different approach A different confidence The Beginning Of Trump's 'Golden Age' Is Here And Putting 'More Money' In Your Pocket, Labor Secretary Says Read On The Fox Business App Instead of reacting emotionally and indefinitely postponing investment plans due to market volatility, the fresh bear market provides the perfect timing to get in. I am imploring everyone to be ready to confront a situation head-on and to be opportunistic. This is more than buying the dip. Long-term investors should be building positions right now and everyone should be a long-term investor. It is advisable to trade with a portion of your portfolio while maintaining core positions that could significantly impact your financial situation. Great news! Positions are available, both new and familiar, at discounted prices. I aim for you to thrive in periodic corrections and bear markets, not merely survive them. An old saying suggests success comes from time invested in the market rather than timing the market. This is true, especially if you are a passive investor. But there is a much bigger return for those genuinely prepared to seize the moment. U.S. household wealth in the stock market now makes up 170% of disposable income. The top 10% of American households own 87% of all stocks. Ironically, the top 10% percent is hoping the current turmoil will make you give up and sell your portfolio now. In the future, the experts will run the money while you vote in the interest of corporations over Main Street. Regular folks have realized that the stock market is how you can get rich. The American way of life revolves around the financialization of the economy and the stock market. We stopped investing in factors and in people, and instead, money makes money. There have been 35 recessions in the United States since 1854. During this time, we fueled a boom that lifted the country past the U.K. The Second Industrial Revolution created major cities and disposable income and triggered the American Century. Looking at recent years, what stands out? Click Here To Read More On Fox Business Fewer and shorter recessions. The system is designed to bounce back quickly. And along with the rebound in the economy comes the rebound in the stock market.
Yahoo
18-04-2025
- Politics
- Yahoo
With federal funding in question, artists can navigate a perilous future by looking to the past
In a February 2025 Truth Social post, President Donald Trump declared a 'Golden Age in Arts and Culture.' So far, this 'golden age' has entailed an executive order calling for the federal agency that funds local museums and libraries to be dismantled, with most grants rescinded. The Trump administration has forbidden federal arts funding from going to artists who promote what the administration calls 'gender ideology'. There's been a purge of the board of the Kennedy Center for the Performing Arts, with Trump appointing himself chair. And the administration has canceled National Endowment for the Humanities grants. Suffice it to say, many artists and arts organizations across the U.S. are worried: Will government arts funding dry up? Do these cuts signal a new war on arts and culture? How do artists make it through this period of change? As scholars who study the arts, activism and policy, we're watching the latest developments with apprehension. But we think it's important to point out that while the U.S. government has never been a global leader of arts funding, American artists have always been innovative, creative and scrappy during times of political turmoil. For much of the country's early history, government funding for the arts was rarely guaranteed or stable. After the Civil War, the Second Industrial Revolution facilitated massive concentrations of wealth, in what became known as the the Gilded Age. Private arts funding soared during this period, with some titans of industry, such as Andrew Carnegie and John D. Rockefeller, seeing it as their duty to build museums, theaters and libraries for the public. The heavy reliance on private funding for the arts troubled some Americans, who feared these institutions would become too exposed to the whims of the wealthy. In response, Progressive Era activists and politicians argued that it was the government's responsibility to build arts spaces accessible to all Americans. Efforts to fund the arts expanded with the election of Franklin D. Roosevelt in 1932, as the country was reeling from the Great Depression. From 1935 to 1943, the Works Progress Administration provided jobs with stable wages for artists through the Federal Art Project. However, Congress famously terminated the program in response to a 1937 production of 'The Revolt of the Beavers,' which conservative politicians denounced for containing overt Marxist themes. Nonetheless, over the ensuing decades, the federal government generally signaled its support for the arts. Congress established the National Endowment for the Arts and the National Endowment for the Humanities in 1965 to fund arts organizations and artists. And since 1972, the General Services Administration has commissioned public art for federal buildings and organized a registry of prospective artists. The NEA gave US$8.4 million in direct funding to artists in 1989 via fellowships and grants. This might be considered the high-water mark for unrestricted government funding for individual artists. By the 1980s, sexuality, drugs and American morality had become hot-button political issues. The arts, from music to theater, were at the center of this culture war. Pressure escalated in 1989 when conservative leaders contested two NEA-funded exhibitions featuring work by Andres Serrano and Robert Mapplethorpe, which they deemed homoerotic and anti-Christian. In 1990, Congress instated a 'decency clause' guiding all future NEA work. When Republicans regained control of Congress in 1994, they slashed direct funding for the arts. With direct funding to artists largely eliminated, today's artists can indirectly receive federal government support through federal arts agency grants, which are given to arts organizations that then dole out a portion to artists. Local and state government agencies also provide small amounts of direct support for artists. Artists and arts organizations have a long legacy of persistence and strategic organizing during periods of political and economic upheaval. In the pre-Revolutionary colonies, representatives of the British government banned theatrical performances to discourage revolutionary action. In response, activist playwrights organized underground parlor dramas and informal dramatic readings to keep arts-based activism alive. Activist theater continued into the antebellum period for the purposes of promoting the abolitionist cause. These dramas, often organized by women, would take place in living rooms, outside of public view. The clandestine staged readings – the most famous of which was written by one of the earliest Black American playwrights, William Wells Brown – seeded enthusiasm and solidarity for the antislavery cause. These privately staged readings took place alongside public performances and lectures. Dozens of experimental schools like the Highlander Folk School in Tennessee and Commonwealth College in Arkansas were founded in the 1920s and 1930s to train activists. Supporting adult learners of all ages – but specifically young adults – they initially focused on arts-based techniques for training workers in labor activism. For example, students wrote short plays based on their experiences of factory work. In their rehearsals and performances, they imagined endings in which workers triumphed over cruel bosses. Many programs were residential, rural and embraced early versions of mutual aid, where artists and activists support one another directly through pooling money and resources. Tuition was minimal and generally provided directly from labor organizations and allies, including the American Fund for Public Service. Most teachers were volunteers, and the learning communities often farmed to cover basic necessities. Although these institutions faced perpetual threats from local governments and even the FBI, these communal schools became testing grounds for social change. Some programs even became training sites for civil rights activists. Black artists have long created spaces for community connection and career development. The Great Migration brought many Black American artists and thinkers to New York City, famously spurring the Harlem Renaissance, which lasted from the end of World War I through the 1920s. During this period, the neighborhood became a fountain of culture, with Black artists producing countless plays, books, music and other visionary works. This legacy continued at Just Above Midtown, or JAM, a gallery and arts laboratory led by Linda Goode Bryant from 1974 through 1986 on West 57th Street in Manhattan. At the time, arts organizations primarily supported artwork by white men. In response, Goode Bryant launched JAM to create a space that supported and celebrated artists of color. JAM provided arts business workshops, cultivated collaborations and launched the careers of Black artists such as David Hammons and Lorraine O'Grady. Whether or not they realize it, many artists and arts organizations today are integrating lessons from the past. In recent years, they've promoted the unionization of museum workers and created local mutual aid networks such as the Museum Workers Relief Fund, which was one of many groups fundraising for arts workers during the COVID-19 pandemic. They're building networks of financial support to share space and money with other artists and arts organizations. And they're forming cultural land trusts, which create land cooperatives where artists can work and live with one another. What's more, new philanthropic models are reshaping arts funding by elevating the perspectives of artists, rather than those of wealthy funders. CAST in San Francisco helps arts organizations find affordable gallery and performance spaces. The Community and Cultural Power Fund uses a trust-based philanthropy model that allows artists and community members to decide who receives future grants. The Ruth Foundation for the Arts makes artists the decision-makers in giving grants to arts organizations. While the current challenges are unprecedented – and funding threats will likely reshape arts organizations and further limit direct support for artists – we're confident that the arts will persist with or without government support. This article is republished from The Conversation, a nonprofit, independent news organization bringing you facts and trustworthy analysis to help you make sense of our complex world. It was written by: Johanna K. Taylor, Arizona State University and Mary McAvoy, Arizona State University Read more: With its executive order targeting the Smithsonian, the Trump administration opens up a new front in the history wars How a 1989 poster became a fixture on the front lines in the battle over abortion rights Seizure of Sally Mann's photographs in Texas revives old debates about obscenity and freedom of expression The authors do not work for, consult, own shares in or receive funding from any company or organization that would benefit from this article, and have disclosed no relevant affiliations beyond their academic appointment.
