#an indie debut feature with vibrant colors?? imagine that!

[chinchillasorchildren]

Films of 2024: Problemista (dir. Julio Torres)

(4/5)

Interned for the west coast equivalent of Tilda in this so I finally understand what PTSD feels like.

[jmsa1287]

A Year in Review: The 50 Best Albums of 2016 (20-1)

A continuation of my favorite albums of 2016. Click here to check 50-21 and below find the top 20.

20. Drake - Views

Drake’s Views isn’t the magnum opus he hoped it’d be. Nevertheless, Views is a massive and impressive effort, finding Drake at his best and his worst. With 20 tracks, Views Drake throws a lot at the wall, allowing fans to curate their own version of the album.

19. Postiljonen - Reverie

Swedish dream pop band Postiljonen return with Reverie -- a record that’s not an evolution but a sound the trio has perfected. Full of sweet nostalgia and etherial synths, Reverie is a solid album built on Postiljonen’s strengths.

18. Maren Morris - Hero

Maren Morris’s studio debut Hero is spunky, confidant and fun. Never becoming preachy or silly, Morris’s new batch of music puts her in the same league as Kacey Musgraves and an early Taylor Swift.

17. Yumi Zouma - Yoncalla

Bursting with sunshine and delightfully beautiful, dream pop band Yumi Zouma’s debut LP Yoncalla is a wonderful love letter to dream pop and Swedish acts like Air France and The Tough Alliance. 

16. Tiffany - I Just Wanna Dance

After having a hugely successful career as one of the members of the iconic K-pop girl group Girls’ Generation, Tiffany Hwang branched out in 2016 with an incredible solo effort I Just Wanna Dance. A mini-album that is jam-packed with lush pop and dance singles, rivaling Western stars like Ariana Grande and Katy Perry.

15. Various Artists - La La Land Official Soundtrack 

It’s only fitting the best film of 2016, La La Land, has some of the best music of the year as well. Stars Ryan Gosling and Emma Stone might not be the best vocalists Hollywood has to offer -- but that’s not the point. The musical’s OST features the film’s vibrant songs, including stand outs “City of Stars” and “Someone In the Crowd.”

14. METAFIVE - Meta

For fans of Japanese 80s pop, METAFIVE’s debut Meta is a spectacular record. Comprised of members from groundbreaking '80s Japanese acts, Meta is an ode to the music the men once made. The album is an excellent piece of music that is not only inspired by modern funk and '80s J-pop, but also borrows from sophisti-pop, It's an interesting blend of music coming from some of the most talented and smartest musicians Japan has to offer.

13. Ariana Grande - Dangerous Woman

Ariana Grande continues to satisfy on her third album Dangerous Woman. It’s her third album in four years, but on her latest effort, Grande has never sounded better or more daring. Dangerous Woman has some of the singer’s best singles to date, proving Grande is here to stay.

12. Britney Spears - Glory

It might be easy to write off a Britney Spears record in 2016 -- considering the abysmal Britney Jean in 2013. But Brit’s return with Glory is more than just a quick paycheck and it is the pop icon’s best record since Circus. With its moody cohesion and well-structured songs, Glory doesn’t have many missteps. A solid record from a performer near and dear to pop culture’s cold heart.

11. BLACKPINK - Square One / Square Two EPs

One of the most dynamic new K-pop groups, BLACKPINK’s two EPs, Square One and Square Two, are a thrill ride. Though the EPs have a combined total of just five songs, the records are an exciting offering and feature some of the best songs of the year. Anyone listening to BLACKPINK should excited for what foursome have to offer in 2017.

10. M83 - Junk

It is understandably no easy task to follow up a breakthrough album that launches a musician's career. M83's Anthony Gonzalez has been making cinematically nostalgic and epic music since the early 00s. After crossing over in 2011 with Hurry Up, We're Dreaming and the single "Midnight City," Gonzalez's latest album Junk is a direct response to fame: He hates it. Junk is a fascinating album that purposefully sets out to sound bad (the album title is Junk after all), finding the French band taking on 80s trends like muzak, corny sitcom theme songs, and trashy euro dance bangers. But Gonzalez and co. pull it off, making Junk an enjoyable album with some incredible jams.

09. How to Dress Well - Care

How to Dress Well's Tom Krell has fully embraced his sound and his wonderful voice. On Care, Krell, who started off his career blending R&B with lo-fi experimental music, incorporates current pop trends, like EDM and tropical house, into his moving odes of love and loss. Once tucking his falsetto behind a blanket of reverb and synthy production, Krell now puts his voice front and center, which is accompanied by a hi-fi and clear production.

With help from artists like Fun's Jack Antonoff (Taylor Swift, Carly Rae Jepsen, Tegan and Sara, Grimes), indie musician CFCF and dancehall producer Dre Skull, Care has more in common with Justin Bieber's Purpose than Burial's Untrue.

08. The Radio Dept. - Running Out of Love

The Radio Dept. has been absent for far too long: Running Out of Love is the Swedish indie-rock band's first album in six years. And the new album proves to be a magnificent return and well worth the wait. Lead single "Occupied" is an epic way to come back. Clocking in at seven minutes, the brooding song samples the iconic dark synths from Angelo Badalamenti's Twin Peaks "Laura Palmer's Theme." On the hypnotic "Swedish Guns," the band opts for a slight reggae tinge but holds on to their jangly guitars, making the song an interesting blend of old and new.

Unlike some dream pop and shoegaze acts, the Radio Dept., comprising members Johan Duncanson and Martin Carlberg, put time into crafting their lyrics, even though their vocals are often buried in the mix or blanketed in fuzzy reverb. The band has always been political, and things are no different on Running Out of Love.

07. The 1975 - I like it when you sleep, for you are so beautiful yet so unaware of it

When the British band the 1975 first burst onto the scene, they were a joke: With songs named "Sex" and "Girls," the group wasn't taken seriously. But their sophomore album I like it when you sleep, for you are so beautiful yet so unaware of it is undeniable, showing the 1975 is more than a novelty.

Emulating music from the 80s is something every pop musician seems to do. But its something few artists get correct. The 1975 impeccably call on a wide range of artists, including Price, David Bowie, My Bloody Valentine and Janet Jackson. I like it... is full of stellar songs, like "The Sound," "A Change of Heart," and "Paris," all of which carry an emotional heft with brazen lyrics: "Mr. Serotonin Man, lend me a gram /You call yourself a friend?/I got two left feet and I'm starting to cheat/On my girlfriend again."

06. Terror Jr - Bop City

Sometimes music just needs to be addictive and catchy. Not every song needs to carry the social commentary of a Beyonce song or needs to be game-changing like a string of Drake singles. Terror Jr's Bop City is a collection of fun pop songs that run away with PC Music's subversive take on Top 40. The mysterious trio, which may or may not feature Kylie Jenner, blend trap, electro and a dash of Lana Del Rey to create a minimalist pop album that's sexy and intriguing; a rare combination.

05. Carly Rae Jepsen - Emotion: Side B

Only Carly Rae Jepsen, one of pop music's most interesting and daring artists, can release a throw away collection of B-sides that's actually one of the best albums of the year. The leftovers from Emotion, the best album of 2015, thrive in their own space and sound anything but toss-offs. Side B shows Jepsen's range; in one moment she's Cyndi Lauper and in the next, she's channeling a-ha. If Side B is a gathering of songs left on the cutting room floor, I can't imagine what she'll delver on her next album.

04. David Bowie - Blackstar

David Bowie's final album Blackstar will go down in music history. His farewell album might be about the iconic singer leaving Earth but it sounds full of life, offering Bowie's most interest and exciting music in decades. It thrives with creative ideas, proving Bowie was taken from us too soon. From the hypnotic acid-jazz title track to the devastating final song "I Can't Give Everything Away," Blackstar celebrates Bowie's life with his death. It's a mind-blowing statement that could only be pulled off by one of the best musicians to ever live.

03. Beyonce - Lemonade

Beyonce exists in a realm of her own. She doesn't compete with anyone; she's no longer even a pop star - she's her own genre and her own medium.

Lemonade is the second visual album from Beyonce, which first debuted as a film on HBO earlier this year. Listening to the album, Lemonade is about one woman's journey as she learns about, processes and, eventually accepts and moves on from her husband's infidelities. But watching Lemonade, Beyonce frames her music in a completely different way, showing that her struggle is one that several women - especially women of color - have endured for generations.

Politically charged, emotionally gripping and relentlessly beautiful, Lemonade is one of the most confidant and powerful records of the last decade.

02. ANOHNI - Hopelessness

ANOHNI's Hopelessness is one of the pieces of art that has taken on a stronger meaning in the wake of Donald Trump becoming the next president of the United States. Her album is critical of a number of hot button issues, ranging from human rights to climate change. (One song, aptly titled "Obama," sharply criticizes the outgoing president for not carrying out the promises of hope he championed during his 2008 campaign.)

Hopelessness is a complex electronic record, politically fueled and remarkably dark. With her signature striking vocals, Hopelessness is a culmination of frustrations and protests backed by waves of experimental electronic music from producers Hudson Mohawke and Oneohtrix Point Never.

01. Kanye West - The Life of Pablo

The Life of Pablo is an album stitched together with brilliant moments. There really isn't one full song that's perfect from start to finish (except maybe the house-infused "Fade"). Instead, Kanye West gives us the perfect album for the social media age: An album that feels endless, ongoing and always evolving - West was still adding songs to TLOP months after the album was "officially" released.

West gave his fans a behind-the-scenes look on how his music is made: A frantic, 11th hour method that was more like a college student finishing a term paper the night before its due date than a genius crafting a masterpiece. Sharing manic updates via Twitter, West gave glimpses of his album, which changed titles three times and had a track listing that continued to grow. In the end, however, TLOP is West's most joyous work: It's a huge party and everyone is invited.

[mrmichaelchadler]

Sundance 2019: Troop Zero, Give Me Liberty

Sundance is a festival that largely prides itself on discovery, which often comes from the filmmakers who embrace experimentation. But the festival’s clear exception for this is the timeless crowdpleaser. You know the type: those quirky comedies where oddballs form some type of team, defy their insecurities together, and often do a silly dance. They don’t exactly “Risk Conflict” as the Sundance t-shirts proclaim this year, but offer progressive narrative focuses for stories that are wholly accessible. 

Case in point: Bert + Bertie’s “Troop Zero,” which charms with its familiar qualities but gets the most charisma out of its heart. As a type of “The Sandlot” for young geeks, it’s dedicated to any young kid who dreamed about what’s in the stars, and especially for any young girl who has had people tell them what they should and should not be doing. 

Like “Little Miss Sunshine,” and countless other Sundance-approved titles before it, “Troop Zero” is another story of underdogs, misfits, and oddballs reunited under a cause, featuring a pivotal dance sequence, this time about a scout troop that want to win a competition against other troops. The prize is being able to record their voices on a record that was sent to space (a real thing, as the end credits remind us). They face competition from other troops with higher numbers, but their biggest competitor is Troop 5, who are plainly (perhaps too plainly) not nice, and are essentially being groomed to be like their troop mother, Miss Massey (Allison Janney). But Troop Zero has got spirit, yes they do, and a dedication to get past their individual quirks to earn the single merit badges they need to qualify for the competition. All of this makes for “Troop Zero’”s sincere offering: many simple, however sugary scenes of these young actors bonding. 

The beating heart of the story is McKenna Grace’s sparkling performance as Christmas Flint, whose love for space and the stars is instantly contagious. It's in the way that she lights up when hearing anyone talk about it, making her fixation on having her voice heard in space the drive for the rest of the story. Grace’s on-screen career is just starting, but she has a naturalness on camera that makes this the best role she’s had so far (and she’s been great in movies like “Gifted” opposite Chris Evans, and on Netflix's "The Haunting of Hill House"). But she’s not alone: Grace is joined by other vivid side characters, like the bully-turned-friend “human volcano” Hell-No (Milan Ray) and the destructive Smash (Johanna Colón), both of which relish the largeness of their characters and make for some strong laugh-out-loud moments along the way. 

Viola Davis plays Rayleen, Christmas’ accidental mother figure who leads the troop of four girls and one boy, Joseph. Working for her father (Jim Gaffigan, in a great role), a lawyer who has rotten clients (“it’s not my fault they’re always guilty,” he hilariously asides), Rayleen falls into the position of being troop mother, and offers a strong contrast to the more conservative and villainous troop mother played by Janney (who plays her villain straight, as if she really does believe that the troop experience is just training for wives and mothers). Davis gets some great lines of her own, playing the straight woman to a rambunctious group of kids, but she has her own monologue about her past that shows her wanting to be defined by her own life, and not the people who have wronged her. 

“Troop Zero” goes down easy like the best cinematic comfort food. But it’s a testament to the clear vision of director Bert & Bertie, and the extremely intentional, novelistic script by Lucy Alibar, that it has such ease, and never betrays its vital sincerity that lets its progressive idealism shine. “Troop Zero” is vivid where it counts: those tangy Georgia accents, its yellow and orange summery color palette and its vibrant batch of young actors. The movie comes from a specific place and it means something (and will mean a lot to the young audience that’s soon to discover it), even if has crowdpleasing down to a science. 

With the same overall goals of "Troop Zero" but a very different way of doing it, there's “Give Me Liberty,” which is just as much a melting pot as the country that inspired it. This one is what they might call "a whole lot of Sundance movie": it’s quirky, sentimental, progressive, over-the-top, timely, cheesy, obvious, vague, ambitious. Some whole sequences in Kirill Mikhanovsky's 110-minute directorial debut seem to be in the movie because they just feel right, whether it's extended scenes where we sit with one boisterous family, or moments where we get to watch disabled actors dance, sing, and make jokes like we rarely do on screen. Even if its many risks don't always work, "Give Me Liberty" is one of the most electric films I've seen in Park City so far, the debut of a fresh vision on the all-American crowdpleaser. 

When I tell you this plotline, try to imagine it as a mix of “Patti Cake$” and the Georgian dramedy “My Happy Family.” That is, the unabashed American indie crowdpleaser and the claustrophobic, chilly, at times sardonic European drama that speaks to universal pain. It’s about an aimless twenty-something named Vic (Chris Galust), who has a job driving a medical transport van in Milwaukee. Starting with his crazy morning of trying to wrangle his grandfather while helping clients, it becomes a close-quarters road trip movie but it takes place within one day. The unlikely friends for crowd-pleasing are a cadre of boisterous Russian relatives and a headstrong woman in a wheelchair played by Lauren 'Lolo' Spencer named Tracy (her character is much more than that, but the character’s inclusion into this script from Mikhanovsky and Alice Austen starts there). 

The movie throws you into Vic's life and rarely offers you relief, even though its witty edits can make for some strong laughs. Instead, the movie wants to relate to you by detailing Vic's extremely stressful juggling of needy family members, and the duties of his job. He’s late to everywhere he goes, people are always yelling at him in the movie’s often chaotic soundscape (the MARC theater fitfully made it sound like I was surrounded by people yelling at me), and Mikhanovsky’s camera and cutting is effectively claustrophobic this side of Gena Rowlands in her kitchen in “A Woman Under the Influence.” Every time Vic has to make a stop, it becomes a massive production, usually elongated by the too-free-spirited middle-aged man named Dima (Maksim Stoyanov), while the family members are sincerely played like children who always have one problem to address. In “Give Me Liberty,” driving around Milwaukee becomes a Sisyphean task for Vic, with a bunch of babushkas and Dima on his back. 

This detail, this scope, it all gives the movie an electricity that largely compensates for its lack of emotional stakes. Mikhanovsky creates many odd, vivid details, playing with how he defines his characters within the stressful nature of his comedy. The finest example might be Vic's mother, introduced later in the movie. She has to play piano for a recital that night taking place in her apartment. Scenes later, a Steinway is in her one-bedroom, with a full audience seated. Why? How? As a flourish of chaos, especially for a movie where there is no space from family, it's just one of Mikhanovsky's many animated choices. 

Mikhanovsky directs this movie as if this were his one and only shot to say his piece, which gives it a massive, undoubtedly passionate quality. He clearly loves his many characters and their family spaces, with “Give Me Liberty” playing out like a very personal director’s cut. But his enthusiasm for some of these aspects is not unfounded: he has fascinating actors like Spencer and Galust, and when the claustrophobic camera takes a few seconds to breathe in their faces and what charisma they bring to this surprising celebration, it leaves a strong impression. There's also a warmth in the rambling movie's monologues, like with a bedridden man who speaks clearly to Vic (and the viewer) in bookending speeches about love and those around you, starting the movie off with a whiff of preachiness. But then by the end of the gripping American odyssey that is “Give Me Liberty,” the words are contextualized from someone who is incredibly sincere, sharing every part of his soul with us. 

from All Content http://bit.ly/2sPjhcc

[itsworn]

Miss Golden Shifter, Linda Vaughn, Highlights the Second Annual Carlisle Hurst Nationals

Car and Driver magazine once referred to her as Racing’s Earth Mother, back when the Aquarian philosophy impacted pop culture. For many male race fans, she was the ultimate trophy girl. To the sponsors and sanctioning bodies, she remains a valuable spokesperson. For the attendees at the Second Annual Hurst Nationals, Linda Vaughn’s popularity stood the test of time as she again took to the rear platform of a Hurst-themed car featuring a huge Hurst shifter display.

The 2018 event, held on the same weekend as the Carlisle Chrysler Nationals, goes into the books as one of the most interesting in Carlisle Productions’ history. The annual Chrysler show is one of the largest in the world; more than 2,700 vehicles were in attendance this summer, with tens of thousands of attendees during the three beautiful days of Mopar celebrations. However, the event managers all admitted that nobody before at any Carlisle event had garnered the attention Linda did on her parade lap.

Last year, the Carlisle crew and Performance West Group manager Larry Weiner took the plunge to cohost a special event for enthusiasts of the legendary shifter manufacturer. Weiner is responsible for late-model vehicle conversions to Hurst-themed packages and a longtime manager for the Mr. Norm Krause franchise under the Grand Spaulding Sport logo; he knows the Hurst mystique well. Ms. Vaughn is best known as the brand’s timeless spokeswoman. She and her original Hurstettes were a fixture at many events in their heyday. However, health issues kept her from making an appearance at the inaugural event. This year she headlined a list of celebrities that included Bob Riggle of Hemi Under Glass fame, Hurst employees like Howard Marsales and Don Glover, and others.

It was 50 years ago, in 1968, that the Hurst brand seriously branched out to do vehicle conversions. While some of this was related to taxicabs and vans, best known to muscle car fans are the first 455-inch Hurst/Olds packages and the notorious A-Body Hemi Darts and Barracudas. With the Chrysler event close by, those cars were a focus, and a number of them were inside on display in the Carlisle Expo Center, which is located only a block from the formal fairgrounds show location.

Thursday kicked off the event with a huge cruise-in and barbeque in the outdoor parking lot. On Friday a non-stop gathering of people trekked through the cavernous hall to see the cars, meet noteworthy former Hurst engineers and employees, and pore through albums of rare photos, old blueprints, and glass cabinets full of prototype parts and rare promotional items. Meanwhile, several seminars were given by experts on both Friday and Saturday, the two days the event is formally held.

But the big moment was on Saturday just before lunch, when a vibrant Linda, again dressed as Miss Hurst Golden Shifter, climbed upon the platform on the original Hurst/Olds convertible pace car from the 1972 Indy 500. Owner Joe Spagnoli then drove her slowly through the fairgrounds to a planned luncheon. This had not been announced until moments beforehand. Thousands of fans poured out from the show fields to see The First Lady of Motorsports recreate history. Always gracious, Linda was thronged by people for the entire route, and had massive lines for her autograph as well.

As part of the celebration of Hurst’s heritage this year, the featured cars were the Darts and Barracudas that were built under contract 50 years ago, in 1968, for NHRA Super Stock racing. There were 10 of the original cars on display in the Carlisle Expo Center, plus others at the associated Carlisle Chrysler Nationals.

The return of Miss Hurst Golden Shifter, Linda Vaughn, was highlighted by this parade lap within the Carlisle Fairgrounds, where she was followed by a huge crowd. The car is the original pace car for the 1972 Indy 500, and the original platform was given as a gift to car owner Joe Spagnoli by the late Jack Watson.

Of course, the Hemi Mopars were not the only thing Hurst did. The 1969 SC/Rambler package came in this colorful scheme as well as a more vanilla version (seen behind) and helped establish the reputation of the AMC product line thanks to colorful period advertising and a good street reputation.

This 1968 Hurst/Olds Cutlass was from the first of the H/O programs. Engineers had originally designed an operable spoiler that would have gone on the rear edge and lifted from the surface under acceleration. The images of that prototype were among the photo albums on display. This example, owned by Glen Katterson, is number 45 of the 515-unit run produced that first year.

Howard Marsales served as the Hurst “shifty doctor” at many events during the 1970s, but he was also employed by Hurst as a fabricator when the Hurst Hemi cars were constructed in 1968. He is seen here with Clayton Wright’s “Slo-Motion” Barracuda, whose last national event pass down the track was in 1987.

Bob Riggle of Hemi Under Glass fame was reunited with the “infamy” car, the 1968 Barracuda that put him and Jay Leno on their heads during a TV show taping at Irwindale. Now repaired, the car was sold by owner Bill Sefton to prolific collector Joe Spagnoli before the weekend concluded. We’re not sure if Riggle will be giving him flying lessons.

This 2017 Mustang owned by Andy Jacko was among the cars modified in more recent years by Performance West Group under approval from Hurst. We do not know the extent of the modifications from stock beyond paints and spoilers, but would imagine horsepower is not an issue for this ponycar.

How cool is this? It’s a 22,000-mile unrestored Rebel Machine from 1970 done in Bayshore Blue with the 340ci engine, four-speed, E60-15 tires, dual-speaker AM/FM radio, and more. List was $4,136.15 discounted to $2,700 in December 1970. It is owned by Darrin and Nash Boeckel.

Bruce Smith owns this 1973 model Hurst/Olds. Built in the first year of the Colonnade design, it has some interesting options, foremost the rotating front bucket seats. Indeed, if the Firebird was carrying on the ponycar legacy, the Hurst/Olds was doing likewise for the luxury performance market.

The optional bucket seats in the 1973 model rotated a full 90 degrees.

The following year, the model again was selected to pace the Indy 500. This example received the W-30 455ci engine, pace car lettering, and Indy Firehawk raised-white-letter tires. Jack Hooks owns it today.

The 48 Dodge Darts built by Mr. Norm for 1968 are rare today, possibly due to the attrition from foolish ownership. Hurst created these Mr. Norm–exclusive cars under contract, and later Grand Spaulding sales manager Al Smith submitted a list of owner’s names to NHRA for legality. Larry Weiner believes Norm ordered all of them, with a selection of colors and options, in one fell swoop, allowing customers to take immediate delivery. This example is owned by Rick Simpson of Canada.

Collector Glen Kattering had this prototype of the stillborn 1977 Hurst/Olds program on display. Beautiful with many one-off components, it would have used the 403ci engine. Olds built only six examples of that.

For its 15th anniversary, there was a special release of the 1983 Hurst/Olds, which had taken on a far more formal appearance than its 1968 elder. This unrestored example, one of 3,001 built, shows 6,900 miles and is owned by Ed and Sharon Pienta.

Seen through the open hood of a 1970 model Hurst-Chrysler 300H is another one of the late-models modified by Performance West Group under the GSS name. The original car is powered by a 440 TNT engine and owned by Rikk Morris. The 2017 model is a limited-edition conversion done by PWG’s Grand Spaulding Sport and is available on any 2008-2018 model.

This car was raced back in the 1970s by the Carpinet brothers, who still own it. It was one of many that were resold through the Sox & Martin racing team after the 1968 season. Buddy Martin took these cars in on trade or simply to resell. Though not stock mechanically, it is a beautiful survivor from the second generation of changes to the Super Stock rules.

This was the 1988 20th Anniversary package. Only four actual H/O cars were built, but several dozen kits were sold to upgrade the Cutlass model. Those installed on a pre-1988 model were considered Aero Coupe conversions, not 20th Anniversary cars. This 1986 example, owned by Rick and Sharon Tice, was number 57 of the fewer than 100 kits believed sold.

The 1969 model year saw the debut of the H/O’s white/gold paint scheme as well as the hoodscoop design that would lead to the forward-edge production fiberglass versions for 1970. This matched-numbers car with A/C and cruise control is owned by Carl Sherwood and is one of 912 built that year.

Among the items on display was this shadow box showing the E-Body prototype handles for the Hurst Pistol Grip shifter.

T-tops were part of this 1976 edition Hurst/Olds, owned by Rick and Sharon Tice. This was a factory test mule for several years, but production challenges led Olds to cancel plan for these cars before they went into production. The car was discovered in 2004 after being missing since the late 1970s.

This 1979 version has been appreciated since new, showing only 1,965 total miles since delivery. Rick Clark is the owner of this black-on-black combination.

It is very rare to see one 1968 documented authentic Mr. Norm 440ci Dart; two were here this weekend. Bill Sefton owns the one in front. There are only 14 of these cars presently known to exist.

Mark Janacky (shown) and Dell Jones maintain an extensive collection of 1968 Hemi Dart and Barracuda research materials and shared info with interested people on Saturday morning.

Seen outside in the show field were more cars, including this 1979 version owned by Eugene Miller.

One more look at the 1972 convertible of Joe Spagnoli, whose giant shifter needed to be disassembled to move in and out of the building.

Got Chrysler? Oh, Yeah! Oh, that Chrysler deal? Here are a few images from the 2018 Chrysler Nationals, with a record 2,749 cars in attendance and tens of thousands of spectators.

This view represents about a third of the fairgrounds the show was held on. The event covers Mopars of every era.

Old and new thoroughbreds meet when Bill Woesnner’s 1970 Charger RT/SE and a new 2019 Hellcat Charger owned by Dodge posed in an open area on Thursday.

In addition to tributes to the Road Runner and Super Bee, there was this great display for the 50th anniversary of the 340 engine, which also arrived for the 1968 model year.

This vendor had the eye candy with this display of mainly boxed OE components.

Saturday night’s Hall of Fame banquet is a favorite tradition, as many of the people who made Chrysler’s history are on hand. Hosted by Mopar Collectors Guide, the event had a number of slide presentations. Ron McDaniel was accepting Hall of Fame honors for his late father, Bob.

The post Miss Golden Shifter, Linda Vaughn, Highlights the Second Annual Carlisle Hurst Nationals appeared first on Hot Rod Network.

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