#chevy stocker

[hotwheelings]

[kaminacollector]

Review Chevy Stocker es un modelo con licencia de Hot Wheels diseñado por Larry Wood. Está modelado después del 1986 Chevrolet Monte Carlo Aerocoupe. El Chevrolet Monte Carlo es un coupé de dos puertas que fue producido por Chevrolet a través de seis generaciones desde los años 1970 hasta 2007. Fue comercializado como un coche de lujo personal; El Monte Carlo había sobrevivido a muchos competidores que fueron descontinuados o cambiaron de concepto a un sedán de cuatro puertas o un cupé deportivo pequeño. Para 1986, existía el nuevo modelo Aerocoupe. El Aerocoupe fue creado por modificaciones en el cuerpo del Super Sport, que incluyen una ventana trasera con una pendiente más profunda y una tapa del maletero más corta con un alerón que está más plano que el Super Sports anterior. Solo se vendieron 200 Aerocoupes al público, que resultó ser el número exacto que los funcionarios de NASCAR requerían para que las características del modelo de carretera se incorporaran a los autos de carreras. Este modelo de fundición a presión está diseñado para parecerse a un auto de carreras NASCAR. Las puertas están soldadas, se instala una jaula antivuelco, se despoja el interior y las ventanas se refuerzan con barras verticales.

[chasingclassichotwheels]

[wheelsgoroundincircles]

The story of Swamp Rat 17: Don Garlits' most misunderstood Top Fueler (part 2)

The Wynn’s Liner sits proudly in Garlits museum, parked just ahead of Petersen’s own failed attempt at aerodynamics, the Can Am-inspired Olympia Top Fuel car that lived its own all-too-short life in 1974.

Any chat with Don Garlits is always a thrill, but for history geeks like me, it’s especially thrilling because of his incredible memory. He turned 89 in January, but his memory is as clear as if he were 29. He, of course, knows his cars inside out, remembering specifically not only the number of each Swamp Rat but wheelbases, engines, and great stories associated with each. I do a lot of interviews with the stars of yesteryear and many, many of them, quite naturally as they age, have less than excellent recall. Then there's "Big Daddy." He's amazing.

So, as promised earlier in this column, I asked him to rank his Swamp Rats in order of favorites. Although I'm sure that, given time, he could have ranked them from 1 to 38, I asked only for his Top 5.

Here’s his Top 5, including portions of the descriptions I wrote for my trio of Swamp Rat Spotters Guides a few years ago (Swamp Rats I-A to X | Swamp Rats XI to 20-B | Swamp Rats 21 to 34):

No. 1, the first (1956-60): Although it wasn't his first dragster — he had made a crude, flathead-powered dragster from a '27-T roadster by moving the engine back and hanging a seat out over the rear end — it's the first car to wear the Swamp Rat name. The car was built on the framerails of a '31 Chevy passenger car that he bought at a junkyard for $35 in 1956; Garlits removed the frame from the body in the junkyard using little more than a large ax, a cold chisel, a ball-peen hammer, and a small assortment of hand tools. He transplanted most of the parts off of the flathead dragster to this car, except the driver seat, which was an old B-17 bomber seat. Initially using Ford power, Garlits switched to Chrysler Hemi power and later to high-gear-only. The carbureted version of this car is the one that beat the nay-saying Californians in Houston but got whipped by the West Coasters in Bakersfield, but as soon as "Big" added a blower, it was all over for everyone.

No. 22, the 5.63 car (1975): The car that succeeded SR 21 would go into the record books in a "big" way and stay there for years: This is the car in which Garlits brought the class to its knees with a 5.63-second clocking at the World Finals, a record that stood for more than six years. Built by Garlits, “T.C.” Lemons, and Don Cook on a 240-inch wheelbase, the car was lightweight and fast from the first go. He had hoarded oversized Goodyear slicks, built a new engine, and even lengthened the chassis by 10 inches, and it all paid off with that monstrous 5.63 that helped him win the event and the championship and was attached to the sport's first official 250-mph run. The historic car was retired at year's end and has never left Garlits' possession other than for occasional displays; it was hauled out of mothballs to run at — and win — the 1977 Gatornationals.

No. 26, the comeback car (1980-84): The follow-up to the porky “Godzilla” car, Swamp Rat 26 was "lean and light" — Garlits forsook paint for black anodized panels with stick-on lettering — and with the power that Garlits and Parks had learned to make to get the porky Godzilla car down the track, they seemed to be ahead of the game. The car was completed in time to run the Florida Winter Series events, but Parks quit that winter after the tough 1980 season, and Garlits won just two AHRA events in 1981. Garlits ran infrequently in the next three seasons, and Swamp Rat 26 might have just gone quietly into retirement as a disappointment had old pal Art Malone not called Garlits in the summer of 1984 and offered to fund a run at the 1984 Indy title. Malone got Garlits new parts, and they coaxed Parks out of retirement, and despite an aging car and a team of "dinosaurs" (Garlits' word), they won the race, completing a storybook comeback straight out of Hollywood. Garlits went on to also win a big eight-car Top Fuel show at Firebird Int'l Raceway and the NHRA World Finals — "Big Daddy" was back!

No. 30, the streamliner (1986): In the pantheon of famous Garlits cars, this cockpit-canopied streamliner may well be at the top of the pyramid. Garlits had Mike Magiera fabricate the nosepiece and constructed front "tires" out of 13-inch aluminum discs wrapped with industrial fan belts to fit beneath it. The belts would exit the wheels after almost every run, but that didn’t stop the “Rat Under Glass” from running 272.56 mph in the car's winning debut in Gainesville in 1986. Garlits later abandoned those wheels to run small-airplane tires that worked well but, ironically, took flight in his famous July 12 blowover wheelstand at the NHRA Summernationals. The car had to be backhalved in the Florida shop to complete the season, which ended with Garlits atop the points standings. Swamp Rat XXX also ran about half of the 1987 campaign and then famously became part of a display at the Smithsonian Institution the following year.

No. 34, the monowing car: Originally built in 1992 for Bruce Larson to drive after Garlits retired after experiencing eye problems caused by too many sudden parachute decelerations. At the end of the 1994 season, Garlits loaned the car to former Funny Car and fuel altered pilot Richard Langson and served as his crew chief in 1995, albeit with little success again. After years off the track, Garlits brought the car up to spec and competed at the 2002 Gatornationals and U.S. Nationals, then upped his speed mark to 323.04 at the 2003 Gatornationals. “It’s still the most modern Top Fueler in the world,” Garlits insisted to me. “It’s got the narrowed rear end and the mono wing rudder to make it go straight down the course, and the canopy.”

And, well, because Garlits was being so generous with his time and candor, I dared to ask him about his bottom five.

“Well, only a half-dozen cars that didn’t cut the mustard, but from what we’ve already talked about today," he said. "I think you know the five already: the streamliner (SR17), ‘Shorty' (SR18), the sidewinder (SR27), the turbine car (Swamp Rat 28-A), and then it would be Swamp Rat 12-A. That car [pictured above, was the first Swamp Rat to be designated with Arabic numerals instead of Roman numerals] was too short [just 137 inches], and we only ran that in the winter series in California."

My Spotters Guides from a few years ago ended at 34, but the numbers carried on after

35: 2009 DragPak stocker

36: 2011 Drag Pak stocker

37: First electric car

38: Second electric car

Swamp Rat 38 had been Garlits' hope for being the first battery-powered car to exceed 200 mph, but he was beaten to that mark last year by Steve Huff and parked the car.So, naturally, I had to ask Garlits if there would ever be a Swamp Rat 39.“Never say never,” he said, and I could detect a gleam in his eye even over a cellular connection. “Maybe I try to build a 250-mph electric car. There’s such fantastic battery technology coming, I don’t want to spend money on old technology. I still want to drive if I can by then. I still feel good, so I don't think that will be any problems.”Same ol' "Big Daddy." I can’t wait.Phil Burgess can reached at pburgess@nhra.comHundreds of more articles like this can be found in the DRAGSTER INSIDER COLUMN ARCHIVE

[rebelrouserhotrods]

Countdown to CHAOS 🙌🏼 Making his @funnycarchaos debut is Big Mike Coffen of Tyler, Texas. Mike has been busy this summer running his Nostalgia Super Stocker with Texas Drag Racing Association. He’s pulling the Chevy wagon from the stable this weekend and plans to put on a show. Come out to @alamocitymotorplex this Friday & Saturday, October 2-3, 2020 for a big weekend of drag racing! Funny Cars, Gassers, Jet Dragster, Hot Rods and more... #dirtysouthgassers #gasser #funnycarchaos #gassers #dragracing #gofast #hotrod #nostalgiaracing #runwhatyabrung #straightaxle #str8axle #instaracing #nostalgiadragracing #hamb #picoftheday #gassernation #gasserwars #chevygasser #chevylife #chevy #chevyracing #texas #horsepower #streetrod #carsofinstagram #garagelife #speedshop #wheelsup #wheelsupwednesday #longroofsociety (at Alamo City Motorplex) https://www.instagram.com/p/CFw3LHtA4tX/?igshid=ax4h4ds1u90b

[crazy4tank]

Pivotal Muscle Car Years

New Post has been published on https://coolcarsnews.com/pivotal-muscle-car-years/

Pivotal Muscle Car Years

By Dave Ashton

Like any long standing up movement, there’ s generally not just one specific moment where all suggestions are invented, but more a number of steps and standout points over time which culminate in a high stage. This is the case with muscle vehicles where the golden years can be contended to be the late 60s and earlier 70s, but there were pivotal yrs over a few decades before which usually built to this high point.

In this article from sturgisjournal. possuindo , there is an account of 1962 being one of the years ‘ that will muscle car performance kicked away from in high gear. ’ This is a nostalgic recount of the year plus focuses on four main brands getting, ‘ The 413 Dodges/Plymouths, the particular 409 Chevys, the 406 Fords and the 421 Pontiacs. ’

The full article is definitely really worth a read. There is nothing like a first-hand account of what makes, models plus engines were used at the time and this case, how they fared for the track. Heavy cars with large, heavy, powerful engines were the particular order of the day. by 1964, the style was more mid-sized vehicles, ‘ Led by the ’64 Pontiac GTO, the Chevy Chevelle and Kia Fairlane. ’ The other great outstanding quote is, ‘ the year 1962 sticks out like no other as the season you could walk into your dealer, plunk down the cash and drive away with a 13-second super stocker you can race that evening. ’ Natural, cubic inch power was the state of the art for the times and still very available to the average guy.

If you want a more general overview of the particular muscle car era, then you can explore the two books below, which are previewed on Google books to get back background on the muscle car era. It’ s always a good idea to get details from a bunch of sources, as you will usually find slightly different accounts associated with what happened when and to whom.

In this book, Motion Functionality: Tales of a Muscle Car Contractor , page 15 states exactly how small, niche car makers from the 1950’ s designed many prototypes, examples like the Bocar(Corvette powered) as well as the Kaiser Darrin. Lots of innovation plus creativity when the automobile platform has been still simple enough to make wildly various creations. Some of these creations inspired the largest carmakers, which led to some of the classics we have today.

The particular book A merican Muscle Cars: The Full-Throttle History , describe a few of the early years of the muscle car and a few of the pivotal years.

Some standout vehicles of 1962 include the Chevrolet Corvair Monza Spyder ski jacket, Chevrolet Corvette C1, 1962 Plymouth Sport Fury, 1962 Ford Fairlane, 1962 Oldsmobile F-85 Jetfire, 1962 Pontiac Grand Prix and 1962 Studebaker Hawk Gran Turismo.

A 1962 Pontiac Extremely Duty 421 which easily acquired 450HP may seem very basic by today’ s standards, but you’ lso are talking about engineering that is over fifty years old and even now the hp rating is impressive, as is the particular beautiful contours of design, dependent more on an aesthetic than a computer-generated readout. Looking at the car designs nowadays, seems more like automotive artwork compared to purely functional design. Couple this particular with great horsepower and you actually couldn’ t ask more get.

More Muscle Vehicles For Sale – http://fastmusclecar.com/muscle-car-for-sale/

The post Pivotal Muscle Vehicle Years appeared 1st on Muscle Car .

[cosmicdreamcrusher]

"Rick Pike in the 'Lil Runaway, a 1956 Chevy Super Stocker, smoking the tires at Pacific Raceways in Seattle, WA."

[mmmttf]

#wheelsupwednesday #wheeliewednesday #onewheelwednesday #nhra #stocker #dragracing #chevy #horsepower #nextgendragracers #doorslammers2 #mountainmotormafia https://www.instagram.com/p/Bs-sPFYnkeI/?utm_source=ig_tumblr_share&igshid=42rkvex3ohfl

[alcalavicci]

(Disclaimer: treat 1950s articles like they’re RPF/fanfiction. This is from 1960, but it still reads very much like a 50s article)

Photoplay Magazine- July 1960

WHY MILLIE PERKINS HAD TO SETTLE FOR A RUNAWAY MARRIAGE by Elaine Blake

When Millie Perkins and Dean Stockwell slipped off to Las Vegas for a secret marriage just before Easter Sunday, people in Hollywood didn't have the nerve to ask them, "But why the runaway? What's all the hush-hush about?" Hardly anyone knew them intimately enough to ask such personal questions. But they wondered plenty. For if Millie and Dean were older, or anyone of Hollywood's multi-divorced-and-married couples, you could more easily imagine them climbing into his three-year-old Chevy or her tiny English job and casually taking off for the Gretna Green Wedding Chapel in Vegas. But Millie and Dean are young! And though the newspaper stories were as brief and uninformative as this secretive couple themselves, you still read seven very romantic little words. "It was the first marriage for each." First marriage! To any girl that's a big-wedding dream woven of satin and lace, perfumed with flowers, set to organ music whispering in a hushed church till it swells triumphantly for a radiant bride and bridegroom. Mostly this is a girl's dream, a magic charm to keep romance alive forever. It's Her Day, her audience smiling and weeping just a little at the lovely vision coming down the aisle to meet her waiting bridegroom.

Millie had no part of the dream. You could understand Dean's not caring for it - many a male goes through the ordeal only because a girl loves a big wedding and he loves his girl. But Dean loves his girl, too. And wouldn't you expect a little girl from Fair Lawn, New Jersey, to want her family around when she says "I do" to the first love of her life? Why, then, did Millie Perkins, with a great big wonderful family - father and mother, four sisters and a brother - who could have made her wedding the most wonderful, exciting day in her life, settle for slipping off to a secret ceremony like a pair of runaways?

They drove up to Las Vegas just before eleven, that Good Friday morning. Millie was wearing a simple little blue dress. Everything about her is always tiny and unfancy, and her wedding outfit was no exception. But, for Millie, this was quite dressed up - a nice change from her eternal blouse-and-skirt-and-high-socks.

THEY WERE MR. AND MRS.

Their first stop was the Gretna Green, one of the many "marrying chapels" in Vegas and one of the nicest. They told the hostess, Mrs. Anderson, what they wanted in the way of a ceremony - a simple one, naturally. Then they headed immediately for the Clark County Courthouse to take out the license. A Las Vegas newspaperman just chanced by a stroke of luck - his - to be in the County Clerk's office. Hopefully, he followed Millie and Dean to the elevator, asking when and where they were getting married.

"No publicity," Dean said flatly. All further tries got the reporter nothing but a brush-off. What frustration! The only newspaperman on the scene and he was getting nowhere. He pleaded plaintively, "I wish you'd help me!" Dean shook his head, took Millie's arm and walked her away without another word.

Back at the Gretna Green, with the license, they found a minister summoned by the management, the Rev. Alan Robertson, pastor of the Church of Christ. The single-ring ceremony didn't take long. Millie

and Dean, alone with their love, seemed completely unaware that there were no attendants for a girl with four sisters, no best man for a boy with an older brother. No mother smiling through tears, no father choking down a lump.

"I now pronounce you man and wife," the minister said. They were Mr. and Mrs. Robert Dean Stockwell, looking into each other's eyes as they spoke a Beverly Hills address for the license to be forwarded to after it was duly recorded. Then, they left town - all this within a few hours. Nobody had seen the star of "Diary of Anne Frank" married to the star of "Compulsion" except a stranger, the chapel hostess.

Secrecy? Hollywood says that Millie's idol is Greta Garbo the Sphinx, and that Dean deals curtly with the press like HIS idol, Marlon Brando. Millie's studio got a taste of the same. All they knew about the marriage was what they read in the papers. Their frantic phone calls finally reached Millie after the weekend, and when they asked, pointblank, "Are you married?" she answered, "My personal life is my own."

But is a passion for privacy all that was back of the slip-away marriage? Hollywood thought not. People who wouldn't dream of asking either of them such an outright blunt question, immediately began asking each other more round-about ones. "Why do you suppose they had to run off like that, dodging reporters, and refusing to say if THEY DID or THEY DIDN'T marry?" For a while, there was even a revival of an old rumor - that this celebrated pair of "loners" were actually married more than half-a-year before, when a top movie columnist reported their secret union from "very reliable sources."

Now, this was all some people needed - Millie and Dean refusing to deny or confirm a new report of a new secret marriage - and the old one was stirred to life. Some began insisting, all over again, that they must have been husband and wife the whole time.

If all the uproar and theory doesn't seem to make sense, neither do most rumor binges in small towns where everybody knows everybody - except the rare handful who REFUSE to be known. Actually nothing could be simpler than to explain Millie's and Dean's kind of wedding, once you accept them not merely as two secretive people, but two highly individual ones.

"LITTLE PEOPLE"

Both are what Millie calls "little people" - meaning they make no pretenses and are sturdily against being pushed into any. And before they fell in love, each had a shattering capacity for loneliness. But right there is a nub of difference. For Dean has known, since childhood, what it is to be so apart from others and so hurt by the apartness that he'd die before he'd let it show. That's loneliness, from way back and deep down.

But Millie was never a hermit girl - not until she came to Hollywood. Home in Fair Lawn, in the tree-shaded house full of lively Perkinses, you couldn't be sad unless you worked at it. "A lot of living went on there" she recalls wistfully, "and I was always part of it." Her chief grief was peering into the mirror and deciding she was the one ugly Perkins. She still isn't sure the duckling has, as yet, made it to swan.

That's a tell-tale symptom. The ground isn't firm under Millie's feet because her big breaks came with luck, not the hard work she believes in. When she left the safe nest for New York, fashion modeling fell

into her lap - someone liked photos he saw of her. It spiraled. Twentieth Century-Fox talent scouts, searching the world for a girl to play Anne Frank, also liked Millie's face in a magazine. They chose her

over 10,000 applicants who wanted to be movie stars, when she didn't particularly want to be one. She came to Hollywood looking fourteen, indeed, in dark knee socks, a rumpled skirt and blouse. These are still her favorite kind of clothes - she's indignant when they're called her "Anne Frank costume."

But she came quivering with fear. She was an amateur, a worrier, the pros were watching for her to fall on her face. She never got over her dread of failure. She cried under pressure, she walked alone. But to those on the set who were patient and kind, she was sweetly courteous. Director George Stevens beame an ideal in the place of her papa, the Merchant Marine officer she used to greet rapturously after each sea trip when she was home. Dodie Heath, who became Millie's friend while both were in the "Anne Frank" cast, loved her for the gentleness that many mistook for weakness - till they found she couldn't be stepped on.

Dodie told a writer, "When Millie finds someone who understands her, she gets all excited." Prophetic words. For when she met Dean, they both found understanding. And this he had been groping for all his life. From then on they walked together. They shared the outdoors, on a sailboat, on horseback, anywhere away from people and night clubs. They sprawled in secluded grassy fields and read to each other. And they talked - about everything in both their worlds. Millie even confided how sad it was for a little girl to be an ugly duckling. She didn't care that girls never admit to ugliness, past, present or future.

Anyway, Dean topped her. He said, "It's worse to be such a pretty little boy that the kids you want to play with laugh in your face. You're different - a child actor, and that's a terrible thing to be!" At six, Dean was a stage veteran starting a film career in "Anchors Aweigh." He worked too hard and played too little, till at sixteen he'd completed high school and more than twenty pictures for M-G-M. Then he rebelled.

"I'm through with all this," he told his mother and older brother Guy. "I'm going to college. I don't know what I want to be - but I want to be something." A year at Berkeley, and the "apartness" got under his skin again. He felt he'd always be "that actor" or "that conceited ham." Restless, unfulfilled, he took off for anonymity. As "Rudy Stocker" he wandered to find himself. He did everything from lugging office mailsacks, in New York, to driving railroad spikes in Texas. After a few years, satisfied he could live by the sweat of hard labor, he came back - first to the New York stage, to co-star in "Compulsion," then to Hollywood. And eventually to meet and fall in love with Millie Perkins.

THEY'RE YOUNG - BUT WISE

The mixed-up rebel was a man now, and Millie saw this in him; leaned on him for strength. She worried with him, wept on him, laughed with him, shared his quiet times with music and books, his exciting times in the big outdoors. Dean had been close to other girls, but never one like Millie. He listened to her joys and troubles, comforted and praised her, poured out his own complicated heart to her - and never, never tried to change her.

"This is my girl," he introduced her at his birthday party, where she showed up in the same old kind of skirt and blouse - and the others were all so dressed! He kissed her and said, "My girl looks different from any other - because she IS different." He loves her exactly as she is and doesn't want to change her.

This is the all-accepting love that Millie never wrote her family back home about; they read it for themselves in the columns. Friends said then, "Millie isn't sure how the Perkinses will take it, they being Catholic and the boy Jewish." They described the pictured fragment of the Ten Commandments framed and hanging over Dean's fireplace, and the Torah, the Hebrew Law, among his books.

But if difference of religion finally prompted them to go off to Vegas, secretly, and be married by a Protestant pastor, that's only part of it. The whole story is that Millie and Dean have something together far more important to them then religion, family, career, anybody or anything.

They're young, but wise. They know love is something you can't describe in words that anybody but your own beloved will truly understand. And suppose, not understanding, your family or studio or friends disapprove? They can't stop you, not when you're of legal age. But to two sensitive people, criticism of their best, dearest treasure would be harsh as a rough finger bruising a petal.

No, say the few people who really know Millie Perkins and Dean Stockwell, they took no chances. They thought about how they felt toward each other, and decided it WAS their own and very precious. That was why they ran away - to protect their love.

SEE DEAN IN 20TH'S " SONS AND LOVERS."

-The End -

[daniamdy-blog]

G Machines

G Machines Hot G Machines Hot Wheels 68 Mustang, Gold, 2005, 1:50 Scale eaglecollector83 Hot Wheels - "Chevy Stocker" - "1997" QuickSilver Series

[muscle-cars-aesthetics]

1969 Plymouth Valiant 100 Facts ⬇️⬇️⬇️⬇️⬇️⬇️⬇️ What: It’s a ’69 Plymouth Valiant 100. Though it looks like a ’68, it really is a ’69. The owner replaced the hood, grille, and fenders with ’68 parts. Engine: The block is a ’69 440 bored 0.030- over. The rotating assembly was blueprinted and balanced to within 2.00 grams. The cam is a Mopar Performance 509, and it actuates Crane roller rocker arms and stainless steel valves. Transmission:’68 A833 big-block trans with a custom driveshaft Rearend: An 831/44 spans the rear wheel openings. It was narrowed 2 inches on each side. minitubs, relocated the leaf springs 3 inches inboard, and welded in the subframe connectors. A Sure Grip differential with 3.55 gears turns the billet axles. Suspension and brakes: mostly stock with torsion bars up front, Mopar Performance Super Stock leaf springs out back, and KYB Gas-a-Just shocks at all four corners. set of 10.5-inch discs with stock calipers and swapped big 11-inch station wagon drums in place of the puny stockers. Wheels: big ‘n’ little steelies painted body color with chrome dog-dish. The rear wheels were widened to 10 inches. The front tires are Goodyears, and 29×13 Hoosier Quick Time Pro slicks in back. Exhaust: Giant TTI 2-inch, ceramic-coated headers with full 3-inch dual-exhaust system. Interior: It’s bargain-basement cool with no carpet, no heat, and no tunes. reupholstered the stock bench seats. Paint: Dodge maroon color from the ’68 model year. 💯💯💯💯💯💯💯💯💯💯💯 #moparornocar #mopar #plymouth #dodge #charger #challenger #100 #valiant #cuda #roadrunner #hotrod #v8 #musclecar #chevy #ford #car #classic #vintage

[diecastcarzer]

Vintage Hot Wheels Chevy Stocker - Turquoise - New in Baggie - 1990 https://ift.tt/3jX24Hi

[rebelrouserhotrods]

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Behind the wheel of DSG Super Stocker @electricsniper as he matches up with @55chevygas at @funnycarchaos. Gasser vs Super Stocker 🏁 #dirtysouthgassers #gasser #funnycarchaos #gassers #dragracing #gofast #hotrod #nostalgiaracing #runwhatyabrung #dragstrip #straightaxle #str8axle #hammerdown #chevyracing #instaracing #nostalgiadragracing #hamb #picoftheday #instaracing #chevy #penwell #penwellknightsraceway #westtexas #gassernation #gasserwars #haulinass (at Penwell Knights Raceway at Caprock Motorplex) https://www.instagram.com/p/B4wC2_pH8gD/?igshid=19k08vv37o5h6

[chadclinephotography]

WUW: Bill Blakeney driving his 68 SS Camaro Super Stocker at Auto Club Dragway. #chadclinephotography #canon #canon7d #dragracing #dragcar #nhra #acdragway #autoclubdragway #autoclubdragstrip #fontana #lucasoil @autoclubdragway #dragillustrated #dragracingphotography #dragracingphotographer #ishootraw #canonphotography #canonllens #chevy #chevroletcamaro #chevycamaro #wheelsup @camaro.family #supersport #superstock #LODRS #lucasoildragracingseries @nhra @nhrad7 (at Auto Club Dragway)