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theangrypokemaniac · 5 years

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There's a sneering attitude that the dub is inherently inferior solely for being a dub, and when I say 'dub' I mean the American one. No one attacks the South American interpretation, funnily enough, or the variety that exist globally.

Why not if foreign languages are so abhorrent? Do you think it's kewl to hate America?

That's so original you know.

If the moan centres on the dub changing certain things, well that's a pointless stance, because it's impossible to do otherwise.

What's accepted in one country is not always permitted elsewhere, so either you make those alterations or it's never shown. I'd prefer seeing a slightly toned down version rather than have it never reach the West at all.

This is without considering the technical obstacles that a direct translation brings. The words do have to fit the mouth movements, and if they don't, truncation must follow.

America and Japan are different; the population of the former are not going to comprehend the references to the latter's history and culture, which necessitates some divergence from the original to give it mass appeal.

Anime is a branch of entertainment. It has to attract the public's good will to stay in business. If impenetrable, it'll fail, with all the resulting unemployment and finacial losses that brings.

Those in charge of dubbing understandably think they're on safer ground promoting familiarity rather than the strange, but that's not to say Pokémon was stripped of its identity. On the contrary, it was like nothing I'd ever encountered before.

I may have watched Western cartoons then, but the idea of doing so now is silly. I won't give time to any modern animation unless it's Japanese. Growing up on the dub has not produced an ephemeral fan less serious or 'true'.

The 4Kids dub had wit, humour, deep emotion, suggestive comments and flights of fancy. The voices fitted the characters well.

Unlike the current one, where everyone sounds on the verge of vomiting, but then they're clearly working with substandard material on a miserly budget. You can't make a silk purse out of a sow's ear after all.

Dubs can be bad, but the very state of being a dub doesn't confer worthlessness automatically. Considering the work gone into them, attempting to gain your favour, it seems rude not to appreciate the time and energy spent in production.

Knowing a little about history, sub-only fanatics remind me of the kind of folk who opposed an English Bible, because it was too good for the oiks to read the word of God.

Of course it was alright for them, rich enough to be taught Latin, but not so much the ordinary man.

It amuses me how dozens dismiss the dub, but see no hypocrisy in using its evidence to further their ship or anti-ship arguments, so it can't be that revolting.

It's also bizarre that so many hold sacred the sub of a series currently in a frenzy to shed every aspect of its anime and Japanese origins, leaving a vague, rootless ghost, supposedly making it easier to slip down the gullet of the masses.

Pokémon I've seen referred to as a 'gateway drug', as in the anime that introduced a generation to the entire concept. This means the dub. You would not have got enough kids in the late Nineties to read a screen rather than watch it, and even today most would lose interest rapidly.

Where would you be without that dub? Unless you're Japanese, your first experience of Pokémon will have been a dub, and if not the American, the one where you live, which was only made because there was the funds available.

You may have then progressed to watching the sub, but only because that dub stirred love in your soul.

Where would the franchise be without that dub? You think Pokémon would've grown to be a world-wide obsession raking in billions by itself? No, it'd still be a solely Japanese phenomena, and most likely never lasted this long.

Its decades of supremacy rests on the quality of that dub. It sold games and merchandise to kids by the ton, giving an incentive to keep the series going. If you're not a fan from the first wave, then your favourite era would have never existed had it not been financially attractive carrying on.

The team who wrote the first film actually preferred the dub, moved to tears by its emotive use of music, therefore they aren't so precious as the fans.

Where would anime be without that dub? Pokémon brought it to the West. A handful slipped through previously, but made minor impression.

To those who would dismiss Pokémon entirely in favour of more 'worthy' output such as Studio Ghibli, I would say that Pokémon, first the games, then the programme they inspired, must have an integral quality to have caught on in Japan, which isn't exactly short on similar concepts.

To have gained popularity in a crowded market, and so fervently a dub became an option, can only have come about because it held a certain magic.

It was the dub that smashed a hole in the cultural barrier, setting free the tidal wave to engulf the world. In Pokémon's trail followed Digimon, Cardcaptors, Monster Rancher, Yu-Gi-Oh! et cetera.

Without Pokémon, I doubt they'd have been translated, and definitely never broadcast on mainstream television. That came about as channels desperately hunted down anything Japanese to serve as the next craze.

I really appreciated the effort made by 4Kids in converting every aspect of the series to suit American tastes, including changing text on signs, letters and books into English. I assumed this was standard practice until I watched others.

I could never be as involved in them as I was Pokémon because of that block. It was like being denied access to the deeper waters, fenced into the shallows, and implied a rushed dub, with little care shown but to chase the same crowd and money.

If personified, the dub 'n' sub wouldn't be one human being, but rather identical twins: the same to a casual observer, but easy to tell apart by the more attentive.

It's like the games: Red and Blue are versions of a single adventure, but not totally one. Take the dub and the sub the same way. They are parallel dimensions running on separate rails, and beyond reconciliation, and that's before we consider that, sub and dub alike, each generation has only a faint relation to its predecessor, working on its own whims.

Everyone has a favourite, or can like both, and there's nothing wrong in that, but so many are proud of the fact they hate the dub, as if it conveys a revered status of supremacy.

When Disney films are shown abroad, they too are translated, and I'm sure references and jokes are redesigned to make sense to the locals. It's no use selling yourself as a comedy then being surprised when the audience refuses to laugh, having no idea what you mean.

If people prefer that one, for being what introduced them to Disney as a whole, or as a fond memory of childhood, then so what?

I don't mind if their view of a character is minutely at odds with mine, having seen the original, because what they think is canon to their version, so can't be wrong.

I don't go round declaring every Disney dub to be pathetic by its nature, that viewers of them are of a lesser breed of fan for preferring their own tongue, even though more of the world's population understand English than they do Japanese.

If you enjoy one tailored to your country there's no crime in it, just as I like one at least comprehensible to mine. It's not even my culture, but I pick it up mostly.

The choice must be made on which to follow, and this blog runs on dub canon, as that has a claim on my heart. Just because I don't acknowledge what takes place in the sub doesn't mean I'm unaware of it, but it has no bearing on what I write.

The idea that the dub alters things willy-nilly without rhyme nor reason is also mistaken. Often it does it because the original does not make sense.

In the sub, I know Nanny and Pop-Pop are just a couple of old duffers taken at random and dropped in to a castle, supposedly as James's far away nannies.

Oh yeah, that's a cushy position. You doing a lot of child care from miles off?

Mind you, it used to describe 'em as 'caretakers' on Bulbapædia, as if Nan serves as housekeeper whilst Pop tends to the garden.

That's right. Ma and Pa finally got some work out of this pair of freeloaders.

They're not related, remember? No, no, absolutely not, no way. Of course their style reflects that. They just gave Pop a 'tache, thick eyebrows and a bigger nose, and Nan got a bun and lines in her hair, but there's certainly no connection. Oh no. Such a thing is ridiculous.

They're NOT family. No. Yet Hoenn James still panics they might learn he's joined Team Rocket, spending the whole episode trying to hide the truth.

Why? Who are servants to criticise the son of their employers? Why should their opinion be of any consequence to Hoenn James, especially when his parents, fiancée and butler are cognizant of reality?

Children of aristocrats are usually brought up by governesses, thus develop a stronger attachment to these figures rather than their parents, but that isn't the case here.

James lived with Ma and Pa, not the codgers minding the castle. He would have very little contact with distant employees compared to those who waited on him daily, so why seek out their approval?

Hoenn James apparently was permitted visits to Nan 'n' Pop, which is strange considering they're not relatives. Why them and not any other house-stters?

That's right, Ma and Pa sent their son to one of their properties without them, entrusting him to the care of two shrivelled pensioners of his size that he barely knew, and who could keel over at any minute. There are no other servants present. Apparently Nan and Pop clean an entire castle by themselves.

Oh, and they run a makeshift Pokémon sanctuary, but since it's not their home it has to be done with Ma and Pa's blessing, who also have to pay for it, but they're eevul aren't they?

The idea that somehow Nanny and Pop-Pop have not cottoned on to James's occupation by now is risible.

Servants gossip about their masters. I bet the entire household of his home know, and so in turn does the county. That Nan and Pop remain oblivious proves how isolated they are, for no one's thought to inform them.

When it came to dubbing it, they were made his grandparents, removing all the above nonsense. Of course he visits his nan and granddad, it's their gaff and their money funding the place, and it is likely his mother or father would keep James's job a secret, for fear the shock would finish 'em off.

It should do really. If they're not bothered by it that's a sign of where his rapscallion ways were inherited.

They aren't facially akin to Ma and Pa, but display the same additions, so if staff it's bloody lazy, as if nannies have to resemble your parents, but inventing a blood link excuses the slothful characterisation.

Every reference I've seen on Tumblr relating to the coffin-dodgers calls them Nanny and Pop-Pop. Apparently the dub decision is met with universal approval. It does have redeeming aspects then.

Now the sub writers, rather than ignore this development, took to it too. They aren't exactly bursting with ideas these days and are probably grateful for the lifelines offered.

Remembering James had parents, they forced a likeness between them and Nanny and Pop-Pop. How else do you explain the inexplicable ageing, even when Sinnoh Ma and Sinnoh Pa are younger than Ma and Pa?

I've also known for years that the sub has this woman as Jessie's foster mother, not Ma Jess, but that's stupid.

I can grasp the idea that Jessie and Ma might have endured extreme deprivation, considering that's what Team Rocket has brought to Jessie anyway, and that they may have lived at the bottom of Mew's mountain prior to Ma's death.

What I find difficult to take in is that social services (or as they're known where I live, the S.S.), however notoriously awful they are, would give a child to a mad bitch in a shack with no running water.

Come on, they have to at least pretend to be concerned for Jessie's welfare.

As Jessie is very young, bereavement can't have befallen her in the distant past, so how can she be happy this soon after becoming an orphan? How could the grieving period be a cherished memory?

If that woman's creaming off the money, why hasn't she fixed the place up by now? Where do the payments go, sniffing glue?

Then there's the depiction. If this is just some daft bint never to be mentioned again, why do they conceal her face? Who cares what she looks like when she's unimportant?

Here's another figure from Jessie's past. She isn't disguised, and why not when she too briefly appears and is then forgotten?

Who was she?

The only sort of characters they tended to hide were other members of Team Rocket:

During the early scenes featuring Giovanni, he was enveloped in shadow, adding both intrigue and a sense of menace.

Madame Boss also got this treatment, even though there was probably no intention to ever feature her in the anime. What's the use in keeping an appearance a mystery if it'll remain masked?

With that pattern, it implies this woman is in the same category, like Ma Jess.

When it came to animation, it definitely was intended to be a foster mother. Not her real one. No.

What did they do?

They gave her Jessie's skin tone and purple hair hanging down her back!

You know, like Ma Jess?

Any colour would've done. Any at all, and being anime I do mean any colour, but no. The choice was made to give her the looks of the exact person she's not meant to be!

Is it that surprising the dub simplified things?

I don't mind if you like the dub, sub, both, or any from around the world, but I'm tired of the smug condescension, as if we all agree the sub is the only one that counts, and that dub fans are grunting troglodytes, or not 'proper' aficionados.

None of us would be here were it not for the dub. Pokémon would not be here. I think it deserves some respect for how much of a difference it made, to my life and to yours.

#pokémon #team rocket #nanny and pop-pop #ma jessie #jessie's mom

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sairux-en-blog · 4 years

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seatsbythepit · 7 years

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thoughts on ornstein's summary thing?

Okay, anon, I gotta admit my head has been whirring on this one, I’ve been thinking about your question the whole time I was at work - and I would like to apologize in advance, because it was 100% more eloquent in my head than in the words I’m about to write.

First and foremost, I have to make two “disclaimers”:

The first being that we should all keep in mind that David Ornstein is, at the end of the day, a reporter with sources at the club. He has often been reliable, tends to post only when he’s fairly certain of his information, and probably takes his info in good faith, however we do have to take any and all information (i.e. how certain deals happened, mood of the players/club etc.) with a pinch of salt, purely because only the people who were actually there would know what was said and done etc. But we can of course draw our own conclusions from the actions of the club, past experience, etc.

The second: I am not particularly a good stats/data person, nor do I have a great capacity for economics, I have basic understandings but I can’t venture too deep - so my thoughts come from a more observational/analytical perspective purely from what I’m seeing/hearing/understanding. So, apologies again to anyone who wants me to delve into the mathematical and statistical minutiae of our club, I don’t feel I could do that justice.

So, let’s proceed under the cut because this is going to be fairly long I imagine.

🔽🔽🔽

To address what I think of what Ornstein has presented us with: It is nothing too surprising or shocking. For some this will warrant an eye-roll, for others it may it reignite anger/frustration at the absurdity of our board, there will be some hurt/disappointment with certain players or certain transfers, or the lack thereof in particular positions - and perhaps even some room for consolation or reasoning. But ultimately: Nothing totally new.

(And I have to stress, we will all view the First Team’s situation, and in part some of the academy’s involvement, in different ways - we will come to some similar and some different views, all of which may be right/wrong to different extents. I can only speak for myself when I discuss this.)

I think the transfer window started out fairly well, we sealed Lacazette and Kolasanic in time for summer tour - two very good players, both high achievers in their former leagues. We had some backroom changes too, to coaching staff and to our legal team - nothing too spectacular there, but a little “fresher” to start the window’s activity.

The disappointment comes where deals/transfers were dragged out, things kept getting changed, and ultimately, we perhaps lost/gained in places where we were looking to do the opposite. There of course will be the January window, but I think accompanied with the context of losing our last two PL games a lot of people do not take kindly to indecision and hesitation - though it is granted the influence of other clubs/players on the other side of business will have contributed in certain areas.

All in all, I don’t think too much else would have happened in the window even if we had got 3 wins in a row, maybe one more signing of some notoriety, but nothing too big. (As the Ornstein Recap alludes to, without Alexis’ sale there was no room to budge in terms of a “big” signing [in all honesty I don’t subscribe to the idea that it has to be big or expensive to make a difference, but we could have done with a midfielder or a defender - as some players seemed to have fallen out of favour], again due to the fact that Stan won’t splash the cash.)

I’ll briefly touch on the talk of Hector Bellerin and Alex Oxlade-Chamberlain in Ornstein’s Recap:

Hector wanting to go back to Barcelona seems to be part truth and part self-fulfilling prophecy, and as Hector said before he is committed to Arsenal and I guess we can only really take his word for it. Not to mention I feel that if you commit to such a long contract as he has, you should honour it - you should honour your commitments unless there is an extreme circumstance that requires you to leave. Note: Losing CL football does not qualify as extreme, no matter how unappealing or shit it may seem to some professional footballers and to some fans.

Perhaps the biggest controversy of the window was the departure of Oxlade-Chamberlain. Again, I am only speaking for myself so: I was disappointed, yes. I didn’t like the way it had been dragged out, I didn’t like the fact that he got to play against Liverpool as it seemed so clear his time was over at the club, it just all felt so unnecessary. I am sad that he chose not to commit himself any further to us - we of course had many years of hoping for “his year”, and last year seemed to be the beginnings of having that only for it to be cut off during this window. He had/has his reasons, what else is there to say? Bitterness has turned to resignation and now to indifference, I have other players at my club that require my support and attention.

I think the real crux of our issues does lay outside of transfers, and more in the boardroom - as I’m sure most will agree. The on-pitch performance/player attitude and fan influence are all (partly) side effects/symptoms of the deeper rot that is our (majority) owner and inactive board. (

All current members of our board have become active between 2005 - 2013.

Sir Chips Keswick was first appointed as an Arsenal director in November 2005 and replaced the outgoing Peter Hill-Wood as Chairman of Arsenal Holdings plc in June 2013.

Ivan Gazidis was appointed as Chief Executive Officer of Arsenal Football Club in January 2009.

Arsenal Football Club’s longest-serving director, Ken Friar OBE has been a mainstay of the Club for more than 60 years. (Honestly won’t really include Ken in this, he still serves our club in 23847724 ways and I will fight for him.)

Lord Harris of Peckham was appointed to the Arsenal board in November 2005.

Stan Kroenke became a shareholder in May 2007, was appointed to the Board of Directors in September 2008 and became the majority shareholder of Arsenal Football Club in April 2011.

Josh Kroenke joined the board of Arsenal Football Club in December 2013.

The reason I make note of this is because this coincides fully with the time (10 years) where we were emphatic that we could not/would not be able to compete with our rivals as the Emirates Stadium needed to be paid off, leaving little else for club business. In fact, it required Arsene Wenger reassuring the banks that he would stay for a further 5 years to see that there was a consistency within the club (i.e. making CL every year, which we did.) in order to repay the loans. (It was partly his idea that we move to a bigger stadium in the first place.)

So, for those years I suspect the board didn’t have too much to do, sure there would be fan discontent, and there really was (“Spend some fucking money”, ring a bell?) - we made a few goes at the title and progressed only a little in the CL, no FA Cups, no nothing - but hey, they were in the Bubble of Time, they told us about that time, so we just had to suck it up, right? Fair enough, I suppose. We still did very well to maintain top 4, especially in a time where that money did actually matter a lot.

2013 rolls around, we start to defrost, and fans think “We should really be doing something by now, ffs” But we have to bear in mind two crucial things:

The lucrative nature of the PL, the value, the cash flow, whatever you want to call it - it had grown exponentially in that decade, this meant that “lower clubs” had tv money, advertising and sponsorship that allowed them to be on a more even playing field, the divide between the great, good and mediocre was allowed to shrink.

Stan Kroenke was (and is) the tache with the cash.

I think we know how the rest goes, we got some great players, both known and unknown, big shiny toys and hidden gems, and everything else in between. We won an FA Cup, two…three in fact - but at the very core the slight patch of mold started to grow, the Kroenke effect. We’re held on a tight leash, our system dictates that we can only use what we make in profit to deal with everything, Stan doesn’t want to give us anything, but hey! Apparently, he wants us to do well!

And you can imagine the fan discontent grows and grows, it’s daylight robbery, we pump the club full of cash in the form of shirt sales, tickets, programmes, magazines, merchandising, our tv subscriptions and so forth (because we love it and want to see it thrive.) - and receive very little in return, no desire, no ambition, falsehoods and unfulfilled promises. That is the first boil of anger festering.

The second boil, and the worst casualty, is Arsene Wenger. Arsene loves us, he loves Arsenal Football Club. And because of this he has not only contributed to our stadium, he has declined offer after offer from other clubs, he has taken the full force of any and all criticism/abuse directed at the club and has protected those that sit at a desk (or relax in a different country entirely) above him.

The reason he is a festering boil is because he becomes a way to channel any and all anger, not just the criticisms he receives as manager. The first boil (The Board) can remain subtle, silent and deadly, but the second is pickable, burstable, it is pumped full of bitterness and entitlement, sadness and despair. But Arsene, despite a few words of displeasure, takes it - he allows it to happen because [read the first few sentences above].

So when you take Arsene for what he is, he is brilliant, he is infuriating, he is wise, he is stubborn, he is intelligent and he is heart breaking. Arsene has made mistakes, foolish decisions, perhaps he has been secretive, perhaps he really does need to let loose and expose our board for what we already know and more - but he won’t, at least I think he won’t, because (excuse my strange analogy) I see it like this:

The club is hanging over a cliff edge (within the context of the expectations and demands of a club our size, I know there are 100s who have it worse off than we do.), and Arsene is holding onto us, he won’t let go, because the way he sees it is that if he drops us (if he leaves) we will fall, fall hard and it could be some serious damage to us - this is because of instability the board has given us - BUT in all of this Arsene is getting older, he is under strain, it is getting harder and harder to hold onto us, the magnitude of our plight is no longer manageable the way it was in the late 90s/00s.

He does make mistakes, he does get it wrong, but perhaps it wouldn’t feel so terrible or be so exacerbated if the system above him had the decency to take him away from the pressure, to say “No, this needs to happen”, “It’s okay we will do this”, “We have decided this”, “You need to do this”. For as long as he tries to keep it all together without letting them be held accountable he is going to be hurt and be the cause of hurt, whether that’s fair or not.

Maybe he could let go and nothing too terrible would happen to us and he could go home and rest or turn his work elsewhere, but there’s this sense of responsibility, that deep love, that relentlessness. He doesn’t trust that if he lets go that somebody will come to pick us up and mend us, not under Stan Kroenke, he would not forgive himself if it were to be damaging to his life’s work and life’s love.

So… we’re in a rut, Stan won’t move, Arsene won’t either. And together it creates this friction, this resentment that oozes and pulses in many factions of the support base, we can use social media to micro-analyze and overanalyze, to pick and pick and pick at our wounds with no healing to come with it, only botched plaster jobs and short term solutions, maybe some pain relief in between (trophies/big wins/good team performances/exciting players).

And then the third boil comes from the media who love their clicks for money, the supposed fans who deliberately create more issues with little room for reason or debate, and the pundits (ex-Arsenal players sometimes) who apply logic/expectations/experience from when they were footballers to a vastly different environment of modern football - anything that’s bad is really bad, and anything that’s good can only last for a week. It’s the culture of hyperbole, sensationalism, dramatics, and hypocrisy.

TL;DR: We are burnt out. Something has to give.

In all of this nonsense that has gone completely off topic, we are stuck. Ornstein’s words are only a mirror being held up to remind us that we are still frail as fuck underneath, we are trying hard in some ways and utterly stagnant in others. But it won’t stop me from coming along with my glue and my bandages, it won’t stop me from wishing someone would heal the infection, that someone would remove the rot and start again, and that the most special someone, Arsene Wenger, could move on and not feel like he let us down. He deserves that at least.

#ask #anon #aa #long post #football

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hildaagular · 5 years

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Trump impeachment pubic demand rises, house speaker Pelosi under pressure after ‘The Mueller Report’

The impeachment calls of US President Donald Trump have become a huge deal after the recent happenings in the White House. The opposing forces are accusing Congress of doing whatever they want without any regards for the law and order.

The house judiciary committee is saying that Trump has obstructed ‘The Mueller Report’ inquiry and also stopping others from speaking over it. It has finally forced house speaker Nancy Pelosi to take action against the US President Donald Trump.

[This post contains video, click to play]

Trump Pelosi Issue

The rising number of Democrats demanding the impeachment of Trump has finally pressured Pelosi to take action. House Speaker Pelosi has finally agreed and called for a meeting of Democrat lawmakers on this Wednesday, May 29 to hear their side of opinions. Meanwhile, Trump administration has been refusing to cooperate with every subpoena request and declined to share the financial details of ‘The Mueller Report.’

Public demands for Impeach Trump

After the previous White House counsel, Don McGahn has refused to testify in front of the house judiciary committee, the common public of the USA is outraged. People are asking to impeach Trump as soon as possible and feels the country is in danger.

These transgender soldiers are still allowed to serve. They want to prove their detractors wrong: Jordan Lively, a specialist in the US Army, hated using the women’s facilities at basic training and wearing… https://t.co/aOAtP3VxyX #ImpeachTrump #ImpeachKavanaugh #TheResistance pic.twitter.com/4T46Zf1Fd4

— Patrick (@cahulaan) May 27, 2019

I’m almost afraid to open @Twitter these days. Just so much craziness coming from Washington, BUT, it’s the only platform available where I know I will read the truth! #impeachtrump

— Lexa (@ETxbloom) May 27, 2019

Not only is tRump dimwitted, he is only president for his cult followers. He is not even “trying” to be a president for the rest of us!#ImpeachTrump pic.twitter.com/R5PEosNbs7

— McSpocky™ 👽🌊 (@mcspocky) May 27, 2019

We have an illegitimate President. He is lawless & incompetent. He threatens our security. This Memorial Day let us honor those who made the ultimate sacrifice by fighting to protect our Democracy from this foreign backed domestic enemy. #ImpeachTrump

— Rob Reiner (@robreiner) May 25, 2019

Let’s be clear about something: Nobody in Congress including @SpeakerPelosi has ANY experience stopping a fascist autocrat from destroying our democracy because this has never happened before. We’re living in extraordinary times that call for extraordinary measures. #ImpeachTrump

— Ryan Knight is #AllInForWarren (@ProudResister) May 25, 2019

We’re in the midst of a national crisis …

One third of the country is resisting. One third is applauding. One third couldn’t care less.

We’re already 2/3’s screwed, we might as well throw caution to the wind and #ImpeachTrump.

We know the 2020 election will be corrupted. pic.twitter.com/B2BExC7sBG

— Proud Navy Veteran 🎖️🌊⚓️ (@naretevduorp) May 26, 2019

I couldn’t find people to protest today. So I’ll protest as I go about my day. Outside my dry cleaners. Near the grocery store. Anywhere I go. I’ll have my #ImpeachTrump sign. If you can protest for even 10 min, even in your own driveway like @B52Malmet, do it. #SaturdayMorning

— Bryce Tache 🇺🇸 (@brycetache) May 25, 2019

On this weeks episode of Homeland, the President seeks to investigate and jail his political enemies…WTF?!? Are we seriously letting this shit show continue? He’s doing all of this because no one has the balls to stop him…madness! #ImpeachTrump #NancyWhereYouAt

— .P-Nav. ✊🏼🇺🇸 (@PNav57) May 24, 2019

Trump used a doctored video to make fun of Pelosi.

Fun Fact: No Doctored Video Needed:

Trump sniffles like he’s been snorting cocaine, talks like his teeth are falling out, rambles incoherently like he’s possessed, and lies with every breath.#TrumpDoesCoverUps #ImpeachTrump

— W Smith Ω 🧢😎 Impeach Trump & Fumigate The WH. (@WesSmith123) May 25, 2019

#BREAKING: Good news #Resist tweeps. It isn’t permanent yet, but one day soon we will see this on our sets.#ImpeachTrump #MuellerReport pic.twitter.com/L3iGnD8FWI

— Christopher Suprun (@TheChrisSuprun) May 25, 2019

No hurry for Impeachment

Even though the whole country is asking for impeachment of US President Trump, the officials seem to be not in any hurry. The house democrats are saying that it is more of an inquiry rather than a decision. Most of the Congress members are divided on the issue and trying to defend themselves in case Donald Trump stays in power.

The post Trump impeachment pubic demand rises, house speaker Pelosi under pressure after ‘The Mueller Report’ appeared first on Hiptoro.

Trump impeachment pubic demand rises, house speaker Pelosi under pressure after ‘The Mueller Report’ published first on http://www.hiptoro.com/ Trump impeachment pubic demand rises, house speaker Pelosi under pressure after ‘The Mueller Report’ posted first on http://www.hiptoro.com/

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claytoncoughlan · 5 years

Text

Trump impeachment pubic demand rises, house speaker Pelosi under pressure after ‘The Mueller Report’

[This post contains video, click to play]

Trump Pelosi Issue

Public demands for Impeach Trump

— Patrick (@cahulaan) May 27, 2019

I’m almost afraid to open @Twitter these days. Just so much craziness coming from Washington, BUT, it’s the only platform available where I know I will read the truth! #impeachtrump

— Lexa (@ETxbloom) May 27, 2019

Not only is tRump dimwitted, he is only president for his cult followers. He is not even “trying” to be a president for the rest of us!#ImpeachTrump pic.twitter.com/R5PEosNbs7

— McSpocky™ 👽🌊 (@mcspocky) May 27, 2019

— Rob Reiner (@robreiner) May 25, 2019

— Ryan Knight is #AllInForWarren (@ProudResister) May 25, 2019

We’re in the midst of a national crisis …

One third of the country is resisting. One third is applauding. One third couldn’t care less.

We’re already 2/3’s screwed, we might as well throw caution to the wind and #ImpeachTrump.

We know the 2020 election will be corrupted. pic.twitter.com/B2BExC7sBG

— Proud Navy Veteran 🎖️🌊⚓️ (@naretevduorp) May 26, 2019

— Bryce Tache 🇺🇸 (@brycetache) May 25, 2019

— .P-Nav. ✊🏼🇺🇸 (@PNav57) May 24, 2019

Trump used a doctored video to make fun of Pelosi.

Fun Fact: No Doctored Video Needed:

Trump sniffles like he’s been snorting cocaine, talks like his teeth are falling out, rambles incoherently like he’s possessed, and lies with every breath.#TrumpDoesCoverUps #ImpeachTrump

— W Smith Ω 🧢😎 Impeach Trump & Fumigate The WH. (@WesSmith123) May 25, 2019

#BREAKING: Good news #Resist tweeps. It isn’t permanent yet, but one day soon we will see this on our sets.#ImpeachTrump #MuellerReport pic.twitter.com/L3iGnD8FWI

— Christopher Suprun (@TheChrisSuprun) May 25, 2019

No hurry for Impeachment

The post Trump impeachment pubic demand rises, house speaker Pelosi under pressure after ‘The Mueller Report’ appeared first on Hiptoro.

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anawiliams · 5 years

Text

Trump impeachment pubic demand rises, house speaker Pelosi under pressure after ‘The Mueller Report’

[This post contains video, click to play]

Trump Pelosi Issue

Public demands for Impeach Trump

— Patrick (@cahulaan) May 27, 2019

I’m almost afraid to open @Twitter these days. Just so much craziness coming from Washington, BUT, it’s the only platform available where I know I will read the truth! #impeachtrump

— Lexa (@ETxbloom) May 27, 2019

Not only is tRump dimwitted, he is only president for his cult followers. He is not even “trying” to be a president for the rest of us!#ImpeachTrump pic.twitter.com/R5PEosNbs7

— McSpocky™ 👽🌊 (@mcspocky) May 27, 2019

— Rob Reiner (@robreiner) May 25, 2019

— Ryan Knight is #AllInForWarren (@ProudResister) May 25, 2019

We’re in the midst of a national crisis …

One third of the country is resisting. One third is applauding. One third couldn’t care less.

We’re already 2/3’s screwed, we might as well throw caution to the wind and #ImpeachTrump.

We know the 2020 election will be corrupted. pic.twitter.com/B2BExC7sBG

— Proud Navy Veteran 🎖️🌊⚓️ (@naretevduorp) May 26, 2019

— Bryce Tache 🇺🇸 (@brycetache) May 25, 2019

— .P-Nav. ✊🏼🇺🇸 (@PNav57) May 24, 2019

Trump used a doctored video to make fun of Pelosi.

Fun Fact: No Doctored Video Needed:

Trump sniffles like he’s been snorting cocaine, talks like his teeth are falling out, rambles incoherently like he’s possessed, and lies with every breath.#TrumpDoesCoverUps #ImpeachTrump

— W Smith Ω 🧢😎 Impeach Trump & Fumigate The WH. (@WesSmith123) May 25, 2019

#BREAKING: Good news #Resist tweeps. It isn’t permanent yet, but one day soon we will see this on our sets.#ImpeachTrump #MuellerReport pic.twitter.com/L3iGnD8FWI

— Christopher Suprun (@TheChrisSuprun) May 25, 2019

No hurry for Impeachment

The post Trump impeachment pubic demand rises, house speaker Pelosi under pressure after ‘The Mueller Report’ appeared first on Hiptoro.

Trump impeachment pubic demand rises, house speaker Pelosi under pressure after ‘The Mueller Report’ published first on http://www.hiptoro.com/

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itsworn · 6 years

Text

Unrestored, 20,000-Mile 1969 Dodge Charger Daytona Reveals Clues to Hurried Design & Build

Speed defined the 1969 Dodge Charger Daytona, from its mission to push faster around NASCAR ovals to its accelerated development process and even more rapid production. It was intended to hit the streets and NASCAR tracks for 1970, but the Charger 500’s failure early in the 1969 racing season to deliver a competitive edge prompted Dodge to pull ahead the Daytona program. Despite the reworked, flush rear window, and flush nose (featuring the grille and headlamps from a 1968 Coronet), the Charger 500 was still uncomfortably squirrely at speed. Too much lift pulled up on the tires, countermanding drivers’ efforts at control and working against their self-preservation instinct.

The Daytona’s drag-reducing nose cone and 23-inch-tall rear wing did the trick, for the most part. The package significantly reduced lift and inspired the confidence to keep the pedal to the metal on the straights. The gauntlet was officially thrown down when a Daytona, driven by Richard Brickhouse, won the first race it entered, which happened to be the first race ever at Talladega, in September 1969. Buddy Baker returned to the track a few months later for a test session and blasted a record-setting average speed of 200.447 mph. The wing worked.

Among the documents Peter Swainson got when he bought the Charger Daytona from the family of its original owner, Joseph Graszler, were these notes. Taken in 1975, they may indicate that Graszler was entertaining selling the car. They show the mileage at 20,904 and a callout that there were no dents in the nose cone. It also shows a “for sale” price of $3,500.

The production cars NASCAR required for homologation were thrown together just as quickly as Baker’s blistering pace, but not exactly with exemplary attention to detail.

Detroit-based Creative Industries, which had a long history of building show cars and small-run productions, was given the unenviable task of hand-assembling 500 of the cars during the summer of 1969. An examination of Peter Swainson’s unrestored example underscores the reality of the deadline, with examples front to rear of a hurried process.

Expensive, Ungainly

The car was originally purchased by Joseph Graszler, of Phoenix, who traded a 1969 Road Runner for it at Peagler’s Dodge City. The sale of the Daytona, which has a May 29, 1969, build date, didn’t occur until August 12, 1970. That says everything about the challenge dealers faced with the expensive, ungainly wing cars, which carried a nearly 25 percent price premium over a “regular” Charger.

Graszler had embraced the car’s form-follows-function eccentricity and was an early member of the Winged Warriors enthusiast club when it was formed in the mid-1970s. He also frequented the dragstrip with it in the early days and installed the typical aftermarket parts of the day, including headers, an aluminum intake manifold, and more.

Despite his apparent love for the Daytona, Graszler didn’t drive it very often. It shows only 20,907 miles, and the license plate tabs expired in 1976. Notes from a fellow enthusiast’s examination of the car in November 1975 record its mileage at 20,904. That’s a mere 3 miles added to the clock in nearly 45 years!

Note 50 years of dust on the 440 Magnum’s original crinkle-finish air cleaner. While Graszler had installed some aftermarket parts, he kept the factory equipment, so the engine still has the original “2-69” date-coded spark-plug wires.

Peter Swainson acquired the car in early 2018 from Graszler’s nephews, John and Paul Becker, who had taken possession of it after his death. Swainson says, “It’s unfortunate Mr. Graszler isn’t with us any longer to ask more about his ownership experience.”

Swainson is an Alberta-based business owner with two other wing cars and a slew of additional Mopars in his collection. “These cars represent a special time in history for muscle cars and racing, and preserving this one is something I take seriously.”

Along with the car, Swainson’s purchase included plenty of additional parts and documents. Graszler had kept it all, from the original date-coded spark-plug wires to all of the other engine parts swapped for the aftermarket components. All of the original equipment is on the car today, including the trade-in wheels and tires.

Factory markings on the right-hand valve cover look only days old. One reason they are so well preserved is the original valve covers were removed and stored early in the car’s life.

The original paperwork included the dealer’s purchase agreement, which indicated that the 440/four-speed/Track Pack–equipped Daytona originally came with wheel covers. Graszler had the dealer swap over the Magnum 500 wheels from his Road Runner trade-in. The factory Track Pack added, among other things, the beefy Dana 9 3/4-inch axle with 3.54 gears.

Swainson is planning a full restoration of the low-mileage car. It would have been tempting to leave it unrestored, but it is perhaps a little too raw to leave unattended. Taking care of one or two of its needs would start the snowball growing to a complete re-do.

Unrestored Glory

Detroit-area Mopar guru and racer Dave Dudek will oversee the resto. Before he tore into it, we got the chance to photograph the car in its unrestored glory. It revealed fine details and, frankly, flaws that came with a rapid-fire production schedule.

“They were on a mission to build the cars within the fast deadline,” says Dudek about Creative Industries. “The cars were assembled quickly, and more than a few corners were cut to do it.”

The R/T-based interior featured the Rallye gauge package, with four supporting gauges mounted to the right of a 150-mph speedometer. To the left of the speedo was a “tick-tock tach,” with an electric clock in the center of the rev counter. The seams are split on the original vinyl driver’s seat, but the original door panels have held up well over the last 50 years.

Those corners included the prep work on some of the unique sheetmetal parts. There is original paint flaking off the galvanized filler panel legs attached to the lower front edges of the front fenders, parts unique to the Daytona. It appears that no primer was used prior to painting, just B5 Blue over bare steel. In fact, a manufacturer ink stamp on one of the panels is visible now that the paint has flaked off. Getting paint to stick to the galvanized metal was notoriously difficult, and many owners returned to the dealership for paintwork after trips through the carwash.

Indeed, the whole front end of the Daytona is unique. Creative Industries didn’t merely screw on the nose cone—the 1969 Charger’s sheetmetal made that impossible. It’s not exactly pull-ahead 1970 Charger metal, either, although it’s pretty clear that the hoods were early-run 1970 parts. Comparing photos of standard 1969 and 1970 Chargers with the Daytona demonstrates significant differences in the fenders.

So, did Dodge have unique stampings for the limited-run Daytona? The answer is a firm probably, according to expert Gene Lewis. “They were likely based on the 1970 Charger parts and modified. Chrysler’s own Group Release documentation references the parts as being manufactured or stamped without holes for the side marker lights. You can modify regular 1970 fenders to match pretty easily.”

The long Hurst shifter was part of the Track Pack that included the A833 four-speed transmission. This car is one of only 139 440/four-speed Daytona models.

What’s not clear is whether the fenders were modified with the lower valence legs prior to being shipped to Creative Industries or at the production site. Regardless, they are unique and illustrate the depth of the production process.

One more thing about the front fenders: They featured mesh-covered holes beneath the plastic, rearward-facing vents. Dodge said in 1969 the holes were intended to provide tire clearance for the race cars, so they were mimicked to the letter on the production models to ensure no hang-ups during the homologation process. The production Plymouth Superbird had similar scoops on its front fenders, but no holes. Apparently, NASCAR wasn’t that picky.

That’s a lot of detail for just the front-end sheetmetal on the Daytona, and let’s not forget the flush rear window plug and rear wing, which was anchored with steel support legs in the trunk. There was a lot going on to produce the cars and do them so quickly.

The peeling layers of this unrestored example provide a unique, archeological examination of the build process and a glimpse into an era of Detroit’s motorsports-driven marketing that’s just not the same half a century later. The wing worked, and things were never the same after it.

At a Glance

1969 Charger Daytona Owned by: Peter Swainson Restored by: Unrestored Engine: 440ci/375hp Magnum V-8 Transmission: A833 4-speed manual Rearend: Dana 60 with 3.54 gears and Sure Grip Interior: White vinyl bucket seat Wheels: 14×5.5 Road Wheels (Magnum 500) Tires: G70-14 nylon ply Special parts: Daytona package, including unique front end and rear wing; Track Pack drivetrain

In a Rush

The Daytona’s unrestored condition reveals evidence of its rushed build, namely less-than-stellar assembly quality.

Peeling paint on the front fender legs speaks to a lack of primer before painting, along with clearly visible ink stamps on the sheetmetal. Prep work was minimal.

Primer is visible on the rear edges of the hood and in some areas of its underside, indicating that the hood was only sprayed in one direction and not completely covered. It was the same for the trunk lid on this car.

The flush rear window, laid at 28 degrees instead of the standard Charger’s 45-degree back glass, helped reduce lift and was introduced on the Charger 500 model. A close look at the upper corner of this example shows witness lines of the plug’s installation.

Daytona Speed Secrets

The steel nose cone provided a dramatic reduction in aero lift, pushing down the Daytona’s coefficient of drag to a reported 0.29, which is better than most contemporary vehicles. The retractable headlamp housings are the only wing-car parts shared with the Plymouth Superbird.

The 23-inch-tall rear wing was the other part of the equation that alieved the lift-induced high-speed control issues and helped push the Daytona race car to 200 mph in 1970. The wing itself was painted black or white, while the tail stripe with the “DAYTONA” lettering was a decal.

Plastic front fender scoops covered holes designed to mimic those on race cars that Dodge said were for tire clearance. There is evidence they were actually an aero-enhancing aid that allowed underbody air to exit over the car rather than be forced under it. Fifty years later, cars such as the Camaro ZL1 employ hood vents for the very same reason.

The post Unrestored, 20,000-Mile 1969 Dodge Charger Daytona Reveals Clues to Hurried Design & Build appeared first on Hot Rod Network.

from Hot Rod Network https://www.hotrod.com/articles/unrestored-20000-mile-1969-dodge-charger-daytona-reveals-clues-hurried-design-build/ via IFTTT

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its-me-dawn-flange · 6 years

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mobileautorepairpros · 7 years

Text

Road Tests: 2017 Aston-Martin DB11

Vital Statistics

Engine: 5.2 liter

Horsepower: 600

Torque: 516 lb-ft.

While other luxury brands may be all about seeking attention with pomp and circumstance, weekly press releases, and celebrity endorsements; Aston Martin just keeps plugging away and doing their own thing, on their own terms. That means all-new cars are few and far between, and worthy of celebration all on their own. So let’s get the party started with this all-new DB11!

People seem to forget that the Aston-Martin brand has been in the biz for over a hundred years, and while they aren’t necessarily changing the way they do things, there are now more new products in the pipeline than at any time in recent memory. And, this 2017 DB11 kicks it off in style.

While there is still a legendary V12 under the hood, and the proportions remain similar to recent Astons, the look is certainly a quick step towards the future. With a modern take on the classic Aston grille, it’s simply a gorgeous car; some staffers even remarking it’s the most beautiful rolling stock they’re eyes have ever seen.

It has the paint finish of a high dollar custom hot rod, simply flawless; and no exterior badging to distract you from its beautiful lines.

What looks to be just trim tacked on to create a floating roof, is actually an Aeroblade that funnels air through the C-pillar for added downforce. There’s no doubt this car looks fantastic from any angle.

And lurking beneath all of those curves is an all-new aluminum chassis; using a mix of pressings, extrusions, and castings, to achieve a new level of stiffness without increasing weight.

Going further “next level” is a new 5.2-liter twin-turbo V12 replacing the DB9’s 5.9-liter naturally-aspirated unit. It’s not only a first for the brand, but the engine is their own design. This twelve delivers 600–horsepower and 516 lb-ft. of torque and can sound as nasty or as quiet as you want it to be. It’s tucked behind the front wheels to help keep weight more centered.

If things in the center stack look familiar, it’s because they were sourced from Mercedes-Benz. The leather and wood surfaces all around it however, are clearly a step above, exuding hand-crafted individuality.

Nestling our commoner hindquarters in those luxurious front seats had us feeling like real high rollers. We didn’t even attempt to cram into the back ones.

You won’t find a shifter in here, rather P, R, N, and D buttons bookending the start button in the center stack.

A full-color 12-inch TFT gauge panel, features unique virtual instruments; but between the big tach right in the center of it, and the large shift paddles behind the wheel, you get a sense that there’s a lot more here than just posh and circumstance.

It may not be the fastest car on the road, but it sure feels like it when you punch the gas. It delivers everything it has right from the get-go, and the 8-speed automatic transmission swiftly puts it to good use. Yet it all happens in an incredibly refined way.

It does feel big behind the wheel, not so much a nimble toss-around toy; but very much like a large, smooth, and very posh mile-eating machine. Aston gives you plenty of options for finding your comfort zone, as you can adjust the suspension independent of the dynamic driving modes.

Even if we don’t really have the roads in this country to get the full appreciation of what the DB11 has to offer, you’ll enjoy the experience no matter what road you find yourself on. It oozes upper crust, but in an inclusive way that makes you want to be a member of whatever club it takes to own one of these.

Priced at $214,820 to start, this kind of luxury motoring costs dearly. But dare we say, it feels very much worth it, feeling more prestigious and a step up from rivals at that price point.

That’s because Aston Martin considers themselves more than just a car company, but a maker of luxury goods. And like any true indulgence item, they’re not necessarily going out of their way to attract new customers; rather keeping those accustomed to breathing this rarified air coming back for more.

The 2017 DB11 is a supremely luxurious and competent product for those who know what to look for in a Grand Touring automobile. A fitting car to usher in a whole new era for a brand that we can’t wait to experience again and again.

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itsworn · 7 years

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Modernizing C3 Corvette Gauges

After many years of walking car shows we have seen it all, ranging from incredible builds with amazing attention to detail to the ragged originals, and everything in between. Through the years we have noticed several key areas many enthusiasts ignore and it often reflects poorly on the whole car. One such area is the gauges. We’ve seen flawlessly painted cars with completely refurbished interiors still using worn and tired (not to mention non-functioning) gauges in the dash. Few things are more important inside a car than the gauges; after all, you will be looking at them every time you drive the car. Fresh gauge faces and accurate readings make a world of difference to the overall driving experience.

As faithful readers know, we are in the midst of bringing a ’71 Corvette back to life. The car spent most of its life in sunny Arizona and the interior had plenty of sun damage to prove it. We recently freshened the seats with brand-new leather (from Corvette America) over at Hot Rod Interiors by Glenn. While the seats went a long way to freshening the interior, they looked so good the instrument panels appeared that much worse for wear.

Happily, the solution is as simple as visiting the Classic Instruments website and perusing their offerings. Since they also do custom work, the actual finished product is limited only by your imagination. Choosing custom colors, fonts and pointers is a great way to personalize your Corvette. This is also one of those projects that should be started early in the restoration process since you must allow time for a busy shop like Classic Instruments to complete the renewal of all your gauges. By planning ahead, the gauges will be on the shelf waiting to be installed with the rest of the dash components (Corvette Central) and wiring (American Autowire).

Our Corvette is a non–numbers-matching car so it is being built as a hot rod. While we didn’t want to stray far from the factory look, we were not bound to exactly replicating the factory original gauges. To that end, we decided to go the custom route with the final objective of testing people memories. We wanted people to look inside the car and think at first glance it was all stock, but then to scratch their head wondering, “Hmm, did the ’71 Corvette have chrome bezels on the console gauges?” Well of course they didn’t, but the look is so period perfect it should leave a lot of folks guessing.

One other major change is the transmission. The car was originally equipped with a TH400 automatic. We decided mixing gears is more fun, so to that end we added a TREMEC five-speed transmission that was custom built by American Powertrain so the shifter will be in the stock location. It all worked out beautifully.

Once we had a good idea of how we wanted the instrument panel to look we placed a call to Classic Instruments to discuss the project. The speedometer and tachometer would be refinished in the factory design but with modified ranges, the tachometer would go to an optimistic 8,000 rpm, while the speedometer would add some visual performance potential by pegging out at 200 mph. Will Editor Brennan be “burying the needle” on these instruments? Not hardly, but we must admit the big numbers add a performance vibe to the interior. Speaking of the speedometer, while we could have used a speed signal from the American Powertrain TREMEC five-speed transmission we opted for the instantly accurate GPS-based (SkyDrive) speedometer. It should be mentioned that the redline on the tach is marked at a realistic 6,500 rpm while the final top speed will be controlled by the final gear ratio, driving conditions, and good old common sense.

The gauge cluster in a ’71 Corvette is made primarily of plastics. The combination of 47 years and the high temperatures of the Arizona desert will fade the faces, make the plastic brittle and fog the lenses. After some discussion, Editor Brennan (who also suffers from being brittle, has foggy lenses, and a faded face) decided to go with factory appearance, big gauges. He then decided to add a splash of chrome plating on the bezels of the small gauges. The chrome rings are vintage enough to almost convince people it was a factory option. By using black faces with red pointers, the traditional look continues.

The process on our end was really quite simple. We removed the original gauges and carefully boxed them up and shipped them off to Classic Instruments. Upon arrival, the gauges were carefully examined by the craftsman at Classic Instruments and after a phone conversation we agreed on the estimated price. We discussed the desired work one last time before design work began. Classic Instruments provided us with printed “proofs” of what the actual gauges would look like. We reviewed the design and signed off on the work. After that it was a simple waiting game and soon enough the big brown truck backed up to the door at Hot Rods by Dean with a box full of very fresh gauges.

Of course things weren’t quite that simple on the other end. The team at Classic Instruments employ a lot of very high-tech equipment to produce great looking, incredibly accurate gauges. Fitting the modern gauge movements in the stock location is their specialty and when we received the new gauges they fit like a glove; looked better than new (because we really like our subtle design changes) and came complete with senders, instructions, a custom wiring diagram just for our installation, and they even returned our old unused pieces.

We thought it would be interesting to get an inside look at exactly what goes into restoring and/or modifying a set of Corvette gauges. With that thought in mind we followed along as our gauges were dismantled and replaced with new units. You may be surprised to see this very technical process and to see how few parts of the original gauges are actually reused.

Installation in our dashboard proved to be even easier than a factory installation since the Classic Instruments center console panel came prewired. It was a simple matter of wiring to the panel and plugging in the gauges. In no time we had a factory fresh appearing dashboard. In combination with our fresh upholstery the car truly looks brand new. Few things can compare to sliding behind the wheel of a vintage Corvette where everything has been brought back to this high a level. The fresh interior will make driving a pleasure and that new American Powertrain five-speed will keep the needles moving on our new Classic Instrument package. Vette

1. Few things add to the joy of driving like gazing at a set of fresh gauges. At first glance you may think these gauges are original, but look closer and you will see subtle yet effective modifications by Classic Instruments.

2. The first step is to remove the gauges from the car. In this case, we sent the entire center gauge cluster along with the two large gauges: the speedometer and tachometer.

3. We also sent the center console gauge panel so Classic Instruments could custom fit the gauges, replace warning lights with LED lights and pre-wire the whole panel.

4. After the gauges arrived at Classic Instruments they inventoried all the parts and began disassembly. Here you can see the speedometer and the gauge itself was in reasonably good condition. The speedometer is showing 41,895 miles. Sadly, the actual mileage just flipped 292,000 miles, which may be a record for C3 Corvettes.

5. After some discussion and a few changes we finally arrived at the perfect look for our gauges. A computer generated image is created and we had to approve that before final work began. This ensures everyone is “on the same page” (pun intended) for the final product.

6. Classic Instruments utilizes the latest technology to construct gauge clusters, like this Buck Rogers’ XZ-38 Disintegrator Ray Gun. Well, okay, it is actually a 3-D scanner that plots the location of virtually everything on the panel, but we still think Buck Rogers would love it, too.

7. From the CAD information harvested by the 3D scanner, this backside sheet was cut out by a water jet cutter and attached to the original gauge cluster. It is held in place by the original bolts, and the gauge openings are precisely located.

8. Classic Instruments uses the very latest electrical and electronic gauge movements housed in plastic gauge cups. This provides unmatched accuracy and durability.

9. Headlamps, Door Ajar and seatbelts lights are all housed in the center console on the C3 Corvette. The housing is custom fit to hold LED lamps in place of the original bulbs. First the light housing is marked for cutting.

10. The plastic housing is then cut flush with the back of the gauge cluster. This enables the new rear panel to fit flush. The new LED bulbs will be held in place in the proper hole in the new panel.

11. After being painted in satin black, all the gauges and lights are installed in the panel. Then everything is prewired with color-coded and tagged wires. The plugs permit the console to be removed later by simply unplugging the wires.

12. And here are the new, stylish Classic Instruments gauges. The chrome bezel is so traditional that unless you are a Corvette guru it could easily be mistaken for original.

13. The two large gauges will involve blending the old and the new. The reproduction bezels and new Plexiglas lenses were sourced through Corvette Central while Classic Instruments handled the rest of the gauge work.

14. Forty-seven-year-old plastic is brittle, particularly after baking in the Arizona heat. This small tab broke off during disassembly. Classic Instrument will use a small bolt and special cup washer to replace the broken tab.

15. The original tachometer and speedometer cups are CMM 3D scanned for measurements and then the hole is cut using computer controlled water jet technology.

16. The new tachometer fits inside the original cup with room to spare. The dark red box on top is the parking brake indicator light, and yes, Classic Instruments upgrades that too, with long lasting LED backlighting.

17. The original speedometer cup receives a similar treatment. Here we see the faceplate being test fit prior to having the graphics painted on the plate. The gauge faces are cut using CAD design that operates a water jet cutter for incredibly clean cuts.

18. Here is the speedometer face fully printed. Editor Brennan chose the fonts for the numbers and also opted for a rather optimistic 200-mph gauge. The black face, white numerals and red pointer are similar to the original design.

19. Here we can see the original tachometer/speedometer bezel and the scratched and hazed Plexiglas lens. While Classic Instruments can refinish such items, it was easier to simply order reproduction pieces from Corvette Central.

20. Classic Instruments takes the time to coat the metal cup in a gray finish and the green plastic is as clean as new, it’s a class act. Rather than trust the 47-year-old plastic threads, the top cup screw has been replaced with a small bolt.

21. Looking from the backside, the speedometer is completely prewired. Inside the plastic bag you will find pins and plugs so you can wire to the plug. All wires are clearly marked. We opted for Classic Instruments GPS-based (SkyDrive) speedometer.

22. The backside of the tachometer is also prewired. The row of dip switches are set for accuracy. Adjusting the switches is simple and is explained in the directions with the custom wiring diagram Classic Instruments supplies with the refurbished gauges.

23. All we can say is “WOW,” they look so cool. Flawless craftsmanship combined with modern movements and accuracy, it just doesn’t get any better. This is the tachometer, with built-in parking brake indicator light.

24. Fresh face graphics, crystal clear lens and perfect bezels all add up to one great looking speedometer.

25. We just had to zoom in close so you could see the attention to detail. We really like the clean and simple font for the numbers. The 200-mph marker adds a nice performance vibe to the cockpit.

26. While our engine will never approach the 8,000 point we do like the full sweep design as the pointer position is very intuitive and somewhat proportional to the movement of the speedometer.

Sources

American Powertrain

(931) 646-4836

www.americanpowertrain.com

Classic Instruments

(844) 342-8437

www.classicinstruments.com

Corvette Central

(800) 345-4122

www.corvettecentral.com

Photography by Classic Instruments, Taylor Kempkes

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