#jon hellwig

[damndnn]

it's taking me a while since i don't feel like drawing most of the time but it's coming along :)

[thebowerypresents]

Foxing – Racket – October 29, 2024

With just a handful of remaining dates on the tour in support of their eponymous fifth studio album, St. Louis post-rock quartet Foxing packed ’em in at Racket last night.

Photos courtesy of Hillary Safadi | @hillasafadi

[foxingmerch]

Foxing Merch

Foxing is an American indie rock band from St. Louis, Missouri. The band has released four studio albums, a live album, an EP and 12 singles. Foxing began in 2011 following the end of the group Hunter Gatherer, a post-rock band active from 2008 to 2010 that featured Josh Coll, Jon Hellwig and Matthew Piva. The initial lineup of the band shortly expanded to include Conor Murphy, who was then the bassist of the then active emo group Family Might and formerly the vocalist of the indie/post-rock band Torchlight Red. Shop Foxing Merch Here!

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[implicitlydemand]

foxing - st. louis, mo 8/14/21

[alrightlittleastronaut]

conor murphy and the guys in foxing looked like phantoms through an unfocused lens during “gameshark.”

[sinceileftyoublog]

Live Picks: 12/4

Dylan LeBlanc

BY JORDAN MAINZER

Like folk, emo never needed to be revived.

Foxing & Oso Oso, Riviera

Two acts responsible for three of the best emo albums of the decade open for Atlanta indie rockers Manchester Orchestra tonight at the Riviera. We caught Foxing around the release of 2015′s Dealer (one of our favorite albums of that year) and have not seen them perform songs from last year’s amazing Nearer My God (our #15 album of last year). As for Oso Oso, we wrote a rave review of Basking in the Glow in preview of his September headlining show at Beat Kitchen, calling it “everything from lo-fi bedroom pop to stadium-size singalongs, all bound together by [lead singer Jade] Lilitri’s ambition.”

Dylan LeBlanc, SPACE

The characters in Dylan LeBlanc’s Renegade don’t exist in a bygone era. They’re not anti-heroes or total villains but regular people in a bad situation. They want to improve themselves like he does on “Born Again”. They’re on the run from the law like the prostitute in “Domino”, affected by gun violence in “Bang Bang Bang”, victims of organized religion in “Damned”. LeBlanc embodies them: “I wish I could tell you what’s buried beneath the black / Where I killed the man I was and he ain’t comin’ back,” he solemnly sings on the quiet, raw, echoing, acoustic “Sand and Stone”. His high-pitched, breathing croon renders him somewhere between Neil Young and Roy Orbison, lonely and lonesome, depending on the day. “Stone-cold face, light-hearted laugh...no traces of anything like that,” he sings about a love interest on “I See It in Your Eyes”, subverting our expectations on a line-by-line basis.

Occasionally, LeBlanc’s lyrics fall flat, like on the token lone rider song called, yes, “Lone Rider”. But the instrumentation and grandeur of Dave Cobb’s production lift up the whole album. “Bang Bang Bang” starts with a driving rock rhythm unique to LeBlanc’s discography so far, John Entwistle-like bass slinking between thumping drums and spacey keyboards. “Magenta” contains keyboard lines that spiral around slide guitar and acoustic strumming, with a tremolo-heavy guitar solo to match. And sometimes, LeBlanc’s singing is enough to convince you of his cliches. On “Domino”, he quips, “I hear that’s what you’re called / You take everybody down when you fall.” You can’t help but smile at because he sounds so damn good.

It’s the album closer where LeBlanc dials back that’s the true standout. “Honor Among Thieves” is a mostly acoustic guitar song swept by orchestral swells, wherein he dreams of somewhere there isn’t any honor among thieves. It’s about immigration and who has what rights to what land, but its aims are more global: Whatever happened to the imperfect people along the way on Renegade, whether they worshiped some higher power or not, they’ll get to some sort of promised land as long as they believed they were doing the right thing.

Album score: 7.2/10

Renegade by Dylan LeBlanc

S.G. Goodman opens.

[nofatclips]

Indica by Foxing from the album Dealer - video directed by John Komar and Josh Coll

[fameheld-blog]

              topic: speaking irony. 

     Charlie’s new band, Speaking Irony, is quite a contrast to his previous work in music. It’s comprised of musicians coming in and out for certain albums or songs. The only permanent member of the band is Charlie himself, who takes lead on vocals and guitar. He’s had guests such as Jon Hellwig on drums and Mike DeBartolo on bass for their first album Hidden Meanings, and has features several artists to do duets or vocals on certain songs as he falls back in the spotlight. 

     As opposed to many of the indie rock bands he’s collaborated with, Charlie’s music tends to have underlying uplifting messages about self-recovery, finding love, and coping with the world. The sound can be described as experimental, as Charlie doesn’t want to stay in one style for too long. He’s done orchestral pieces to heavy rock to techno, and each album will typically follow a style of music. Despite the confusing nature of his method, it has rung successful for his career.

     As it stands now, Speaking Irony is a relatively popular band and has had five radio hits in its span of existing. Charlie writes the music himself, but will often hire and work with young songwriters to help him with music or feature their songs on his albums. While the band rarely tours, they have done world-wide tours in Europe and Asia. Short tours are usually in order after the release of an album. Charlie mostly plays charity events where he can be heard for free.

      His most recent album, Rotten Peaches, is somewhat of a musical documentary of his trauma he developed from his time in Peach Soda, and his development as a human being after the band split up. His single from the album ‘ Growing Again ’ plays across radio stations nation wide, but is particularly popular on rock stations. 

[whileiamdying]

Watch Foxing play Slapstick, Nearer My God and Grand Paradise at the Tiny Desk. June 12, 2019 | Lyndsey McKenna and Marissa Lorusso -- When we invited Foxing to NPR HQ, we wondered how the band's big sound would translate to such a (forgive us) tiny space. Would Foxing bring a bagpiper to recreate the shrill accent it snuck onto its latest album, 2018's Nearer My God, or try to replicate the cathartic energy of its live shows over the hum of computers and fluorescent lights? Not quite. Instead, the St. Louis-based group brought the same sense of purpose to its Tiny Desk arrangement that's impressed us across its three full-length releases. Performing to larger audiences with each new album, Foxing is at the forefront of what's referred to as "emo revival," a term for today's crop of bands heavily influenced by late-'90s and early 2000s groups like Sunny Day Real Estate, Cap'n Jazz, American Football and others. But with each new LP, Foxing's ambitions reach beyond the genre's boundaries, incorporating broader inspiration. For its Tiny Desk, Foxing spotlighted three standout tracks from Nearer My God. The quieter instrumentation pushed singer Conor Murphy's starkly confessional lyrics and shattering delivery to the forefront, especially on the set's opening song, "Slapstick." And even with minimal amplification, the swelling chorus of the title cut "Nearer My God" is just as impressive as performed during the band's explosive concerts. For this performance, Foxing expanded its numbers, bringing a saxophonist and a couple of string players to accompany the band's touring lineup — and somehow, we managed to fit everyone behind Bob Boilen's desk. SET LIST "Slapstick" "Nearer My God" "Grand Paradise" MUSICIANS Conor Murphy: lead vocal, guitar; Jon Hellwig: drums; Ricky Sampson: guitar, bass; Eric Hudson: keys, vocals; Brett Torrence: bass; Caeleigh Featherstone: vocals, keys; Gabriel Valle: violin; Nathan Sander: viola; Jordan Pettay: alto saxophone CREDITS Producers: Lyndsey McKenna, Marissa Lorusso, Morgan Noelle Smith; Creative Director: Bob Boilen; Audio Engineer: Josh Rogosin; Videographers: Morgan Noelle Smith, Bronson Arcuri, Kara Frame, Beck Harlan; Associate Producer: Bobby Carter; Photo: Claire Harbage/NPR

[drcalvin]

The Royal Opera House of Stockholm is putting up a newly composed opera this winter - and it’s Dracula!

“To be SEDUCED or devoured. To seduce or PERISH.”

It opens on for All Saint’s Eve weekend, and the music is by Victoria Borisova-Ollas with a Swedish libretto by Claes Peter Hellwig och Kristian Benkö. The direction is by Linus Fellbom and choreography by Lars Bethke.

Cast: Mina - Elisabeth Meyer (soprano) Jonathan - Joel Annmo (tenor) Dracula - Ola Eliasson (barytone) Elizabetha - Katarina Leoson Lucy - Sanna Gibbs Mrs. Westenra - Susann Végh Quincey - Jon Nilsson Holmwood - Kristian Flor Dr. Seward - Johan Edholm Dr. Van Helsing - Lars Arvidsson Renfield - Jonas Degerfeldt Draculas other shape - Lars Bethke

Yes, I have my tickets already ^_~

[todayclassical]

April 27 in Music History

1622 Birth of English tenor Edward Coleman in London. 

1623 Birth of German composer Jan Adams Reinken. 

1673 FP of Buxtehude's Evening Music concerts at Lubeck.

1673 FP of Lully's opera Cadmus et Hermione at the Paris Opera.

1720 FP of Handel's opera Radamisto dedicated to the King, receives an ovation at the King's Theater in the Haymarket, London.

1736 Performance of Handel's anthem Sing Unto God at the wedding of the Price of Wales to Princess Augusta Saxe-Gotha.

1749 FP of Handel's Music for the Royal Fireworks in London's Green Park. Fireworks fizzel burn roof of palace. Everyone enjoys the music.

1762 FP of Hasse's "Il trionfo di Clelia " Vienna.

1765 FP of T. Arne's "L'olimpiade" London.

1767 Birth of German violinist and composer Andreas Jacob Romberg.

1770 FP of Sacchini's "L'Eroe cinese" Munich.

1778 FP of Gretry's "Les Trois Ages de l'opéra" 

1795 FP of Dalayrac's "Adèle et Dorsan" Paris.

1803 FP of Fomin's "Zolotoye yabloko" St Petersburg.

1810 Beethoven finished his composition Fur Elise.

1811 FP of Moscheles' "Die Feuerprobe" singspiel, Vienna.

1812 Birth of German composer Friedrich Von Flotow in Teutendorf.

1820 FP of Hellwig's "Die Bergknappen" Dresden.

1824 FP of Auber & Boïeldieu's "Les trois genres" Paris.

1829 FP of Herold's "La Belle au bois dormant" Paris.

1830 Birth of soprano Caroline Barbot. 

1861 Death of Russian composer Georgi Lvovitch Catoire.

1864 Birth of French tenor Julien Lepreste in Paris. 

1867 FP of Gounod's opera Romeo and Juliet at the Théatre-Lyrique in Paris. 

1867 FP of Suppe's "Banditenstreiche" Vienna.

1868 Birth of German tenor Hans Breuer in Cologne. 

1871 Birth of American composer Arthur Finlay Nevin. 

1871 Death of German composer and piano virtuoso Sigismond Thalberg.

1874 Death of Italian tenor Pietro Mongini. 

1877 FP of Massenet's Le Roi De Lahore in Paris.

1878 FP of Cellier's "Bella Donna or The Little Beauty and the Great Beast" Manchester.

1891 Russian composer Peter Tchaikovsky prepares for the opening concert at New York's newly-constructed concert hall on 57th Street on 5 MAY. 

1892 Birth of German soprano Delia Reinhardt in Elberfeld, Germany.

1894 Birth of Russian-American musicologist, composer and conductor Nicolas Slonimsky in St. Petersburg. 

1904 Birth of French bass-baritone Pierre Nougaro. 

1907 FP of Igor Stravinsky's Symphony in Eb, at an intimate performance in St. Petersburg.

1907 FP of Donaudy's "Sperduti nel buio" Palermo.

1901 FP of Sullivan & German's "The emerald Isle" completed by E. German, London.

1913 Birth of German tenor Kurt Marschner in Sudetenland. 

1915 Death of Russian composer Alexander Scriabin in Moscow.

1916 FP of Leoncavallo's "Goffredo Mameli" Genoa. 

1920 Birth of Italian conductor Guido Cantelli. 

1920 FP of Igor Stravinsky's Ragtime for Eleven Instruments, in Morges. 

1926 FP of William Walton's Facade with Dame Edith Sitwell's poems, in London.

1927 FP of Wienberger's light opera Schwanda, the Bagpiper at the National Theater in Prague. 1928 FP of Stravinksy's Apollon musagete choreographed by Adolf Bohm, at the Elizabeth Sprague Cooledge Festival in Washington, D. C. 1931 Birth of Russian violinist Igor Oistrakh, son of David. 

1931 Birth of French tenor Michel Cadiou in Paris. 

1931 FP of Weinberger's "Švanda dudák Stimme" Munich.

1937 Birth of German tenor Adalbert Kraus in Aschaffenburg.

1937 Death of German baritone Gustav Schützendorf in Berlin. 

1937 FP of Stravinsky's Jue de Cartes at The MET in NYC by the American Ballet, Stravinsky conducting. 1939 Birth of Scottish pianist Hamish Milne. 1940 Birth of American soprano Judith Blegen.

1940 Birth of American composer Larry Solomon in New Kensington, PA.

1940 Birth of Australian bass-baritone Tom McDonnell in Melbourne. 

1943 Birth of American composer Jon Deak in Hammond, IN.

1943 Birth of American tenor James Atherton in Montgomery, AL. 

1944 Death of Russian tenor Dmitri Smirnov. 

1945 Birth of American mezzo-soprano Carolyne James in Wheatland, WY. 

1949 Birth of American electronic music composer Peter Gena.

1950 Birth of German pianist Christian Zacharias.

1952 FP of Frazzi's "Don Quixote" Florence.

1953 Birth of Hungarian soprano Ilona Tokody in Szeged.

1954 Death of Sedish tenor Torsten Ralf. 

1970 Death of German mezzo-soprano Luise Willer. 

1987 FP of Daniel Pinkham's Sonata No. 3 for Organ and Strings, by organist Richard Benefield, with a string quartet conducted by the composer at St. Peter's Church in Osterville, MA.

1992 FP of George Tsontakis' Perpertual Angelus, second of Four Symphonic Quartets after poems by T.S. Eliot. Tuscaloosa Symphony, Ransom Wilson conducting.

1992 Death of French composer Olivier Messiaen, in Paris.

1999 Death of Hungarian born Swiss soprano Maria Stader. 

2003 FP of Michael Nyman's A Child's View of Color. Young People's Chorus, Nunuz, 92nd Street YMCA, NYC.

[chorusfm]

Foxing – Nearer My God

Conor Murphy is not fucking around – the end of the world is coming soon or at least it feels like it is every single day. Murphy carries a sense of impending dread throughout his band Foxing’s spectacular third album, Nearer My God – as if all of this could collapse at any minute. So if you’re gonna square up with the apocalypse then Foxing figured they might as well throw their best punch and create a stone cold classic. And, almost out of necessity, Nearer My God is exactly that. You see, most bands would have called it quits if they had $30,000 worth of merchandise and gear stolen. Or some bands would have hung it up after having their van totaled by a runaway truck. Even losing a founding member can make bands reconsider their career paths. All of these things have happen to Foxing and have cast a dark cloud over the band’s last two releases. These incidents surely have come close to breaking the band yet the band persevered, understanding however that LP3 would need to be a game changer creatively and professionally, ideally both. The results turned out better than expected. “With this record, it’s the first time where it feels like this shit is worth it,” Murphy told Stereogum earlier this spring. “This is, ‘I don’t care if we get into a van crash every day,’ because this record means something to us.” A whirlwind of soundscapes throughout, Nearer My God is immaculately produced by Chris Walla and guitarist Eric Hudson, the album’s twelve tracks rarely stay the same for long, effortlessly flowing from one sensory to next and showing a fearlessness towards taking risks of any sorts. Hudson quit his job two years ago, making the creation of Nearer My God his full-time job instead, tirelessly writing and recording song ideas every day and laying the groundwork for 2018’s most daring record. The album’s first “holy shit” moment happens ninety seconds into opening track “Grand Paradise.” After a slow build centered around glitchy ticks and piano keys, Murphy shrieks “I’m shock-collared at the gates of heaven” in way that’d make Isaac Brock envious. The song only grows from there, never giving a moment for the listener to recollect themselves and instead turning in a flourishing if not intoxicating bridge that’ll refuse to leave your memory. There are bits and pieces of Foxing’s earlier work that influence and set the stage for some of the album’s grandest works. “Trapped in Dillard’s” elegantly flows within its three-and-a-half minutes in a way that Dealer did in its more intimate moments, its electronic clicks interspersed throughout are also reminiscent of how Justin Vernon’s used odd instrumentation on 22, A Million. And the way “Won’t Drown” achingly builds into its climax amongst swirling, ominous strings wouldn’t feel out of place on The Albatross’ b-side. But what elevates these tracks over their predecessors is the band’s seamless execution of each track’s composition. Drummer Jon Hellwig turns in his best work behind the kit, while Hudson and Ricky Sampson go beyond just creating guitar-driven rock – trading in six strings for vocoders, synthesizers, and an array of differing and dizzying samples. The emotional crux of all of this is the nine-minute “Five Cups,” which takes all the crucial elements of the past, present, and future and turn it into something beyond exhilarating. Murphy remembers friends and loved ones who’ve died as an avalanche of ethereal noise collaborate in the background. The vocalist wearily sings, “I want to drive with my eyes closed” repeatedly. And there’s something beautifully tragic about that line – Murphy simultaneously remembering his dead friends while also seemingly wanting to join them, ending with an admission that he “won’t wait to be saved” over mourning horns. The album has plenty of stunning moments that initially draw you in (certain knockouts include the bagpipe-paced power anthem “Bastardizer” which unleashes some of Murphy’s brashest vocals while the M83-tinged title track blossoms into a booming, soaring crescendo are certain knockouts) but it’s Nearer My God’s subtle intricacies and genre-bending throughout that constitutes multiple engaged listening sessions – crucial elements to Nearer My God that may not be recognized immediately. Especially on an album that’s so dense and emotionally overwhelming, it’s easy to initially miss the brilliance of “Lich Prince” transitioning from an oft-kilter indie-rock sprawl into one of the most killer guitar moments recorded this year. Or how closing track “Lambert” paces itself before swelling up into sprawling intoxicating riffs that conjures up Mr. November spending a weekend in the city. Let’s not pretend that Foxing has never been an ambitious band before. Their first two records, The Albatross and Dealer respectively, stretched the very idea of what an emo band was capable of by circumventing familiar tropes within the genre. But with Nearer My God the band’s ambition became limitless, drawing influences and inspiration from a host of different artists and genres, making it a fool’s errand to categorize this record under any specific type of genre. One of Nearer My God’s biggest influences is Frank Ocean’s Blonde, even if very little of the record sounds like it. Because it’s bigger than music, it’s a mindset – the way Ocean weaves stories while effortlessly switching vocal gears, creating transparent, vibrant emotional music all within a highly meditative space is what fuels Nearer My God. The album’s title is derived from the 19th-century Christian hymn “Nearer My God to Thee,” which retells the story of Jacob’s dream from the 28th book of Genesis. In popular culture however, that hymn has set the soundtrack for the end of times – famously alleged as the final song the band played as the Titanic sunk as well as being Ted Turner’s song of choice on CNN’s doomsday video that’ll play when the world’s coming to an end. So it’s fitting that there’s a sense of reserved dread flowing throughout Nearer My God – the random hisses and glitches that linger in the background are a constant reminder. But the frenetic standout “Gameshark” takes that dread head on. Written in a way to relieve some stress, “Gameshark” jitters between The Blood Brothers and Hail To The Thief turned up to 11, as Murphy’s pitched-up falsetto points out the devil in the traumatic details (the dizygotic twin of god shows up a lot). Funny enough, the most calming moment on “Gameshark” occurs over the final thirty seconds, as (you guessed it) the band plays “Nearer My God to Thee.” Who said the apocalypse didn’t have a sense of humor? --- Please consider supporting us so we can keep bringing you stories like this one. ◎ https://chorus.fm/review/foxing-nearer-my-god-2/

[jonathanbelloblog]

So-Cal Speed Shop Builds a 1972 Bronco

For the uninitiated, Pete Chapouris was a legend in the world of hot rodding. Being one of the founders of Pete & Jake’s Hot Rod Shop, the landmark ‘1970/80s-era hot rod aftermarket parts and chassis business, Chapouris was among the best when combining professional-level promotion and showmanship with a high-quality parts business.

Throughout his 50-year career, Chapouris not only had a knack for developing and manufacturing hot rod parts that people needed but, along the way, he also opened up many new avenues for car enthusiasts to express themselves.

His history includes building hot rods for rock stars (with multiple vehicles for ZZ Top’s Billy Gibbons), restorations of iconic hot rods (including the Doane Spencer roadster), and vintage race cars, such as Alex Xydias’ So-Cal Speed Shop belly-tank racer from the January 1949 cover of HOT ROD.

It was through working with Xydias on the belly-tank restoration the next phase of Chapouris’ life would begin with the re-creation of the SO-CAL Speed Shop (located in Pomona, California), which included partnerships with GM on their Bonneville salt flat racers as well as multiple SO-CAL Shops franchises located across the United States. Cars built under Chapouris have been regularly featured for their design in museums and in retrospectives of the hobby, and one recently won the America’s Most Beautiful Roadster (AMBR) award at the 2012 Grand National Roadster Show, one of the highest honors for design and workmanship there is in the custom car world.

Looking at things in a new way was standard operating procedure for Chapouris, so when Sean Devine, a writer in his mid-30s, wanted Pete and the SO-CAL crew to rework his recent purchase, it opened up yet another avenue for Chapouris to become immersed.

Sean is the offspring of John Devine, a GM executive as well as a former customer of Pete’s (which included a ’66 Chevelle), and cars were always in Sean’s life one way or another. Looking for something a bit different, Sean wanted to upgrade a first-generation (1966-1977) Bronco in a way no one else had done- a job tailor-made for Chapouris. Under Pete’s guidance, Sean’s 1972 Bronco would become a hybrid of both the off-road and hot rod worlds.

Devine bought the truck online and, though worn out and under powered, its bones were pretty good, with straight metal and no rust to speak of. The build would encompass every aspect of the Bronco, from the suspension and drivetrain to body modifications, custom paint, and one-off upholstery.

Work began by boxing the frame with 3/16-inch plate and re-welding factory welds on the chassis. A new factory rearend went in, augmented with a limited slip differential, 31-spline axles, and a Hellwig anti-sway bar. Pro-Comp shocks and the rear brakes remain at stock specification, but the fronts are a retrofit using pieces from Tom’s Bronco Parts.

The spindles and steering are OEM (the box is a rebuilt ABS unit), though the brake master cylinder is upgraded with a CPP Hydra Stop unit, used in conjunction with Wilwood’s adjustable proportioning valve and an OEM pedal assembly. The gas tank is a 25-gallon unit from Tom’s Bronco Parts, and the hot rod steering column comes via Flaming River. It is topped with a factory steering wheel refurbished and redesigned by Gabe’s Custom Upholstery. The truck rolls on black Robby Gordon XD Series 17×9 wheels, wrapped in Toyo MP295/70R17 rubber.

For the powerplant, John Beck, a record-setting Bonneville and dry lakes racer who works at Vintage Hot Rod Design & Fabrication in Chico, California, started with a 5.0 block, and set it up for a displacement of 347 cubes using a 3.400-inch Eagle crank and 4.030-inch KB Performance pistons with Mahle rings. Comp Cams provided the timing set, ARP handled the main and head bolts, and the V-8 was topped with an Edlebrock intake, an MSD Atomic EFI, Spectre’s cold air intake tubing, a K&N air filter, MSD ignition and wires, Ford Motorsport valve covers, and a 100-amp alternator.

SO-CAL Speed Shop fab’d the exhaust system, and this Bronco’s exhaust note sounds like no other. The transmission is a C4 outfitted with a Dana transfer case, assembled by Remac Transmission in San Dimas using a B&M Pro-Ratchet shifter, a Tom’s Bronco Parts twin-stick, and a driveshaft from Reel Driveline.

One of the tricks Chapouris designed into the body was using a second set of front fender wheel openings that were sectioned into the opposite rear quarters (using the driver’s front on the passenger rear, and the passenger’s front on the driver’s rear). It stretches up the wheel openings just enough without being overtly noticeable, and SO-CAL’s Evin Veazie performed the meticulous metalwork. Other tricks include narrowing the bumpers, so the ends don’t extend beyond the edge of the body, and relocating the mounts so the bumpers now tuck in tight to the body.

After the body work was done, the Bronco was rolled next door to Mick’s Paint in Pomona, California, and several coats of PPG Mercedes Iridium Silver was applied. Once finished, a subtle goldenrod pinstripe was added by Murietta’s Dr. Design down the side just above the top reveal line, as well as some classic hot rod lines added to the glovebox door.

More hot rod influences can be found in the interior, with the aircraft gauges mounted on top of the dash’s face (rather than behind it), the light bar and Vintage Air AC controls hidden inside the glovebox, and nine more toggle switches mounted in three panels above the driver attached to the SO-CAL fab’d six-point roll cage.

Chapouris designed the interior, and the dash pad is covered in the same Ultra brown leather as used by Gabe’s Custom Upholstery on the outboard portion of the custom bucket seats. The inboard seat material is vintage Vietnam-era US Army canvas, with its minor color flaws intentional in their placement. Gabe’s also created the soft top for the Ford, though there is also a removable hardtop that Sean can use at his discretion.

Diamond Rubber Products made the Bronco’s floor covering and a ‘197 Chevy’s rear mirror was utilized, too. SO-CAL’s Justin Veazie wired up the ride, which included the Marshall amp converted into the bluetooth-based stereo’s speaker box that’s mounted under the dash. Before its final delivery, the Ford was turned over to Jon Ciauri, who added an external oil cooler to the transmission to help it run cool. He aldo did the final “tuning” on the truck’s wiring to get everything running as good as possible.

Once finished, Sean says “It was worth the wait.” Hoping to get it up on some Park City off-road trails near his home in Utah, Sean is aware of the truck’s historic pedigree because of Chapouris’ involvement, and the Bronco is something he’d like to give to his son one day as a fitting family heirloom.

The Bronco also proved to be the last project Chapouris would complete, as he passed away just three weeks after these photos were taken. But Pete’s legacy burns as bright as was his talent, and it’s vehicles like Sean’s that will be a perfect way to remember him for many years to come.

One of the body mods some folks don’t notice include using a second set of front wheel openings on the rear of the Bronco (the passenger front to the driver’s rear, and the driver’s front to the passenger’s rear).

A 347 Ford stroker motor built by John Beck was squeezed into the engine bay, allowing enough room for an MSD Atomic EFI system and Spectre air intake topped with a K&N air filter. The V8 mates to a C4 transmission outfitted with a Dana transfer case, assembled at Remec Transmission.

Ground clearance is aided by a lift kit. Pro Comp shocks are used on each corner, and a Hellwig anti-roll bar is used.

Seating was custom-made by Gabe’s Upholstery, who also covered the bench and buckets with Ultra leather around the edges and Vietnam-era Army canvas on the inner portion. A Marshall amplifier box was converted to the speaker box for the stereo.

Aircraft-style gauges mount to the face of the dash (rather than behind it), and a redesigned three-spoke steering wheel was stitched at Gabe’s Upholstery. The pinstripe color on the glovebox is carried over to the truck’s exterior, just above the body reveal.

A B&M Pro Ratchet shifter connects to the C4 transmission, while twin sticks from Tom’s Bronco Parts controls the four-wheel-drive. The mini Marshall amplifier was converted to a speaker box for the stereo.

Four-point latch-type safety belts were custom made by DJ Safety in Los Angeles, and used on both the front and rear seating. Canvas tote bags on the back of the buckets helps keep important papers intact.

A myriad of switches overhead control everything from starting the engine, the fuel pump, hazard lights, turn indicators, and a pair of dome lights.

The Mercedes Iridium Silver paint from PPG was sprayed at Mick’s Paint in Pomona, CA. The truck rolls on 17 x 9 Robby Gordon XD Series wheels wrapped in Toyo rubber.

Gabe’s Upholstery also created the canvas top for the Bronco, and full doors and a hardtop was also made for the vehicle.

from Performance Junk Blogger Feed 4 https://ift.tt/2quAM0b via IFTTT

[omcik-blog]

New Post has been published on OmCik

New Post has been published on http://omcik.com/wall-st-falls-on-oil-tumble-consumer-sector-and-fed-worries/

Wall St. falls on oil tumble, consumer sector and Fed worries

U.S. stocks closed lower on Tuesday as a sharp drop in oil prices hurt energy stocks and retail stocks were pulled down by concerns about Amazon.com’s (AMZN.O) plan to boost its apparel business, while investors also worried about future Federal Reserve rate hikes.

Healthcare .SPXHC was the brightest spot in stocks with a 0.3 percent rise while the consumer discretionary .SPLRCD index showed a 1.25 percent drop in line with the energy index .SPNY decline.

Oil prices fell about 2 percent after news of increases in supply by several key producers, a trend that has undermined attempts by OPEC and other producers to support the market through reduced output.

“People really thought $45 to $55 was kind of the range of oil, but it is getting weaker and weaker and U.S. producers are getting more and more efficient,” said Ken Polcari, Director of the NYSE floor division at O’Neil Securities in New York.

The market deepened its losses heading into the close after comments by Dallas Federal Reserve President Robert Kaplan appeared to add to investor unease about the Fed’s projected pace of monetary policy tightening.

Kaplan said technology and globalization is holding down U.S. inflation, which suggested that low inflation might linger, said Bucky Hellwig, senior vice president at BB&T Wealth Management in Birmingham, Alabama.

“Today’s action reflects growing investor concern about the Fed’s designated path of tightening versus what the market is saying, exemplified in the fed funds futures market and the lower yield and the lower inflation reports,” said Hellwig.

Earlier, Boston Fed President Eric Rosengren said the era of low interest rates in the United States and elsewhere poses financial stability risks and that central bankers must factor such concerns into their decision-making.

The Dow Jones Industrial Average .DJI was down 61.85 points, or 0.29 percent, to 21,467.14, the S&P 500 .SPX had lost 16.43 points, or 0.67 percent, to 2,437.03 and the Nasdaq Composite .IXIC had dropped 50.98 points, or 0.82 percent, to 6,188.03.

Some investors were holding back ahead of a congressional election in Atlanta, according to Jeffrey Saut, chief investment strategist at Raymond James Financial in St. Petersburg, Florida.

He sees the costliest U.S. congressional race in history – between Democrat Jon Ossoff and Republican Karen Handel – as a key political test for President Donald Trump’s pro-business agenda.

Nasdaq’s biotechnology index .NBI rose 1.3 percent after a 2.5 percent jump the previous day.

The S&P technology sector .SPLRCT fell 0.8 percent, with the biggest drags from Microsoft (MSFT.O) and Apple (AAPL.O).

Declining issues outnumbered advancing ones on the NYSE by a 2.48-to-1 ratio; on Nasdaq, a 2.28-to-1 ratio favored decliners.

The S&P 500 posted 49 new 52-week highs and 10 new lows; the Nasdaq Composite recorded 99 new highs and 87 new lows.

About 7.1 billion shares traded on U.S. exchanges compared with the 6.86 billion average for the last 20 sessions.

(Additional reporting by Chuck Mikolajczak in New York, Tanya Agrawal in Bengaluru; Editing by Saumyadeb Chakrabarty and Nick Zieminski)

[joeytobinphotography]

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