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* Spare parts, including a block, crankshaft, transmission, open rear differential, heads, radiators and a bunch of other stuff, etc.
After following this build for year(s), and not seeing you post for some time, I'm curious about the current running condition of the Raider, and if you would drive it, say from SC to AZ? I'll forgo the "why" <img src="/forums/images/graemlins/confused.gif" alt="" /> questions, and defer to others who I'm sure will... <img src="/forums/images/graemlins/smile.gif" alt="" />
* Even if it didn't hurt, I can't see much of what I'm doing without reading glasses - and that's no fun while working on a truck.
* I almost bought a Jaguar XK convertible, but came to my senses when I realized I have a Raider and a 560SL that aren't being used, but are taking up space on my insurance policy. Both of them are now for sale.
The paint needs some elbow grease and wax - or a good paint job, but the body is straight as an arrow.
If you mean would I trust it to drive to AZ, definitely. If you mean would I deliver it, definitely not. Besides, someone needs to arrive here with a trailer to haul the extra stuff home with them.
I've seen and driven this truck, and it's worth the money. No detail has been overlooked, and the build was as careful as I've ever seen. Wish I had the jack for it, Frank, and we miss you, big man. Gettin old is a pain, for sure...
Monte3, send me there, I'll buy a trailer from Harbor Freight, put a Curt hitch on the back of that truck and bring it all back to sunny Clarkdale. Problem solved? Not really. You have to deal with your wife.
Such a great deal, but I'm too busy to hop a flight, and check this out in person. (seems I just got back from Denver picking up the '98)
Make that two of us. I even had the pleasure of installing an engine or two in that thing? I forget..
Someone's going to get a great deal here - I don't think you could build the engine for what the whole kit n caboodle is going for.
Hope you enjoy that Jaguar if you get it! I am thoroughly enjoying the convertible experience myself these days. Next time I am driving through I hope we get to meet up.
(I know that supercharger had been rebuilt since that video but it still shows for something <img src="/forums/images/graemlins/wink.gif" alt="" />
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This was Rubicon’s big hit. It peaked at #22 on the charts and I remember it being thrashed on Juice TV. It’s golden novelty pop-punk.
The song is based around the assumption that Bruce is an awful name, blaming parents for naming their innocent babies Bruce. But there’s nothing back up the claim, with the song’s message being little more than, “Hey Bruce, Rubicon says your name’s dumb.”
The video is set in the grand old Auckland railway station. Paul Rubicon walks in and finds the place swarming with people in funny costumes. In fact, I’m pretty sure the Village People could be formed out of the crowd.
After musing on how Bruce sucks as a name, the chorus comes along and everyone bursts into dance. I think this means I can official declare that big, ironic formation dancing was a thing in the early ’90s. It’s pretty basic steps (at one point, everyone stands still and twirls their arms around), but it’s just the sort of thing that could have been copied at home by eager fans.
During the instrumental, the band take a break from dancing to get behind their instruments, shot in colder light to demonstrate that they have a 4 real side to them.
As the video concludes, all the costumed dancers strip down to “Bruce” t-shirts and do a joyous can-can to celebrate the name. (All except Rubicon who are wearing their own band t-shirts). We also get a close-up of a young man, smiling appreciatively. His appearance seems odd if you don’t know that in 2001 he was a Juice TV presenter named Bruce. Hey, celebrity cameo!
Any New Zealand band that can reasonably pull off a moderate Busby Berkeley-style dance routine is ok with me. But it’s a bit weird having that with lyrics that cheerfully demand “Hang his head in shame! Hang his head in shame! Hang his head in shame!”
David Schwartz (°1962, San Francisco, United States) makes photos, paintings and drawings. By demonstrating the omnipresent lingering of a ‘corporate world’, Schwartz creates intense personal moments masterfully created by means of rules and omissions, acceptance and refusal, luring the viewer round and round in circles.
His photos doesn’t reference recognisable form. The results are deconstructed to the extent that meaning is shifted and possible interpretation becomes multifaceted. By exploring the concept of landscape in a nostalgic way, his works references post-colonial theory as well as the avant-garde or the post-modern and the left-wing democratic movement as a form of resistance against the logic of the capitalist market system.
His works establish a link between the landscape’s reality and that imagined by its conceiver. These works focus on concrete questions that determine our existence. By applying abstraction, he makes work that deals with the documentation of events and the question of how they can be presented. The work tries to express this with the help of physics and technology, but not by telling a story or creating a metaphor.
His works are an investigation into representations of (seemingly) concrete ages and situations as well as depictions and ideas that can only be realized in photography. With Plato’s allegory of the cave in mind, he investigates the dynamics of landscape, including the manipulation of its effects and the limits of spectacle based on our assumptions of what landscape means to us. Rather than presenting a factual reality, an illusion is fabricated to conjure the realms of our imagination.
His works demonstrate how life extends beyond its own subjective limits and often tells a story about the effects of global cultural interaction over the latter half of the twentieth century. It challenges the binaries we continually reconstruct between Self and Other, between our own ‘cannibal’ and ‘civilized’ selves. David Schwartz currently lives and works in Richmond.