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Outrage as Biden Gives Soros Nonprofit $164 Million to Help Criminal Migrants Escape Punishment
By Warner Todd Huston
Even as the White House claims that Joe Biden is not soft on crime, it has been reported that his administration has the potential to give nearly $200 million to a Soros-linked group to help criminal illegals escape punishment.
Federal budget watchdog Open the Books revealed that Biden's Department of Health and Human Services awarded a $164 million contract to left-wing advocacy organization Vera Institute of Justice to fund lawyers for illegal aliens and undocumented minors, according to Just the News.
The award started as a $158 million contract in 2021, but this year HHS added an additional $6 million to the till. And some sources say that Biden is looking to make the contract rise to $198 million when all is said and done, Just the News reported.
The left-wing Vera Institute of Justice is funded in part by anti-American billionaire George Soros and has reportedly been given more than $10 million by Soros' Open Society Foundation.
"The Vera Institute of Justice is a behemoth progressive nonprofit based out of New York City with well over a $140 million budget, which they use to fund a slate of progressive causes and initiatives across the country," the Immigration Reform Law Institute's Jason Hopkins told Fox News. "Whether that be criminal justice reform, bail reform and also immigration."
A major problem with this program is that it tends to encourage illegal migration. If illegals think that any infraction they perpetrate will be smoothed over by lawyers paid for by the very government whose laws they are breaking, what will stop them from continuing to stream over the border?
To date, the HHS cash is set to be doled out to five programs, according to Just the News:
"$9.4 million for EOIR, which refers to the Executive Office for Immigration Review
$12.7 million for legal orientation program
$4.7 million for family group legal orientation program
$4.6 million for 'immigration court help desk'
$5.3 million for legal orientation for unaccompanied alien children custodians"
"The Vera Institute seeks to set up a parallel public defender system that they run with your tax dollars," said Adam Andrzejewski, the CEO and founder of Open the Books, Just the News reported.
"With hundreds of millions in taxpayer funding, they are seeking a legal subsidy for illegal entrants. This has troubling public policy implications. For example, Vera is a non-profit entity and is not government. Therefore, they are not subject to the Freedom of Information Act, so citizens don't have a right to know and can't follow the money."
This deep pocket donation to illegal aliens underscores the fact that Joe Biden has been soft on crime since entering office.
House GOP Leader Kevin McCarthy recently blasted Biden for failing to corral the rising class of soft-on-crime Democrats.
"Soft-on-crime politicians are destroying our country. Both President Biden and VP Harris have indulged the soft-on-crime far left for political gain, helping create a climate hostile to law enforcement," McCarthy said, according to Fox. "It has been an absolute disaster."
McCarthy went on slam Biden for refusing to condemn far-left Manhattan District Attorney Alvin Bragg, saying, "Now, Biden lacks the courage to condemn a far-left prosecutor in New York City who refuses to prosecute crime, downgrades felony charges for crimes like armed robbery and releases criminals on low bail."
White House press secretary Jen Psaki recently went on the defensive over Biden's stance on crime. Psaki insisted claims that Biden is soft on crime have "no basis" in fact, The Hill reported.
She added that Biden's American Rescue Plan contains funds to hire more police, but she then went on to claim — without evidence — that high crime is caused by lax gun laws.
Polls show that only one in three voters approve of Biden's handling of crime, according to ABC News.
Indeed, the polls show that Biden's approval rating on crime has tanked since October.
Author: Warner Todd Huston
Source: Western Journal: Outrage as Biden Gives Soros Nonprofit $164 Million to Help Criminal Migrants Escape Punishment
Ilhan Omar Attacks GOP on Biden Documents, Doesn't Realize What She's Actually Done
Tucker Carlson: Dems pushing Biden out
As Biden Admin Considers Ban of Gas Stoves, Damning Photo of Jill Biden Goes Viral


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Double Shot at Love application: How to find love with DJ Pauly D and Vinny Guadagnino
Thu Apr 11, 2019 at 12:39am ET Sat Jul 04, 2020 at 12:39 am EDT
Double Shot At Love premieres tonight on MTV. Pic credit: MTV
Double Shot At Love premieres tonight on MTV and fans are wondering how the network chose the eligible bachelorettes for Pauly D. and Vinny Guadagnino.
About two months ago, the show was announced by MTV with the network asking fans to keep an eye out for more details.
It appears a casting call went out at some point, where women could apply to appear on the show. It's uncertain when this casting call went out, but 20 single women picked up the chance to face off against each other to win Pauly D or Vinny's heart.
The two Jersey Shore stars will also have to compete for the women. If they don't find love on Double Shot At Love, it's possible MTV will pursue a second season and find a new group of ladies to compete.
If this does end up happening, watch for casting calls from MTV. If the ratings are high and no connections are made, it's possible the show could go on for a few seasons, making the application process competitive.
Double Shot At Love takes on a Bachelor-like concept, where the narration is romantic and there's a big mansion where the two suitors will meet the ladies.
Surely, there will be roses, tuxedos and pretty dresses. Plus, the show is filmed in Los Angeles, taking the two friends away from their New Jersey homes and their stomping grounds of Seaside Heights.
Adam Lind arrested again: Here's why Chelsea DeBoer's ex was taken to jail this time
Both Pauly and Vinny are returning to MTV later this year, as Jersey Shore: Family Vacation has been confirmed for Season 3.
Double Shot At Love premieres April 11 at 9/8c on MTV.
Tags Double Shot At Love, MTV
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redpajama_set_name: RedPajamaCommonCrawl


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March 9, 2018 by Eli Hastings Leave a Comment
Her aunt used to tell her that nothing was pure. As a sophomore cop, she believed that her aunt, while sweet and well-intentioned and full of empathy (no one was "all bad" etc.), would not have a made a good law enforcement officer. There existed boundaries and lines and rule books and that was how those charged with safeguarding the social contract were able to be effective—without the superstructure of hard lines, society would sag, the joists would snap, and life as everyone knew it would be gone in a poof of pink vapor in one day's fucking time. She'd seen it happen, or at least the aftermath: a driver run a red in the small hours of the morning and T-bone a tipsy teenager on a bicycle. A past partner that had been distracted by a divorce who misfired his weapon and ended the life of a toddler nine months into his first assignment. The ignored "check engine light" that presaged a slipping head gasket that occasioned a fiery wreck that ate the lives of her grandfather, a young couple in another car, and a dumb, valiant Samaritan that tried to brave the flames. She had a whole arsenal of evidence for how not respecting rules led to disaster. Her uniform was ironed and her ponytail was tight and her gun was oiled. She drove the tension of her work into heavy bags three times per week to prevent a slip up with a defiant suspect. She drank one glass of Merlot per day. She wiped down her dashboard once per week. She met Leo on the first night of patrol in a new neighborhood. She lived 15 miles north of the city limit and therefore found herself patrolling the grimy expanse of state highway a few miles south of the city limit—the department had rotated officers so they could claim they were honoring the idea of policing their own communities. It was a place of decrepit fast food franchises, pawn shops, liquor stores, auto parts dealers, cheap motels, hardware stores serving as fronts for meth rings, strip clubs, dive bars, milling clots of day laborers and addicts and the like—a strip of urban American stereotype and she loathed it, the way it offended all of her sensibilities and indeed seemed to breed chaos and disorder, in the form of stumble bums and reckless driving and the palming to and fro of shadow things. Leo stood with a straight spine on the sidewalk outside of a Jack in the Box, the bleed of the marquee coloring his high cheekbones with a rose hue. He wore a beanie style hat that stuck straight up, a smooth black windbreaker, creased blue jeans and spotless shell-toed Adidas. He was perfectly symmetrical, even how he held his hands at the midpoint of his chest, fingers intertwined, thumb pads pushing against each other. He sported a pencil thin goatee and chinstrap and the long lashes on his sleepy, large eyes were long enough to curl upward. As she circled the block the second time, he let his gaze slide over her windshield and softly caught her own. She told herself her heart hammered as she cut rubber around the block again because he was a suspicious character and she watched her mind tick off the rationale for parking close in the restaurant's lot on her next pass: young, male (omit Hispanic/poss African American), idle/loitering on public thoroughfare, 12:03 a.m., dress consistent with possible gang membership, drug trafficking activity, etc. She watched her hand rise from the butt of her Glock to straighten her ponytail. She felt her exaggerated cop-stride toward him, but felt within it the ghost of a hip switch. She asked him what his business was. He told her he was waiting for a ride home from his uncle. She asked how long he'd been waiting and he painted the night sky with his eyelashes as he gazed up, blinking, calculating. Two hours. The way his eyelashes lifted as he blinked at her, painted her in a light sheen of sweat as he wondered if maybe she could give him a ride—it was a rough area, and he didn't want to get into any kind of trouble. An hour later, as her fourth orgasm receded in pulses through her thighs, her face pressed to a Formica table top on which her pistol and his pistol and a bottle of Johnny Walker Blue vogued in a tableau of vice, she would wish that she hadn't requested his ID, hadn't seen that he was just shy of his 17th birthday, hadn't thereby eradicated any shred of pretension that the world wasn't just as gray as her aunt had always insisted; she would wish that she could find a way to believe that she wasn't all bad.
Filed Under: flash fiction, indielit, Love and Romance, Philosophy, Prose Poetry, psychology, the rain, Writing
Monday Morning in America
February 25, 2018 by Eli Hastings Leave a Comment
It's another Monday morning in America and someone is blowing leaves. They are soggy and heavy and so the diesel huff of the machine that must blow them labors like a foghorn through the filters of walls and windows. The man or woman (let's face it, it's almost definitely a Latino man) no doubt wears large ear protection, flame orange or forest green probably, and he aims the snout of his laborious machine back and forth like a metal detector, creating little mulchy mountains of sopping, heavy, red, brown and yellow. He thinks as he does this about his life. He has the debt on the credit cards to move around—one pile to another. He has the boxes of family memorabilia to move around—from one room to another. He has the troubles in his marriage to move around—from one conflict to the next. He has the physical ailments that move around—a tweaked shoulder heals to reveal a sore sciatic nerve. Where the fuck do the leaves go? Eventually, he knows, they disintegrate into sludge, a viscous liquid that can be washed down sewer drains to join the clearer runoff from the many deluges the city hosts in this season. But, still, they are ultimately leaves, are they not? Even if in miniscule particle and imperceptive to the eye somewhere out in the heaving black ocean, there is still something of the maple leaf there. He can't decide whether this notion gives him relief or despair. There is the possibility of both—lightening at the thought of permanence, burdening at that same. He finds a banana yellow leaf improbably propped by circumstances of wind and other leaves against the mostly denuded trunk of one young maple. The leaf is nearly bone dry. He cuts off his blower and unearths a Bic from his cargo pant pocket, holds the flame steady until the leaf catches and a cautious line of fire slowly defeats the dampness, curling the whole thing into a frail skeleton of ash. He crushes this in his fist, wipes his palms together until all that is left of the leaf is a tiny ball of gray-black. He doesn't hesitate or fight the urge, just pops it into his mouth and swallows the acrid crumb. He cuts his blower back on and goes back to work, feeling, from time to time, his guts working their acid to disappear forever what was just second ago a piece of the world. Later, he will go home and step over the boxes of his children's kindergarten art waiting for a home in the entryway. He will smile at his wife and kiss her—to her surprise—when she greets him with a gripe about the lack of cooking oil in the house. He will stretch out on the floor of his apartment and wait for one of his small children to climb on top of him and explore his face with her hands and eyes and tomorrow he'll go to the next street on which leaves obscure the path.
Filed Under: love, Philosophy, Prose Poetry, Uncategorized, Writing
I never shied away from the fact that I was a rotten shit in high school and I have tried my best not to hide behind the fact that all of my buddies were, too. That's not any excuse—even our behavior had been due to peer pressure, that's a bullshit copout, and I can't even claim that. Just a kind of free floating permission to be as wild-ass as we could be, an unspoken game of one-upmanship to see who could push the envelope the furthest before the apathetic teachers or staff actually took action.
Solomon Brazier smoked a bowl in the back of Spanish class, blowing tokes into his sleeve. Polyester wrapped Mr. Abrams sniffed and looked confused but that was about it. Carlton Chivers tagged the door of every classroom with his Flash! nom du guerre, then moved on to every single teacher's desk. He pulled this caper off within a week. Jenny Strongbow pasted the answers to a chemistry quiz on the back of geriatric Ms. Genevive's suit jacket so that as she walked around, telling us all that she was "watching us like a hawk," she delivered the answers to each student. Jenny stripped it off her back without any guile on the way out to lunch, just tossed it in the wastebasket, chuckling. Avery Short chased a freshman down the block, blacked out drunk at midday, and slammed a metal garbage can down over him, told him not to come out till after school and the poor little dude didn't.
Anyway, there is a lot to be said about the kind of public education that not only allows this type of behavior to be the rule, but that inspires it. I mean, looking back, I know we were rebelling against the busywork nonsense and radically outdated textbooks and crappy instructors and rain of asbestos. At least on some level. Not a conscious one at the time, to be sure. Shit, we were too immature to organize a house party (so we drank in the park nine times out of ten) to say nothing of some kind of political statement.
I had a lot of time to think critically about my high school self and the retroactive politics of delinquency. The line at the food bank twisted around the front of the joint and down the alley, but before I even had gotten in line, I saw him—Mr. Greeley, junior year algebra, quivering in a frayed track suit, gripping a cane like with impossibly huge, white knuckles.
Because, see, what I remember most about Mr. Greeley is how soft-spoken he was, how much of a pushover—no, it's what we did to him that I remember most. It's another round of self-delusion to say it's because of who he was—the garbage we dished out is on us.
Like when he got his small yellow Datsun painted with a local plumbing company's ads to earn a few extra bucks, presumably, and eight of us picked it up during lunch 3 days running and dropped it in the middle of the intersection. He had the ads stripped away and we left his car alone except for breaking into it to smoke doobies.
We did shit like sell weed out of the door of his classroom like it was a dope house, stared him down when he got a tiny touch of indignation about it.
Like drink fat mouthed bottles of Mickey's malt liquor openly, burping like frat boys while he tried to teach a formula to the four earnest kids listening.
Like the day that I came in half-cocked on Mad Dog and Mexi herbs and wrestled three desks over to and out of the third story window while he was dealing with Sam, a sensitive, tiny nerd that we all tortured, in the hallway.
That last one was what finally did it, I guess. He came back in, shaking his head, left hand out, subconsciously guiding Sam toward his seat. That impulse, I see now, of guidance, of the desire to share, actually, to help lead us toward knowledge and growth that we spit on and threw back at him because he was a shy, decent cog. Ah. Anyway. When he took stock of the fact that three of us were standing desk-less, he didn't understand, then he did—but only that our desks were gone—and then he rubbed his head like he was trying to get a fire started up there and wordlessly pointed to the hallway.
I'd spent a lot of time thinking about Mr. Greeley, actually, as I worked my way through gigs grant writing and needed algebra to help me with Microsoft Xcel and didn't have a lick of it. I came to arrange it so that Mr. Greeley stood in for all my crimes of the era—every diss of my mom or dad, every freshman shouldered or punched, every gram snorted, smoked or sold, every rotgut 40 oz of malt liquor hard to the liver that was still in the process of growing back then.
And at the food bank, 15 odd years later, an out of work grant writer wannabe rock star, I watch as ancient Mr. Greeley reaches his knobby claw out at the first station to the cocky young buck probably doing his community service for a DUI. I can barely catch the harsh whisper that Mr. Greeley lays on the young kid when he reluctantly leans in a few inches, but I hear the kid's honk of a dumb young voice—nope, that's it man, one onion per—and look behind the kid's tribal-tattooed elbow and see the crate bursting with Vidalia yellows and the kid returns his moon face to his big smart phone.
I suppose I told that kid to give Mr. Greeley a Vidalia yellow and that I probably didn't do it nicely. I recall that I was invited to leave the establishment by rubber-aproned ex-con types not too nicely. I hope that Mr. Greeley cooked whatever it was he wanted the extra onion for. I hope he didn't somehow recognize me.
I hope he doesn't remember me at all.
Filed Under: flash fiction, Memory, Philosophy, psychology, Writing, Youth
Splitting it Three Ways
The fan stirred the soupy air with none of the force necessary to transform it into a cooling agent. The A/C had clunked off again and hour ago with the sound of a drunkard falling down a metal staircase. Candles guttered on the mantle over the sealed up fireplace, my little piece of protest against the gagging efforts of the landlady over the antebellum charms of the split-level ghetto cottage. I'd left the door to the porch cracked for the prayer of a breeze off the Cape Fear, though I knew it meant there'd be a cicada or two to scare up from the filthy living room the next day. Also, open doors and windows were kind of like television—they could bring entertainment in the form of domestic quarrels or drunken sing-alongs or whispered plots. It wasn't uncommon for the Wilmington Police to play a role in a production just beyond the edge of my rental property as they did this particular night.
A blue loop of light went round the ceiling at a quicker clip than the fan and a red one chased it. Radios squawked and tires chirped on curb; other clichéd sounds of The Man arriving. I listened. Car doors heaved closed, muffled protests, young men's voices raised in timbre (which, I once read, is an inheritance of ancient survival tactics, like dogs showing their bellies or avoiding eye contact). I slipped out from under the damp sheet, clicked the dog shut in the bedroom with her peaked ears and ready bark, slid out to the balcony and beheld the quotidian sight of three young black men cuffed on my curb with two white policemen standing practically on top of them. One cop was advising them to divulge or produce anything that could hurt them.
Boys, he drawled, I'm tryin' to help y'all here. If y'all got something in that car I should know about, go on ahead and let me have it before my partner digs it up? Much better idea.
The young men chose to remain silent, which they had not been made aware was their right. Silently myself, I congratulated them, lit a smoke and leaned over the railing. Good cop let his veil slip as he scowled at me through my smoke; I waved lazily like I was on his side and he, no doubt divining my skin tone, eased his scowl into a tight-lipped smile. Presumable bad cop emerged from the Nissan Maxima with a Mag Light trained on his opposing palm. He slammed it down on the cruiser's hood like he was at cards.
Which one of y'all shitbirds owns the crack?
Soft curses, almost like prayers, puffed up from the young men on the curb. I felt my own crawl up my throat with an exhalation of Marlboro. Stay silent, I implored them, three times over, catching myself as my voice almost became audible across those impossible ten yards. They did as I wished. Good cop paced like a professor, hands at his lower back.
C'mon now y'all, he cooed, I can split this rock three ways and charge all of y'all or one of you can man up and take it.
The filter burned my thumb. Now I didn't know what to implore them to do. My memory scrambled over legal knowledge—wouldn't the driver just automatically get it? But if he did, and it wasn't his, what did that mean for these men?
Y'all got ten seconds to get smart, good cop sighed.
Bad cop took up a position behind them with fat fingers that tickled Glock grip. I dropped my smoke in the grass accidentally, grateful for the first time for the humidity of the night that would extinguish it. My mind raced: could I call out advice without getting arrested myself? What would I say? Stay silent? Someone claim it? Should I at least let the cops know I was watching with the eye of a critic and not some smug white interloper in this blacked-out block? Time ran out. Bad cop hoisted the first young man one and folded him—bam!—on the hood. Bam!, two, bam!, three. Three distressed, bruised letter L's with cheeks pressed to the hot hood of a Caprice. Good cop flipped a blade open and sighed again, snapping that rock in three. I went inside to try for sleep.
Filed Under: flash fiction, North Carolina, Philosophy, Politics, race, Youth
December 8, 2014 by Eli Hastings Leave a Comment
The light of the carousel is not kind. It's the kind of light you'd expect in a dentist's office, not searing down onto the fantastical hoop of painted ponies bobbing on brass poles and delighted, red-nosed toddlers. It seems that every carousel I've ever seen has one sleigh on it—a flat bench that might fit a small family, just in case someone not able or willing to scramble up the slick plastic side of a horse wanted aboard. I stand between two ponies, my palms on the lower backs of my son and his friend. We are directly behind the sleigh. After the first couple of revolutions, a few dozen squeals of joy from my kiddo and the dozens around us, I finally notice the woman on the sleigh. She's wide, white-haired, somewhere amid a rocky seventy-something years. Her jacket is cheap flannel and a dusting of what might be flour rides her right shoulder. Her hair has segregated itself into greasy clumps. At her side are the rumpled, hard-held bags responsible for the ugly title that pops in my mind as flashbulbs pop around us: bag lady. She crosses one leg over the other and leans back, her slab of worn face aimed out into the night, over the heads of all the whooping, waving parents. No matter what scape the carousel presents her with—damp wall of a department store, squads of bike cops massing for an impending protest, the sixty-foot Evergreen the mall has garishly decorated, even Macy's brilliant North Star—her expression never shifts, nor does her gaze. She takes what she's presented with, every once in a while lifting a thick, ragged thumbnail to her teeth. She's spent three dollars for this sleigh on this carousel. She's spent three dollars to go around and around wrapped in cruel light with children's laughter spilling around her. The thought that she represents the inverse of childhood, of joy feels ugly, but there it is. Maybe the carousel is a reminder to her of a long-lost child—her own, or herself. Maybe her cloudy eyes are seeing something after all. She's a reminder, maybe, to us young parents to not just let ourselves and our children be carried round and round and round until all we are left with, like her, is memory.
Filed Under: Homelessness, Memoir, Memory, Philosophy, Prose Poetry, Seattle, Uncategorized, Writing
October 4, 2013 by Eli Hastings Leave a Comment
I've never come across a document of any kind that reflects upon the incredible irony of the Washington Bullets NBA franchise. Ok, so team owner Abe Pollin saw the light and changed the name to the "Wizards" in 1995, claiming the assassination of his friend Yitzhak Rabin as the final straw in scouring overtones of violence from his team's name. First element of irony: the final straw was not the ridiculous level of inner city violence in DC., but the death of an Israeli politician. Second element of irony: The Clash put the song "Washington Bullets" on their bestselling super anti-imperialist 1980 album Sandinista! possibly to shine the light on U.S. policy emanating from DC, though The Clash have claimed innocence about that. Third element of irony: this is what passes for gun reform in America: changing a basketball team's name, versus, say, passing legislation or addressing the root causes of conflict in the inner city.
I got to thinking about this, of course, because of yesterday's supernova ballyhoo about the depressed, unarmed mother who drove her car to the White House and got smoked by volunteer (thanks to the shutdown) DC Police and Secret Service Officers. I half-watched the colorful wheels of CNN and MSNBC spin while I cooked dinner. Every congress member interviewed regarding the shutdown of the government was first asked where they were and what they saw of the violence yesterday. The shooting took most of the time of each segment. And no doubt in the days to come we will hear the depths of Miriam Carey's life and the composition of her demons spelled out with the flair of prime time inquiry. This offers the possibility of a look at mental health treatment, so there is a silver lining to the prurient blender we'll be watching.
But I couldn't help but think if I were a black or brown inner city resident of DC, I'd be a little cynical about the intensity of coverage. I imagine I might say to myself, Can you believe this shit, self? A shooting right HERE in Washington DC! Then I'd cackle but it wouldn't feel funny and I'd probably want a drink.
In 2011 there were 78 homicides by gun in Washington DC. Of the victims, 2 where white. It wouldn't be a stretch to say that Miriam Carey has gotten more attention than any other black victim of gun violence in our capital. I wish for her and her orphaned child that somehow her death might at least light that up on our collective radar.
Filed Under: gun violence, Guns, Philosophy, Politics, psychology, Uncategorized
THE WAR FOR AMERICA (WE'RE WINNING)
September 23, 2013 by Eli Hastings Leave a Comment
Being a media junkie often sucks. Far from prurient, sensationalism-seeking, soulless, pale geeks shoveling celebrity joys and miseries into their slack jawed maw, many people I know who might be accused of this moniker are actually deeply empathic—to say nothing of deeply political. They feel a responsibility to know what is going on in the wider world from day to day; for some, it's simply a commitment to keep watch on what our tax dollars do to other peoples; for some, it's a passionate desire to stay on top of the latest versions of oppression (think NSA wiretapping); for some, yes, it's an unhealthy sort of addiction to tragedy and injustice that produces less catharsis and more stagnation. I'd like to think of myself as the prior—a privileged white American male who feels some responsibility to know day in and day out what the vast majority of people in America and the wider world are experiencing. Call it peeling an eye for where and how to be an ally. And the argument can be made, too, that simply being aware of what's going as a member of privileged class that doesn't "need" to expose himself to such quotidian sorrows as the death count on Chicago's south and west sides (500+ YTD), is being an ally. If only because it gives you something to verbally punch the idiot at the hardware store with if he gets going on sanctity of the 2nd amendment. Especially in this era of jacked-up, super-fueled right wing smack talk and draconian legislatures (hi, NC!), to many of us "junkies," I think, it feels important to stay tuned in the same way it's important to stay warm before boxing match.
But there is also far too often a gap between empathic pain/outrage and any reasonable possibility of action. In other words, far too much of what I consume about the suffering world is not properly digested. I try to find ways to speak out or take action or, at the bare minimum, incorporate what I'm learning into my worldview so I might sometime serve someone with a connection or understanding that they don't expect. And sometimes I write.
So I'm taking the chance today to write in a celebratory vein. In the last week, the United States crowned its first ethnic Miss America. Nina Davuluri wore the tiara at the end of the day. And in the last week the United States saw its first transgender person chosen as homecoming queen. Cassidy Lynn Campbell wore the tiara at the end of the day.
The fact that both Davuluri and Campbell immediately were assaulted with hateful backlash is not surprising, nor does it mean very much. I'm saddened by the focus of much of the media on tweets toward Davuluri that suggest she is a terrorist infiltrator, or commentary direct at Campbell that she is just a boy playing dress up. But then again, maybe focusing on the tone and content of that backlash is wise. Maybe by casting the depth of that ignorance into the limelight along with the beautiful young women wearing those tiaras, the juxtaposition will move someone, somewhere in middle America who's just not sure how they feel yet about such radical change.
But radical change it is. Gay marriage is sweeping the nation, marijuana prohibition is finally eroding, gun control is flaring as a debate at least, some healthcare reform is coming despite the blood surging through Boehner, and in terms of foreign policy, at least it is now, more than ever, also under the flashbulbs. It must be a horrible time to be a xenophobic, homophobic, militant fundamentalist. We ought not be surprised if we hear many explosions of ire from that quarter as a result. But we ought to listen to just how dumb and tired they sound and know that they're loud because they're losing.
Even at corporate beauty pageants and football games.
Filed Under: culture wars, Guns, Philosophy, Politics, transgender, Uncategorized
IF AND, NOT BUT
September 19, 2013 by Eli Hastings 1 Comment
Dialectics: 1. The art or practice of arriving at the truth by the exchange of logical arguments;
Dialectical Behavioral Therapy: ….DBT combines standard cognitive-behavioral techniques for emotion regulation and reality-testing with concepts of distress tolerance, acceptance, and mindful awareness largely derived from Buddhist meditative practice.
DBT is a burgeoning mental health treatment model that is fat with interventions and techniques for use with a host of disorders and issues. I will be super lucky to spend four days immersed in intensive training come November. But I'm already using pieces of it here and there with clients, in conversation with distressed friends and family and also with my own damn self. The main thrust is this: that two opposing facts can exist at the same time and both remain true. For example, if my client says to me, "my mother doesn't give a shit about me," because her mother has been ignoring the mounting scores of lacerations on her thin wrists, I might say, "could you consider the possibility that your mother is acting as if she doesn't care about you and at the very same time loves you very much?" Or, more to the point, "can you consider the possibility that your mother is a terrible mother and, also, she loves you very much?"
Of course, most people blink at you and furrow their brows and/or laugh derisively. But then sometimes they also grow pensive. Ideally, of course, this opens up the space to talk about the reasons why his/her mother became a terrible mother, what influences and causes piled up to prevent her from doing well. This increases empathy, in theory, and pushes on the door marked reconciliation or forgiveness or maybe just forward motion. And another central, related tenet of DBT comes in: "I care about you and admire you and accept you exactly as you are and I also will support you in changing things about yourself."
Lying in bed under the skein of a new moon's light and a heavy dose of nighttime decongestant and red wine at some small hour this morning, however, I was not thinking about dialectics in terms of clinical work. I was thinking about dialectics in terms of language and meaning and Buddhism and life and the possibility that embracing wholeness presents. I remember reading Insight Meditation by Joseph Goldstein when I was 20 years old, on a hot night in urban Venezuela and coming across this line (paraphrase): "Can you feel the difference between 'I am angry!' and 'I am experiencing anger.' Through that small distinction flows a whole world of freedom."
It strikes me that an entire world of possibility flows through the distinction between
"I love my wife but she's so fucking stressed out by her job all the time"
"I love my wife and she's so fucking stressed out by her job all the time."
The implication of "but" is that while I might love my wife, I can't enjoy her or appreciate her or really be in possession of that love until some later time when she's not stressed out. "And" represents the possibility that even in the midst of horrendous stress I might enjoy my wife and celebrate the love I have for her.
Or a kid might mourn the mother she wish she'd had while also knowing she did the best that she possibly could.
Or maybe I'm just under the influence of daytime cold medicine.
Filed Under: DBT, Memoir, Memory, Narrative Therapy, Philosophy, Religion, Therapy, Youth
CHOCOLATE GRASSHOPPERS & IMPLICIT MEMORY
September 9, 2013 by Eli Hastings 2 Comments
Saturday afternoon at Café Racer, my son tasted a chocolate covered grasshopper, proffered by David George Gordon. I tried to take this as evidence that he was growing up, finding new stores of bravery for the art of experimentation and adventure in the world.
Dr. Daniel Siegel is a giant of a thinker, theorist, researcher, psychiatrist and therapist and you can't attend a single course in applied psychology or family therapy without hearing the instructor make reference to him and in many cases take you on a glowing oratory tangent. He's impossible to hate and so far as I can tell, he's impossible to question. He's on the cutting edge of neurobiology, memory, child development and about six other related fields. Also, for the record, he writes for the layperson so anyone can scoop up one of his fascinating books like The Whole Brain Child.
One of the things that Dr. Siegel writes and speaks about consistently is "implicit" memory. To put it simply, these are memories that happened before we were conscious and able to develop "explicit" memories. You can't call up an implicit memory by sheer cognitive ability. There are ways that implicit memory gets called up or "triggered." Many people don't understand this but it can govern your emotional life, nothing less. Have you ever found yourself inexplicably furious or inexplicably sorrowful at the drop of a hat? Chances are that something triggered your implicit memory: a dead cat on the side of the road, for example, or a father reading the paper at a restaurant where his young daughter sits across from him clearly waiting for his attention. And it doesn't have to happen instantly—you could glimpse something like this and not be walloped by it emotionally for hours, or days.
Since learning something about this, I have found myself gaining a great deal of ground. I was extremely fortunate in that my education around this coincided, more or less, with the birth of my son. Because everybody gets knuckle-balled with implicit memories when they have a kid and if they aren't aware of the way the brain works (which most are not), they are going to be baffled and scrambled by their emotional life for a while.
So when my infant son cried out at night and my own chest got tight and anxiety went up, I understood: I was left alone to cry myself to sleep when I was his age. When my son gets pushed around the playground, my rage is so hair-trigger that I start looking for a dad to fight: I was a sensitive kid told to "use my words" and was not the Lord of any Fly. So as the time approached for Pax to start preschool (today), I was not as confused as I would have been about my emotional state—but I'm still struck by the intensity of it.
Pax told his mother the other day, "I'm going to cry so much they won't let me stay at school," which made me want to hyperventilate. My own mother's response was amusement that he had learned to be "manipulative" already. My mother did step up and offer herself as the courier to preschool for the first week, which was tremendously kind. What my mother did not do was actively recall under what circumstances she left me alone in a preschool classroom. I can only assume from my own anxiety and blues during the days preceding Pax's entrance that I was terrified and felt abandoned.
My son left the house with his grandmother this morning in a shark-print raincoat twirling and chattering. He came back dirtier but in a similar state. I don't know if my mother is executing a "re-do" of her own style of parenting 33 years wiser, but she's doing something right. I doubt that Pax will lose his breath when his own child's lower lip quivers at the notion of striking out into school—or anything else in life.
But maybe each time he sees an insect eaten, an implicit memory of his father will warm him from within?
Filed Under: Dad, Memory, Parenting, Philosophy, psychology, Therapy, Uncategorized
SOUR GRAPES (& a good point or two)
I'm so powerfully tempted to write this in the third person and distance myself from it in order to keep from sounding bitter. There are few sounds more distasteful than sour grapes being chewed—I'm aware of this. For better or for worse, it would also be disingenuous and wildly irrational for me to try to pretend like this was about some "other" independent-press published author.
I'm not going to attempt to give a full sketch of the state of the publishing world. That would be tedious and complex and too long. Most people recognize that the foundations are shaking. Self-publishing through electronic means and the zeal and dexterity with which many small and midsized presses have snapped up the leverage and power offered by e-publishing has cast the mainstream industry into frightened disarray. Much like CDs, physical books are stacked on a precipitous downward slope that tips toward relative irrelevance (unlike music, I will always prefer a physical book to a file).
Part of me—and I suspect part of many indie authors—cheers this transcendence. After enough years of disrespect and betrayal and dishonesty at the hands of literary agents and mainstream presses, I can't help but cheer the rapid entropy. I can't help but smirk when they bring lawsuits against Amazon and Apple and whatnot, trying to get their manicured fingertips in the dike. I almost kissed the self-published author who recently told me that not only had she made the NYT bestseller list, but was enjoying turning down mainstream editors when they called her to buy her book out from under her.
Another part of me, of course, is nostalgic for the days that ended long before I ever published anything—when it was the author's job to write and the agent's to sell and the editor's to edit and the publicist's to publicize. And that was that. The emotionally complex, right-brained artistes could rest easy in the cool shadow, wait to be trotted out après martini or two for a well-attended reading now and then. Or perhaps it was never that way and it's just a bittersweet dream some of us share.
But we can't have it both ways, I realize. So I swallow my panic at the mandate to "self-promote," my discomfort at "marketing" an elegy/memoir/love story that is so intimate and meaningful to me. I swallow the daunting, unhelpful knowledge that I have no idea how to do this and…well, I just start doing it, because the book and what I hope it transmits means that much to me.
And I can't even begin to claim the same duress of solitude that a self-published author can. I have a mid-sized Canadian press putting my book out, and a team of PR Angels from the Neocom Group that have taken on my plight with tremendous heart because they, too, believe in my work. But still, it's a grind through a very dark wood with many moments of temptation to lie down in the snow and go to fucking sleep.
One such moment is what I intended this essay to address. Let's say that there's a certain bookstore in a certain city in Oregon that has gained a great deal of traction as a sort of indie lit clearinghouse and has earned a reputation as ground zero for independent literature in the city and the region. This store is proudly northwestern in addition to being proudly indie.
My good friend, an affable, well-spoken law student approached this store for me regarding Clearly Now, the Rain, and after following up once or twice, received this response:
"I looked into Eli's book and our buyers elected not to carry that title in stores. We don't bring inventory into stores through events, so we would decline a request to host Eli….We just can't carry every title that gets published each season."
So, an independent-press published regional author with excellent blurbs (quotes), a kick-ass Kirkus review, and a memoir that takes places majorly in the northwest who's grinding hard to get some traction isn't suitable for this store. (This is the point where I am concerned about the sound of the grapes, but fuck it.) This does cause one to wonder what is suitable for this store, does it not? A quick visit to this store's website evidences no shortage of mainstream press-published, bestselling author, front-list type of titles spotlighted.
If a giant independent bookstore features these titles and turns down…Christ, let's just say it: turns me down…what precisely does "independent" mean anymore? And more to the point, how do brick and mortar bookstores expect to survive if they don't demonstrate any particular interest in, solidarity with or affinity for independent authors?
In case I've been too harsh on the anonymous J bookstore described above, I should probably add that myself or people working on publicity on my behalf have been simply ignored by all of the bookstores in New Orleans, the University Bookstore in Seattle, and others. I suppose the question I'm arriving at is: why do bookstores matter anymore if they don't persist in being locales for literary life and allies in the struggle against corporate domination of art?
And, of course, every single vendor online can indeed "carry every title that's published each season" if they wish.
(Of course this same Oregon bookstore is selling my book online)
Filed Under: clearly now the rain, indielit, Memoir, Philosophy, self-promotion, Writing


Krishna Mohan Medical College & Hospital (KMMCH), Mathura, Uttar Pradesh. MBBS 150 Seats. PG Nil.
The KMMCH is a private medical institution in Mathura, Uttar Pradesh. This is an opportunity to the eligible candidates to study 4 & 1/2 years MBBS Course in KMM College.
The KMM college came into existence in the year 2014.
KMMCH expected to get permission from Medical Council of India in 2016.
KMMCH would be managed by Shri Mohan Singh Shiksha Sansthan.
MBBS Course. – Krishna Mohan Med. College, Mathura undertakes the teaching and training of students for under-graduate course of MBBS.
Thus there would not be any PG seats available in KMMCH for admission and study till 2022.
The KM medical college and the medical course is yet to be approved / recognized by Medical Council of India.
College Name. Krishna Mohan Medical College & Hospital. Mathura. Uttar Pradesh.
Management. Private – Shri Mohan Singh Shiksha Sansthan.
Established. Established in the year 2014. However yet to be given permission / approval from MCI.
Address. Krishna Mohan Medical College & Hospital Pali Dungra, Sonkh Road, Mathura (U.P.).
Telephone.+91 7055 505 130, +91 8477 000 180.
MBBS Seats. 150 Seats in Krishna Mohan Med. College are available for admission.
Admission will take place subject to only if KMMC is given permission by MCI.
Admission. MBBS Admissions in Krishna Mohan Medical College & Hospital, Mathura are through Competitive Entrance Examination.
Allotted. The seats in KMMCH would be allotted for local students of Uttar Pradesh. As well as students of all India.
Distributed. The seats in Krishna Mohan Medical Institution would be distributed in accordance of merit list.
The rank in the merit list obtained by the candidate in the common entrance entrance of Krishna Mohan Med. Col.
PG Degree Seats. No PG seats are available in K M Medical College for admission.
PG Courses. PG courses in KMMCH are expected to start from the year 2022. This is subject to the approval given to KMMCH by MCI.
PG Seats Specialization–MD MS Course Krishna Mohan Medical College & Hospital, Mathura.
Krishna Mohan Medical Col. & Hospital, Mathura, Uttar Pradesh is expecting to get the permission from Medical Council of India.
The permission would allow KMMCH to take admission of eligible MBBS students for PG medical courses from the year 2022.


The MKIV Cobra was manufactured by AC/Autokraft at Brooklands Motor Circuit, sharing many similarities to the period motorcars.
The MKIV wore strikingly similar hand wheeled aluminium bodywork, wrapped to a coil sprung ladder chassis.
This particular left hand drive example, was supplied new to Mr Fayer Bayzid during 1986 to the following specification taken from the AC Factory Build Ledger that we hold.
Following delivery of the vehicle it was exported to Portugal later that year. After a short term overseas it was repatriated by its second owner Mr Leslie Kitson in August of 1988.
Under Mr Kitson's care the motorcar was dispatched to Autokraft for a manual gearbox conversion.
At this time Mr Kitson had a 302cu SVO lightweight engine built by Performance Unlimited of Dunnington, apparently to this specification.
Full dual stainless steel rear exit exhaust system.
Most of these works were carried out at 20,000 miles are documented in the comprehensive history file. The result of these works left the vehicle with 380 bhp and 370 ft/lbs of torque at the time of the build, and is suitable for use of lead free fuels.
The motorcar is lent a more period feel by its Moto-Lita Woodrim steering wheel and 15 inch alloy wheels with three eared knock offs and Le Mans fuel filler cap.
It left Mr Kitson's ownership in 2001 with 32,000 miles seeing only light use and servicing from RW Racing Services, it changed hands once more in 2011 to the most recent owner, who had the car refinished in a straight black similar to the original specification.
The appealing enhanced motorcar has just been through a AC heritage service and inspection and possesses a MOT certificate until October 2019.
By the 1970s AC had stopped servicing Cobras, and Cobra mechanic Brian Angliss quickly stepped in to fill the void. With a strong customer base and good reputation, he grew close to the AC factory and was eventually able to collect enough original tooling, jigs, and body bucks from the Thames Ditton facility to fabricate new aluminium bodies, whilst also utilising the same tooling and jigs used to build the original Ace and Cobra bodies.
A new AC company was established as a joint venture with Ford, which began offering the AC Mk IV, a revival of the original Cobra, which ended production with the Mk III in 1967. These cars, built using the original tooling and the same materials as the originals, were praised for their exceptional build quality.
Following many similarities of the MKIII, placement of large ford powerplant, this time a 302 cu into the coil-sprung ladder chassis with a curvaceous hand formed aluminium body to suit.
Ultimately, approximately 480 Mk IV Cobras were built.
On the mechanical side, the power plant has been upgraded more powerful Ford 302 SVO, GT40 specification unit at circa 24,000 miles. In addition to this, the gearbox has been rebuilt at 34,551 miles and most recently the clutch at 37,352 miles. Further upgrades include the fitment of the front and rear anti roll bars.
The history file of this motorcar is extensive, including the initial purchase following the service record to date.
The Cobra has retained the Guardsman Blue body colour and Tan leather interior that matches our AC Factory build ledger (The Bible).
Lending a period feel with the addition of bullet racing mirrors and Wooden Rim Motolita Steering wheel, included in the cockpit is a battery cut off switch and four point harness for both seats.
The exterior follows suit with tri eared bronze spinners and 16 inch Halibrand Wheels.
All associated weather gear (hood,hood frame, tonneau and side screens) are present alongside the handbook and two sets of keys.
This motorcar has just been subject to Brooklands Motor Works service and inspection and is one of the highest standard MKIV Cobras, we've seen.
The motorcar offered is a AC heritage division hand crafted Cobra 289.
Built as a homage to the 50th Anniversary of the Cobra from 1962-2012. It was unveiled at the Geneva International Motor Show in 2012, alongside the AC 378 GT Zagato Prototype.
This vehicle has been hand crafted by AC Heritage, located at the birthplace of British Motorsport. Brooklands Motor Circuit in Surrey.
The AC Factory craftsman produced the sixteen gauge aluminium body on the original factory wooden body bucks.We furthered the accuracy of this build with reference from our archive of the Thames Ditton factory drawings to achieve an exact MKII 289 to factory specification.
In reference to the chassis, it has been manufactured on the factory AC chassis tooling, with the correct three inch diameter main rails and meets all current requirements for historic racing, making it eligible for the FIA HTP approval.
This motorcar is currently in left hand drive specification, at this stage it would be easily reconfigured to right hand drive.
The vehicle is identified as COB2620 with an official certificate of authenticity with relevant chassis plate and markings throughout, recognised within the factory ledger, that holds all factory information of AC continuation cobras to date. In addition to this the vehicle can be road registered correctly as an 'AC' Motorcar with the DVLA through the approval process.
In the spirit of the production of the Shelby Cobras created in period.
Our AC Heritage team have produced a 'glider' car that has the body panels fully wrapped.(fitted). The bodywork is produced on an english wheel and has been gas welded together using its parent metal, these traditional skills are unique to period AC Cobra construction.
The internal panels all pre fitted including the fibreglass footboxes and wheel well. The bespoke aluminium panel work (floors,gearbox tunnel boot floors etc) have all been pre fitted and are easily removable for fitment of mechanical components.
The suspension is partially assembled for show purposes, and is currently in a rolling form.
There is no engine or transmission with this vehicle.
The vehicle also features brand new MWS 6 x15 inch stainless steel wire wheels on unused Blockley 205/70V/R15's, with AC twin eared spinners. The windscreen is period correct from Brasscraft.
A unique opportunity to create a road or race car to exact period specification.
'Of them all, the Ace was the truest sports car: it could be used for daily commuting or for high-speed long-distance touring, but it could also be driven to a race meeting, campaigned with distinction, and driven home again - even if that race was the Le Mans 24 Hours.' - AC Heritage, Simon Taylor & Peter Burn.
The success of Cliff Davis's Tojeiro sports racer prompted AC Cars to put the design into production in 1954 as the Ace. The Davis car's pretty Ferrari 166-inspired barchetta bodywork was retained, as was John Tojeiro's twin-tube ladder frame chassis and Cooper-influenced all-independent suspension, but the power unit was AC's own venerable, 2-liter, long-stroke six. This single-overhead-camshaft engine originated in 1919 and with a modest 80bhp (later 100bhp) on tap, endowed the Ace with respectable, if not outstanding, performance.
In 1955, AC added a hardtop version - the fastback-styled Aceca - and from 1956 onwards both models became available with the more powerful Bristol 2-liter, six-cylinder engine with its ingeniously arranged, pushrod-operated inclined valves. Although taller and heavier than AC's own engine, the BMW-based Bristol was considerably more powerful thanks to its superior cylinder head design and down-draught carburettors. Up to 130bhp was available from the Bristol unit in road trim, in which form the Ace could touch 120mph (195km/h), while around 150bhp could be wrung from it for racing.
The combination of a fine-handling chassis and a decent power-to-weight ratio helped the Ace to numerous successes in production sports car racing; arguably its finest achievement being a first-in-class and seventh overall finish at Le Mans in 1959. Indeed, its basic soundness and versatility were reflected in the fact that relatively few major changes were found necessary when the Ace was endowed with Ford V8 power to create the legendary Cobra.
Of the 463 Ace Bristol's produced at the Thames Ditton Works, only 100 of them came in right hand drive.
The Motorcar offered is BE 294, it is one of sixteen right hand drive Ace Bristols that were exported. 294 left the Thames Ditton works on the 18th May 1957 and had been shipped to Hong Kong.
The first custodian of this motorcar Ron Hardwick, a Cathay Pacific pilot, said he fell into racing almost by accident. Born and raised in Hong Kong, Hardwick, the son of a British Army captain, said he had raced motorcycles around the then undeveloped new territories.
After buying a Triumph TR2 to drive around Europe on holiday, the service manager for Far East Motors Eddie Carvalho, winner of the initial 1954 Grand Prix, entered his car in the race without telling him.
After finishing out of the running in the '55 race with a blown engine and missing the 1956 GP due to work commitments.
Hardwick returned to the Guia Circuit , in his recently acquired AC Ace Bristol (BE294), he achieved his best lap time of 3m and 45.7s, the third fastest lap on the grid 11 seconds behind the leading Mercedes 300SL of Pateman. He completed the 77 lap of Guia in a swift 4 hours 58 minutes and 15 seconds, under four minutes behind the winning Mercedes 300SL.
Hardwick returned the following year for the fifth Macau grand prix , battling it out for second place with the XK140 of Tom Reynolds. Hardwick managed to lap Barnes in the Porsche 1600 on the 48th lap, Barnes would go on to place 3rd, Hardwick comfortably claimed 2nd and Chan Lye-Choon placed 1st.
The 1958 Grand Prix Weekend included multiple short races of which Hardwick showed a great performance, placing 1st in the A.C.P Trophy race and 3rd in the Production Car Race.
Hardwick would eventually go on to win the Macau Grand prix in 1959 in a Jaguar XKSS.
Formerly property of the late French Actor Gerard Blain.
AC Cars made a severe impact on the sports car industry, when the Ace was revealed at the 1953 London Motor show, with its simply elegant body, and John Tojeiro's thoughtfully engineered chassis, In the hands of the Hurlock brothers working alongside Tojeiro, they produced a vehicle with four wheel independent suspension, with a simplistic chassis design based around two three inch diameter tubes. The Aces initially were produced with the John Weller designed AC two litre straight six engine that had been continuously developed from its origin in 1919,even though these pre war engines had been developed over the years, they only provided a respectable 105 horsepower at there peak, a higher powered modern engine was needed, After 220 cars had been produced by 1956, Race driver Ken Rudd of the tuning shop Ruddspeed of Worthing inspired the AC factory to install the 120 horsepower Bristol engine, these engines offered high power from standard were capable of a higher state of tune. The change in power plant made the Ace a staple on the track, Ace Bristols ran successfully at Le Mans from 1957 to 1962 by various entrants, best placing at 7th Place Overall in 1959 in the hands of Ken Rudd and John Turner. However, it was on a domestic club level where Ace Bristols earned their reputation as supreme racing machines. Only 680 cars were produced prior to being used as the platform of the brutal V8 Cobra.
This Ace Bristol left the Thames Ditton Factory on 14th April 1958 was supplied new to the french AC distributorAndre Chardonett of Paris, once the car had arrived it was purchased immediately by Gerad Blain, the Actor and Director by trade, he was involved in over sixty french films up till his death in 2000, the vehicle is seen in period photographs of a young Blain and associates in awe of the British craftsmanship.
The vehicle has been authenticated that it retains all matching boot, bonnet and door numbers, also it is powered by a Bristol 100D2 engine.
The current owner purchased the vehicle in 2007 and completed a body off restoration attending to chassis and bodywork followed by completely overhauling all components including drivetrain, suspension,brakes, including many practical upgrades including installation of a aluminium radiator and a synchromesh gearbox for the use of first gear, it still retains elements of its past including interior trim that show patina. The vehicle has seen some competitive track use in 2014, placing 4th in the Bentley Drivers Club, 60th anniversary race for the AC Ace, it also participated at the 72nd Goodwood members meeting.
This beautiful example is presented in Aston Martin racing green, It also features a works hardtop and full weather gear.
This motorcar is eligible for FIA papers and can be issued if desired.
This LHD MkII Alloy Continuation Cobra chassis and body was built to 1964 specification by AC Cars on the original factory tooling. The Primrose yellow coachwork is pristine with a black leather interior. The 4.7-litre Ford Windsor is fed by four Weber IDA carburettors, and develops in excess of 350bhp. Top speed is estimated at 145mph.
We have used this Cobra for promotion and was featured in Practical Classics with Andy Fairchild (CEO of Footman James and the editor) driving from the Monument in Central London to Borough Market Porter Pub (as seen in the Lock, Stock & Two Smoking Barrels film), then onto Brooklands and south on the A3 to Portsmouth. FIA papers and road registered, ideal for racing or a fast road / track car.
It has Leaf spring suspension, Koni shocks, Girling brakes, a V8 Mathwell built engine, lead free aluminium Elderbrock heads, roller rockers, Keith Black pistons, 8:1 compression ratio, 4x48 IDA webers, dynode at 433 bhp., small spline 4 speed top loader gearbox, Smiths instruments, S/S exhaust system and chrome wire wheels, This car has chassis number COX 2615, with an FIA http passport it is eligible for historic and classic tours and rallies.
Under a new management team at AC Cars, chaired by the very British-Sounding General, Sir Jeremy Mackenzie, former Deputy Supreme Allied Command NATO Europe, Aide de Camp General to HM The Queen, dedicated AC enthusiast and armed with a plan to switch some production to the same factory in South Africa which made Lee Noble's cars, AC marched into the 2012 Geneva motor show with high hopes for renewed brand success. "Geneva 2012 marks a new beginning for the AC brand", said Mackenzie, "The company has suffered from a series of false starts in recent years but at the root of those has always been the lack of a proper manufacturing base. Now that it has entered into joint ventures with manufacturing entities with strong track records in producing cars which share the iconic AC pedigree, all that is firmly in the past".
In time for the year's most eagerly awaited Motor show, the British sports car specialist teamed up with fabled Italian coachbuilder, Zagato, to create the all new AC 378 GT Zagato. AC had an on-off relationship for much of the past decade, with production switched abroad, management changes and a confusing product line-up. However, under the new management, the hopes were to make a go of AC Cars, one of the world's oldest car brands, beginning with a supercar to be sold in the UK and Germany where it would retail for €109,990. The only problem was that the AC 378 GT Zagato didn't arrive in time at Palexpo for press day after an altercation with Customs. The svelte new coupé packs a punch with a General Motors 6.2-litre, V8 under the bonnet and tuned to 434bhp. It was indeed previewed at Perana in 2009 and It's not the first time AC Cars has looked to Italy for design inspiration: the AC Ace Bristol Zagato of the 1950s and AC Frua of the 1960s were both penned by the Italian carrozzeria. Under the new management, AC planned further developments with Zagato, including a limited run of AC Ace Bristol Zagatosand and the reintroduction of the AC Ace Classic, a kind of junior Cobra to be sold for less than £50,000 in the UK.
This matching numbers 1964 Aston Martin DB5, in factory Silver Birch with black interior.
Never has the 'marriage' between a car rental company and a manufacturer yielded such fruitful results as it did between Hertz and Shelby with the inception of the Shelby Mustang GT-350H. In a clever marketing move in 1966, Hertz initially ordered 100 models and requested that it be named the GT-350H, 'H' standing for Hertz, with a few minor tweaks for their rentals customers. Delivered in Raven Black with Bronze Powder Gold stripes, the order was increased to 200 cars, and by the end of that year 1000 cars were produced in total. It is believed that 800 or so cars were delivered in the black / gold colour scheme, whilst the remaining 200 were built in Wimbledon White, Sapphire Blue, Ivy Green and Candy Apple Red. By the end of '66 the Shelby GT-350H was available at over 50 Hertz airport rental locations across the United States, where customers could hire one for the nominal sum of $17 per day. Many of these cars were rented for weekend use on drag strips and race tracks, and hence the term 'Rent-a-Racer' was coined.
We are pleased to offer this particular G.T. bearing chassis number #1555 and presented in the Hertz colours of Raven Black & Bronze Powder Gold. According to the SAAC Shelby Registry, on which this car features, it was delivered to Hertz via Larsen Ford Inc. on 31st March 1966, and originally featured an automatic gearbox, however it has since been upgraded to a 4-speed manual Toploader unit.Chassis #1555 rides on 14" 10-spoke alloys, a change from the usual Magnum 500 wheels common on most Hertz cars.
After Hertz use, the car was sold to a Lacy Levone of Wilson, North Carolina, followed by another 2 owners in the U.S. In 1992 the car was purchased by a Dutch collector and remained with him before ownership passed to another collector in Holland, who used the car for classic regulation rallies such as the Rallye de Paris and the Vogezen Classic.
Thought to have never been restored, although probably painted in its lifetime, this original G.T.350H boasts a wonderful patina rarely seen on these cars. With only a small handful residing in the UK, chassis #1555 represents an opportunity to own a slice of American motoring folklore.
Verified and authenticated by the Shelby register, this car is not to be missed!
The AC Superblower has been produced by AC Cars (the original manufacturer of the AC Cobra). This car has been produced on original factory tooling to 427 spec body work by English craftsmen. AC Cars have built cars since 1901, and this car has the pedigree of this iconic brand and the cache of being built at the Brooklands AC Cars factory.
Do not confuse this car with any replica or kit. This car has it's build specification recorded in the AC Factory ledger. This is chassis 11 of 19 ACSB numbered chassis fully built Cobras. Always garaged, drives and looks as new a unique opportunity to own an aluminium car. With a minuscule 5700 miles on the clock, it is in timewarp condition and It's hand built alloy body is faultless, presented in stunning Rosso Corsa Red with a Grey Connelly hand crafted leather interior. It has recently had a thorough Brooklands Works Service carried out and has received a fresh MOT. Presented with a full mohair weather kit, hood with side screens, tool kit and spare wheel.It is a single owner vehicle after being used by AC Cars, where it had only been used for demonstration purposes. Seeing is believing! Outstanding condition throughout and any inspection welcome. A genuine AC. Perfect for European tours or rallies unrepeatable value.
This Carbon Road Series (CRS) Cobra is powered by a Ford V8 power plant. It has only had 2 owners and an original 8,500 miles on the car. Presented in stunning silver metallic coachwork with blue hand crafted Connelly interior.
Significant weight savings have been made possible through the use of a one piece body shell of carbon-fibre. Pre-impregnated bodies are formed in a high temperature autoclave to ensure exceptional quality levels, utilising laminated carbon-fibre cloth and thermoset epoxy resin. Technology utilised in F1 race cars. The CRS is painted and assembled to AC factory standards.
The CRS Engine develops 225 BHP at 4200 RPM / 300ft lbs of torque. Performance is 0-60 mph in 5 seconds and a top speed of 145 mph. The Cobra uses a 5 speed manual gearbox with a Hydratrak limited slip differential. Independent front and rear suspension and rack and pinion steering. Disc brakes vented at the front. The dash layout consists of a speedo, rev-counter fuel, temp, oil pressure guage, and a clock. The doors contain door pockets and there is a cubby glovebox. Safety is ensured by twin chrome plated roll over bar. The 16 alloy Halibrand style racing wheels are shod with directional 225 ZR 16 (front)and 225 50 ZR 16 Dunlop Sport 8000 tyres (rear).
We are delighted to present this low mileage quality example of an AC that was manufactured at Brooklands where we are located. It comes with a cherished AC number plate, full weather gear and documentation from AC Cars to support its heritage. The Cobra has just gone through a Brooklands Works Service pre delivery inspection and is available for demonstration by prior appointment.
HK Y4: original spec 'Belco metallichrome Silver Po 31/2300' (there was a range of factory colours but you could in fact choose any colour from anywhere – this one was a unique special order) with bright red interior, rhd, auto, power steering, 3.31 rear axle, Borrani disc wheels, disc brakes (by this stage standard for the UK though not yet for elsewhere), body or production nº 545, engine (383ci/6286cc – by this stage standard for HKs) TY7 29277 – single carb as standard for autos. I do not have the date of first registration, but this will have been in November or December 1959. We do not know the first owner – it looks as if he was a Lancastrian (possibly an inhabitant of Blackpool) who had a personal number, as the first known number was 248 WTE, which dates from the last quarter of 1961 – The original owner kept the car for about two years was par for the course. Bought in the late 1960s by Brian Timmins, who lives in Melbourne (Derbyshire. not Australia). from Derek Bottomley in Southport, which confirms the Lancashire connection, and sold by him after a couple of years to M.Ivey of Cliftonville, Kent. Next it went to Scotland and acquired the Glasgow registration RYS 900 – there was some belief that Baxters Soups or someone from the company was involved. Then it turned up parked in a front garden somewhere in Surrey (this would have been around 1977): can't immediately remember what happened next but Alan Tollman acquired it not long after. Whence to we acquired it approximately twenty years ago with the intention of competing with it .
It has been subject to a full body off restoration all metal work carried out and painted Pearl black metallic over 15 years ago and been dry stored since to a high quality finish.
- Bumpers have been restored and are in great shape.
-Original Engine is present in a dismantled state.
-Suspension fully overhauled including rebuilt springs etc.
Further orignal parts to aid the future custodian include.
-rare difficult to find aluminum trims for the vehicle throughout.
Vehicle Inspection for prior appointment only.
The Vehicle is well known to the Facel Vega Car Club and with there assistance would require little effort to road register the vehicle.
Viewing by prior appointment only.
The Porsche 356 made its appearance in 1948 and was based on a Volkswagen platform. The car would bring class victories across a wide variety of events, from Le Mans, where it won the 1,100-cubic centimeter class in 1951, to rally and hill climbs. By the end of the decade, it was clear that the rear-engine car was truly special.
Over the years, Porsche continued to develop the car, increasing the power, improve handling, and provide increased comfort. In 1960, the 356 B saw the first major styling changes, with the headlights raised, becoming more upright and having larger bumpers, brake cooling slots on the front valence, and revised lid handles. The interior featured a back seat rest that was split for added versatility and rear window defroster vents appeared. Mechanical improvements included upgraded brakes and fifteen-inch wheels. Up-rated Alfin brakes with cooling fins also benefited from air intakes below the headlights which channels cooling air to the front drums.
This New Zealand exported car is a rare factory right hand drive model, with many original features retained including the interior, trim and steering wheel and dials.
The 356 has just been subject to a complete engine rebuild and is currently being run in. Unfortunately during its lifetime it hasn't retained its original engine.
It shows small signs of patina on the body, and interior but aside from a cosmetic respray many years ago it holds it age well.
A rare opportunity to obtain a original right hand drive 356.
The Morris Minor was a British economy car that debuted at the Earls Court Motor Show on 20th September 1948. Designed under the leadership of Alec Issigonis, over 1.3 million examples were manufactured from 1948-1971. Initially available as a two-door saloon and convertible, the range was subsequently expanded to include a four-door saloon in 1950 and wood-framed estate, The Traveller, plus the panel van and pick-up truck variants in 1952. The Traveller featured an external structural ash frame for the rear bodywork, with two side-hinged rear doors. The frame was varnished rather than painted and became a highly visible feature of the body style. Other changes included a modified dashboard layout with toggle switches, textured steel instrument binnacle, and larger convex glove box covers. A different heater completed the interior upgrade, whilst the larger, more modern combined front side/indicator light units, common to many BMC vehicles of the time, were fitted to the front wings. During the life of the Minor 1000 model, production declined; the last Convertible was manufactured on 18th August 1969 and the saloon line was discontinued the following year. Almost 850,000 Morris Minor 1000s were made in all. The car was officially superseded by the Morris Marina, which replaced it on the Cowley production line.
This Traveller in particular has been fully restored to class one condition, with various practicality upgrades fitted including a lead free 1275cc enginethat has been fully reconditioned and planted in the vehicle in March of last year with the ancillaries such as the rotor/points, filters, throttle cable all being replaced.Further upgrades include the installation of a five speed gearbox with a new clutch and propshaft, during this time the suspension throughout had been converted to telescopics. On the electronics side there has been the dynamo to alternator conversion and electronic ignition with addition of a S.U electric fuel pump being installed.
The front brakes have been converted to discs with servo assistance.
Aesthetically the vehicle had been repainted to the original colour of Snowberry White in 2014 and the flawless results give credit to the outstanding workmanship. The interior trim includes new front and rear seats, door liners, carpets, head lining and rear load area have all been replaced.
The vehicles chassis has also been wax protected throughout.
This outstanding example of the so desired Traveller, has been subject to thousands of pounds of expenditure and very gentle use.
Please contact: charlie@brooklandscarsltd.com in our sales team for further details. Viewing by prior appointment.
This is a rare, desirable and classic American muscle car. An genuine early 1966 'GT' coupe, very original, no power brakes, no power steering…this car was built to go fast. Original Raven Black, built in San Jose, CA in October 1965 (1966 cars were built from August 65, so this is an early 66 car). Standard black vinyl interior with a Hurst 4 Speed Manual transmission.
In 1961, Lee Iacocca, vice president and general manager of the Ford Motor Company, had a vision. He imagined a car that would seat four people, have bucket seats, a floor mounted shifter, be no more than 180 inches long, weigh less than 2,500 pounds, and sell for less than $2,500.00. His dream became a reality when the Ford Mustang was born. The first generation Mustang was launched in April 1964 with Ford running three advertising campaigns on all three major TV channels across America at the same time. On the first day the car became available, Ford sold 22,000 Mustangs and by the end of the year, nearly half a million Mustangs had found new homes. A range of engines, body styles and extras ensured that the Mustang had a very broad appeal. In 1965 the 'Mustang GT' was introduced and featured five dial instruments, thicker roll bars, quick ratio steering, dual exhausts that exited through the rear valance, dual mounted fog lights in the grille, and special lower body side stripes. Another popular option was the 'Rally Pac' which added a tachometer and a clock. To this day, the GT models are the most desirable and sought-after of all the Mustangs.
This is a truly great example of a 1966 Mustang GT. 4 speed manual. It has the 289 ci, A Code 4.7-litre which produced 225 bhp. It has spent all it's life in Southern California. When it was bought by the current owner about 2 years ago, where it had been dry stored in a Huntingdon Beach garage and off the road for many years, it was very solid but needed some work to get it to run again.
The previous owner bought it in 1968/69, his son said his father used to take the car to the Lions Drag Strip, Long Beach CA at weekends before it closed in 72. It was set up for weekend racing at the drag strip as it's a very quick car.
It has a manual Hurst 4 speed shifter, factory front and rear seat belts, the carpets look new. Headline is all original and in good condition, the radio works. It originally had Center Line rims but these have now been changed back to the original GT rims and new tyres with less that 500 miles on them. Limited slip diff. So apart from cleaning it up and getting it road worthy and drivable this is a very original car.
All taxes and duties are paid, it has a new MOT and tax exempt.
We have included a video quick walk around the car plus a short video taken in California of it being driven around and before it was shipped over to the UK (still on the old Center Line rims)…and a few period images from the Lions Drag Strip where is would have competed in a 'Run what you brung' type of event.
1966 Mustang GT - 289ci 'A' code.
One of only two 1964 Specification AC/Shelby FIA Cobras built after the original production run, this LHD aluminium bodied roadster that was hand built on the original tooling at the AC Cars factory in England. As with some of these cars the 1960's, chassis CSX 7503 was flown to Shelby American for its engine instalment, fitting, finishing and painting. It was then repatriated to the UK and used as a demonstrator and has covered less than 500 miles from new.
It is presented in Viking metallic blue with yellow team stripe. Black death interior with racing bucket seats. It features a high specification Ford power plant with 48 IDA weber carburettors, foam filled fuel tanks, roll hoop, battery cut off switch, race seat, racing CR and ORA Girling race callipers, and a FIA http passport for historic racing tours and rallies. It is a genuine AC built body and chassis, finished at the Shelby American factory. Being sold unregistered with an MSO signed by Carroll Shelby.
This Aston Martin DBS drives very well and always reliable. It has been in our ownership over the last few years. These Vantage manual cars are becoming collectible and valuable. The dark blue paint has s pleasant patina and the cream interior requires refurbishment.
The body, sills floors and chassis were restored in Europe over a 5 year period. The Aston six cylinder Vantage engine is on webers, holds good oil pressure when hot and performs well. The engine bay could benefit from detailing. The manual gearbox and diff are in good condition and respond as expected. The brake master cylinder has been replaced with two new brake servos. The Aston six cylinder Vantage engine is on webers, holds good oil pressure when hot and performs well.
1928 AC six cylinder 2litre. This AC has a great history and recently has undergone a serious restoration of its coachwork. The AC has a fabulous patina and dealer plaque on the dash board. The chassis number is 14232 and engine number E2 MB 3177.
Sporting artillery wheels and a black fabric hood it not only has the 20's appearance it has the crisp AC six. This is the earlier six with the lower radiator more Downtown Abbey. A contender for any Vintage meeting.
The dramatic 3000ME was first shown in 1973 but did not actually go on sale until 1979. It was based on a design developed by Lola engineers Peter Bohanna and Robin Stables while working after hours in the Lola drawing office creating the diabolo, after AC acquired the rights at the 1973 London Motor Show; AC Offering an intoxicating blend of Italian style, supercar looks and a mid-mounted Ford 3-litre V6 engine with a 5-speed Hewland gearbox and 120mph performance, it looked set to be another winner but sadly this was not to be. The combination of a worldwide recession and the poor health of company owner Derek Hurlock meant that AC went bust in 1985 after just over 100 examples had been made.
Gearbox Overhaul and strengthened by specialist Dave Harris.
Cylinder Heads refurbished and ported with larger inlet valves.
This is only a short insight to the vast amount of effort that has been poured into this ME. This car pulls strongly using a Webber DFI 40 Carburettor which makes this significantly more powerful than standard, with light handling and great stopping power. This car has been meticulously maintained mechanically, however it does show some age cosmetically with visible paint imperfections, in addition to this there is a tear in the passenger seat on the centre panel seam. This is still a very respectable example of such a rare piece of AC history.
This is an extremely rare two seater MKII, the vehicle was built by John Chatham had a major refurbishment by Rawles Classic Healeys including the installation of a a full specification Rawles Motorsport race engine, Rawles meticulouslycateredfor the car for 10 years from 2002.
The vehicle was raced successfully until 2006, it has been campaigned in the UK in the UK Austin Healey Championship and some European events being FIA homologated the car can be entered to many events, ever since the car has been utilised as a fast road and track day car.
Only 50 of these Special Editions will be made, with special badging and plaque to celebrate 50th Anniversary Special Edition.
- Original style 3" round Tube ladder frame.
- Original style suspension with transverse leaf spring front and rear rack and pinion steering.
- Show quality paint and finish in AC Special Edition Blue.
- 1" x 11" 7/16" OD disc, four piston AC caliper, standard rear brakes.
- 3/4" x 11 7/16 OD disc, dual piston AC caliper, standard rear brakes.
- Original style heavy 72 spoke wire wheels.
- Nappa leather seats, dash & door pockets.
- Soft-top, tonneau cover & side screens.
- Polished stainless steel bumpers.
- 306 Cubic inch Ford V-8.
- Fuel on-demand 4 barrel fuel injection.
- Steel headers - Ceramic coated.
- Tremec T5 - 5 speed transmission.
We are delighted to present this excellent example of the Jaguar XK8, that has full service history, with constant expenditure to ensure that the vehicle is always in top working order, works include and limited too, replacement rear dampers in April of last year, most recent upkeep from earlier this month includes replacement of the fuel pump and catalytic converter, totalling in excess of eighteen hundred pounds.
The vehicle has only covered 82,500 miles and has three registered owners, MOT is valid until 11/12/17, and had been serviced on 29/11/16 by a marque specialist.
This XK8 is a very clean example with unmarked interior and exceptional bodywork.
Please contact charlie@brooklandscarsltd.com in our sales team for further details. Viewing by prior appointment.
This 1965 Volvo Amazon was built as a rally car from new by the first owner, and as far as we know it was never used to rally. The second owner bought it around 1967 and owned up to late 2015 when the current owner found it just outside Paris and brought it back to the UK in early 2016.
It had been dry stored for 30+ years due to the owner having a family and company car…it has just gone around the clock 100,000km (approx 62,000 miles) which considering it was stored for so long we believe to be true.
The rare dash panel has all Jaeger dials and all but the oil temp gauge work, it has Marchal fog and spot lights integrated into the front grill and other period features.
Since arriving in the UK it has been fitted with the correct overdrive and a new Simmons sports exhaust. The twins carbs were recently rebuilt and the car has had a new MOT (Feb).
We had added a few photos taken in the late 60's with the second owner and as you can see the car is pretty much the same as it is today. The short video was taken during it's time with the previous owner in France before coming to the UK.
Presented in Tudor Silver and Shell Grey with St. James' Red Connolly hide this Rolls Royce represents the establishment of the early 1960's period. Sympathetic restoration work had been carried out to exacting standards.
The coachwork is in splendid condition with excellent panel fit. Chrome bodywork parts have been partially re-plated and bumpers totally restored. A new front windscreen allows a clear view ahead. The engine is in fine condition with the carburettors and top end ancillaries refurbished by a Period Rolls Royce Engineer. The engine bay is nicely detailed. The four road wheels are shod with recent tyres and hub caps coach-lined as the belt line of the coachwork in contrasting red by a renowned Rolls Royce and Bentley Artisan. The interior headlining has been replaced to original specification in wool cloth by a Rolls Royce coach trimmer. The walnut wood cappings and dashboard totally restored by Silvercrest world renowned for their quality in this field. The rear seat door panels have a lovely patina.
The Rolls has a recent Ministry of Transport test and registered as a Historic Motor Car with the DVLA is exempt from annual road fund license tax.
This 289 story starts with a client of ours, who had been planning on building his dream aluminium Shelby Cobra and over the past three decades he had collected various parts.
Sadly the owner has passed, and forces the sale of this unique build.
The chassis was built as a LHD 289 mark two on the original tooling at the AC/Autokraft Brooklands Factory, all dimensions are applicable to the original cars, and could achieve FIA HTP papers making a unique car for historic racing, the only change required would be changing of engine mounts to conform as the owners intention was to fit another type of engine.
This chassis specification is not to be confused with many inaccurate replicas seen in the current market.In addition to this at its current build state it could easily be transferred from LHD to RHD.
The aluminium body panels included a variety of original period shelby bodywork and new build panels, further panels that are to be partially completed are right side door skin, boot skin.
We have listed all additional parts that are included from this sale and were purchased from various sources including AC Cars.
Replacement LHD foot boxes and boot floors from AC Cars.
All parts have been fitted for cosmetic purposes, they will need to be fitted for purpose.
To confirm this vehicle is not a 1960's period AC/Shelby Cobra and does not have a UK V5 or title.
No Warranty is given or implied in this sale, all parts are in a unwarranted condition.
We reserve the right to withdraw the vehicle from this lot, as its advertised elsewhere.
Viewing by prior appointment only please contact our sales team for further information.
The Fulvia Saloon was introduced in 1963, replacing the box like Appla and featured a innovative narrow angle overhead cam V4 engine and double wishbone independent suspension. In addition to the curvaceousand lightweight styling from Ercole Spada of Zagato design house in Milan, known for the immortal Aston Martin DB4 Zagato.
The 1298cc engine that is featured in this example had been introducedin 1967 continuing all the way through into the series two cars.These later cars feature the Five speed gearbox that had been implemented as standard from 1971.The nimble Zagato bodied cars proved themselves in motorsport, scoring highly in events such as the Sebring 12 hours and the Daytona 24 hours.
This is a highly sought after right hand drive,was first registered in the UK on the 2nd August 1972 with four previous owners indicated.
The vehicle is mechanically sound, with a strong pulling motor, firm brakes,and light steering. However the bodywork requires attention withvisible paint surface corrosion over the vehicle , yet it is still a presentable example.
The interior is very well kept with only a small area where piping has been damaged on the drivers seat bolster, aside from this all seats, door cards and headlining are in perfect condition.
The vehicle has had a vast amount of work from a marque specialist including a brake overhaul, and refurbishing the steering idler inJune, when a MOTwas provided.
The bumpers have been removed and they are included in the sale.
The Vehicle is seen as arunning restoration where only cosmetic bodywork bodywork is needed, yet it is great example of the Italian coach builtsports model, with investment potential being a rare RHD car.
1922 AC Sports unique survivor. Original Ferry works Thames Ditton body and chassis, matching numbers engine and transaxle. Powered by 1500 CC Anzani engine with three forward gears and rear brakes only. In fine fettle and displayed at Brooklands Museum's Vintage Society Day and 2013 Vintage Revival Montlhéry.
AC provided each car with a Brooklands 70 mph certificate as proof of achieving this speed at Brooklands. The AC has its original bait tail hand made body and was sold in polished aluminium to display the craftsman ship of the Company.
There are only two known AC sports surviving today, a 1921 model and this 1922 model. Our car was featured in Simon Taylor's AC Heritage Book.
The vehicle was originally built for competitive use in vintage events, this well executed special boasts a very desirable specification. Reg. No. SV 7548, Chassis No: 10230, Engine No: 9805.
Three years ago the owner (who was an active member of the Lea Francis owners club) located a 1927 Lea Francis 12/40 Type 'M' rolling chassis complete with all its running gear that had lain disused but carefully stored for many years. His find had two great advantages, firstly, the type 'M' 12/40 chassis was one of the lightest in its series. and secondly, it was still fitted with its original 1496cc Meadows 4ED twin port engine. One of the most coveted small engines of the vintage period it retained its twin Solex carburettors and a Scintilla magneto. A comprehensive professional refurbishment was begun soon afterwards. The tweaked four cylinder unit was moved further back in the chassis giving better weight distribution and the potential to fit a super charger to it at a later date. A consideration from the very start as provision was made during the engine rebuild to run a blower. Also to this end, the coolant system has been upgraded following tuned 'Frazer Nash' practice with an additional feed to the back on the cylinder head etc. The four speed manual gearbox with its right hand gate and the efficient rod operated drum brakes have not been altered.
Finished in blue, the aluminium bob-tailed body is nicely proportioned. Trimmed unmarked red leather, the interior features staggered seating and a prominent starter button. Indicative of its dual role, this Lea Francis is equipped with discreet trafficators and powerful headlamps.
The AC Two Litre were produced from 1947 to 1956 with only 1284 vehicles being produced, The Post '51 car holds the 85 bhp engine, These models are aluminium bodied, onto a wooden frame of which is fitted to a steel chassis with rigid front axels andsemi elliptic leaf springs on the rear. This 52 car also includes the hybrid braking system of hydraulic at the front and cable to the rear on twelve inch drums.
This matching numbers example in Racing Brooklands Green, sporting Blood Red interior including original smiths AC Dials and a BrooklandsSteering Wheel, This piece has an extensive history file dating back to its early life.
The AC Superblower has been produced by AC Cars (the original manufacturer of the AC Cobra). This car has been produced on original factory tooling to 427 spec body work by English craftsmen. AC Cars have built cars since 1901, and this car has the pedigree of this iconic brand and the cache of being built at the Brooklands AC Cars factory. Do not confuse this car with any replica or kit. This car has its build specification recorded in the AC Factory ledger and has an AC Heritage certificate validating its provenance; A powerhouse out of the factory from the Paxton supercharger pushing out 355 bhp. This stunning example in silver has an extensive history file. . This is chassis 3 of 19 ACSB numbered chassis fully built Cobras. Always garaged drives and looks as new, having only three previous owners with only 8000 miles. A unique opportunity to own an aluminium car. Presented with a full weather kit, hood and side screens, also included is a brooklands factory hardtop. The cherished number plate ACC944A is included in the sale price. Inspection welcome by appointment only.
A genuine AC. Perfect for European tours or rallies unrepeatable value. Finance available.
Do not confuse this car with any replica or kit. This car has it's build specification recorded in the AC Factory ledger and has an AC Heritage certificate validating its provenance. This is chassis 10 of 19 ACSB numbered chassis fully built Cobras. Always garaged, drives and looks as new a unique opportunity to own an aluminium car. FSH and DVLA warranted 19,000 miles.
It's hand built alloy body is faultless, presented in stunning Rolls Royce ebony black. with a black Connelly hand crafted leather interior. Serviced and maintained by us with a fresh mot and 19,000 warranted miles. Presented with a full mohair weather kit, hood and side screens. The car has had 3 previous owners, the cherished number plate COB 427X is included in the sale price. Seeing is believing! Outstanding condition throughout and any inspection welcome. A genuine AC. Perfect for European tours or rallies unrepeatable value. Finance available.
We have recently taken this vehicle as a part exchange.
A well cared for 996 Porsche Carrera 2, as seen in most desirable colour scheme Silver with black leather interior.
This vehicle pulls exceptionally well, with a recent clutch replacement, and has had no expense spared on maintenance .
A unique opportunity to own the only AC quad cam Aceca. This 2 door 4 Seater Sports Coupe was built and hand finished by AC factory craftsmen at the end of the last century at the final Brooklands factory. This AC Aceca is number 3 of only 3. cars made. Road register in 2008.
Presented in pearl mauve coachwork with red leather AC factory trim interior. 5 speed T45 Manual gearbox. 4.6 Litre 305 High Performance Quad cam Ford motor delivering 300 lbft of torque @ 4800 rpm. Aluminium and composite body panels on a stainless steel chassis. Double wishbones front and rear -twin rear shock absorbers. AP Racing Callipers.18"Alloy wheels. Limited Slip Diff.
As a prototype vehicle the car could benefit from some interior finishing, however the rest of the vehicle is in outstanding order throughout with only 13,000 miles from new. Offers, part exchange or trades considered.
The Aston Martin Lagonda was a luxury four-door saloon. A total of 645 were produced.
The Series 4 was launched at the Geneva Motor Show in March 1987 and received a significant exterior facelift by the car's original designer William Towns. The car's sharp edges rounded off and the pop-up headlights eliminated, with a new arrangement of triple headlights each side of the grille being the most obvious alteration and the introduction of 16-inch wheels. Powered by the legendary 5340cc Aston Martin V8 and Chrysler Torqueflight automatic gearbox deliver the power smoothly to a top speed of 145 mph.With production of around one car per week, only 98 of the Series four models were built. The last car was produced during January 1990 making this one of the last cars ever built.
This 1990 Aston Martin Lagonda "Wedge" has covered 84,000 miles from new, in true British establishment tone the LCD instrumentation advises you to "Replenish fuel" and other useful comment! To compliment the exotic styling a luxurious interior is furnished with selected Connelly hides and Wilton carpeting, futuristic dash board and switches are complemented with Hand crafted walnut wood capping's. Fitted with electric windows and a rear sunroof, alloys tinted windows, central locking, electric operated petrol fillers and bonnet catch. Handcrafted alloy body panels presented in Masons Black with a white Connelly leather interior. It has had recent extensive mechanical and electrical refurbishment and has a current MOT certificate for 12 months.
1996 TVR 4.0 HC 275bhp 48,000 miles. This TVR has been lovingly cared for and maintained by all 5 owners from new, which is confirmed by a vast history file including MOT certificates. The car has been serviced recently and will come with 12 months MOT.
The original service book/manual is present along with all the original keys and original touch up paint. Offered in excellent mechanical order and finished in unmarked Brooklands Green with parchment hide this unmolested example represents excellent value for money good investment potential. Drives and handles extremely well.
1981Mercedes 380 SL specification presented in Thistle Green Metallic with beige hide interior. Hard and soft tops. Heated seats, electric windows, tinted glass, 90,000 mikes full service history.
Recent ECU engine management replacement and service. Flat faced Mercedes alloy wheels. The 380SL drives splendidly and the classic 170 series are in vogue today as a practical classic for Mercedes motoring .
This 1978 Ducati 900 Supper Sport is only 1 of 100 black and gold limited edition bikes built. One owner from new with an original 13,000 miles and comes with a full history file.All original apart from stainless exhaust and aero quip hoses. Lovely condition. Ready to ride away, can be supplied with full MOT if required.
An excellent Austin J40 restored Pedal car. Matching numbers car, an excellent steel body with VIN number stamping. Nut and bolt rebuild, ready to race at Goodwood or as a Sunday driver. In our showrooms now.
This was the 1997 Motor Show prototype car. The revised interior and body was to give the previous Brooklands Ace a facelift. Built at the Vickers Drive AC Cars factory at Brooklands in Surrey.
The car is in sterling silver with red oxblood leather trim, the hardtop is removable, but there is no soft top fitted. This car has covered only 12,000 warranted miles from new and has a full history.
R200 ACE is a supercharged model with the 5.0 litre V8 Mustang motor, that produces 340 Bhp with the supercharger at 5700rpm maximum torque 385lb -ft @3500rpm. The transmission is s Borgwarner T50D 5 speed manual gearbox . BTR Hydratrak hydraulic LSD. Vented discs 10.9 front, 10.7 rear telescopic gas shock absorbers, heated front screen, electric seats, adjustable steering column and alloy wheels.
This car is HPI clear and has had no accidents. It will require an enthusiast to fettle with areas, but as part of the charm of hand built cars this is always the case.
As the press car for AC for 1997 this represents part of the company's history and AC ownership at an entry level.
Ex Derek Hurlock, AC Cars.