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    U.S. Government will Auction Military HMMWV HUMVEE to Public


    U.S. Government will Auction Military HMMWV HUMVEE to Public
    Agustin JimenezStaff Editor

    Unless you’ve been hiding under a rock for the past couple of decades, you’re probably well aware that the U.S. military has some of the coolest and most capable off-road machines on the face of the planet. While the old jeep Flattie in a crate might have been an urban legend, you can now purchase another military vehicle that is almost as heroic as the flatties of WW2 — the AM General HMMWV (High Mobility Multipurpose Wheeled Vehicle).
    The U.S. military is going to auction off as many as 4,000 Humvee’s to the public. The Defense Logistics Agency (DLA) sent the first batch to auction through IronPlanet’s GovPlanet.com website. The Bidding started at $10,000 and of course there’s plenty of interested buyers coming out of the woodwork for these awesome rigs. Nearly all 4,000 Humvee’s are spoken for despite the fact that they are being sold for off-road use only. Yup, you read that right! You can’t drive these things down public roads but the same could be said of a Trophy Truck and we most of us would have no problem having one of those sitting in our garage.
    The U.S. State and Commerce departments lifted the restrictions on the M908, M908A1, M1038, and M1038A1 model Humvees in the last year, clearing the way for DLA. While purchasing these awesome off-road military beasts is now reality for many Hummvee lovers out there, it will not only come with a premium auction price, but also the brutal reality that AM General will not be selling parts to non-military customers.
    The reality is that it shouldn’t be a deal breaker and if you have $10,000 burning a whole in your pocket, check out www.GovPlanet.com for your chance to own a piece of American military history!


    From: http://www.fourwheeler.com/

    Just Having Fun. Old School Style.


    TOP

    Back in the day, dirt bikes were heavy, ill-handling, unreliable pieces of machinery. It was a time when the men that rode them were the true definition of gnarly, and it was a time when rules were few and fun was abundant. Today, even though the bikes have advanced, and the focus of the riders has shifted to multi-million dollar contracts and racing in packed stadiums, the heart and soul of motocross still remains the same. In keeping with the tradition of throwback fun, the Fasthouse and Troy Lee Designs crew spent a day in the desert, riding vintage bikes and having a good time miles away from anyone.
    Current professional racer Sean Collier made the trek to the desert to roost around on a vintage Husky 250 and was joined by his brother Cameron, good friend Caile Noble, and the rest of the Fasthouse gang. We were on hand to snap some behind-the-scenes photos of the production. And while the video produced from the day depicts a bit of beer drinking with buddies, rest assured that it was all done professionally. Enjoy the quick final video edit that we received from Fasthouse and TLD, then head over to Thefasthouse.com to check out some rad t-shirts, jerseys, and much more.

    THAT ’70S SHOW: NEW BONNEVILLE, VINTAGE STYLE


    A custom Triumph Bonneville T100 built by the English workshop Spirit Of The 70s.
    Most builders rhapsodize about their bikes, scattering superlatives like autumn leaves on a country road. Kev Taggart describes his Triumph Bonneville T100 as “Small, squat, and tough as old boots.”
    Kev can afford to be blunt. He’s one half of the English workshop Spirit of The Seventies, and a man with nothing left to prove. If there’s a phrase to sum up Spirit bikes, it’s “iron fist in a velvet glove”—and this T100 continues that fine philosophy.
    A custom Triumph Bonneville T100 built by the English workshop Spirit Of The 70s.
    It’s called TR9C, a nod to Triumph’s famous Trophy models of the 1950s and 1960s. Hence the slight retro enduro vibe: a look that modern-day custom Triumphs still carry well.
    The commission came from a London-based client, a young guy who’d been using a Buell XB9 for getting around the city. Then the Buell was stolen from right outside his house. He decided to use the insurance money for something special, and put in a call to Kev and his partner Tim Rogers.
    A custom Triumph Bonneville T100 built by the English workshop Spirit Of The 70s.
    A design was quickly approved and a 2013-spec T100 ‘Limited Edition’ sourced. Spirit immediately set about the frame: removing the rear peg carriers, chopping down the subframe, building a ‘shortie’ seat and a new rear fender with LED indicators.
    A custom Triumph Bonneville T100 built by the English workshop Spirit Of The 70s.
    The instruments have been lowered, and the powdercoated headlight is held in place by LSL brackets with billet indicators.
    “We also changed the one-inch chrome handlebars to black low-profile bars,” Kev reports. “It visually lowers the front end, and drops the rider’s hands for a sportier feel.”
    A custom Triumph Bonneville T100 built by the English workshop Spirit Of The 70s.
    Spirit wanted the Bonneville to look less like a gentleman’s armchair and more like a chunky roadster. So they’ve fitted smaller, wider wheels with modern sports rubber. “We built new 17-inch wheels, five inches wide at the rear and three at the front,” says Kev, “and popped on a pair of Pirelli Diablos. We then added a set of Fox Podium R shocks and progressive-rate fork springs to improve the grip even more.”
    Next up was to fabricate a high-level exhaust system. “We usually fit these to Scramblers, but we thought we’d give this Bonnie some ‘classic enduro’ cool. You’d be daft to take this thing off-road, but there’s no reason you can’t lend it some dirt-sled kudos!”
    A custom Triumph Bonneville T100 built by the English workshop Spirit Of The 70s.
    After re-working the rear brake arrangement, the pipe went on fine. Then it went toZircotec in Abingdon for a very trick metallic-grey ceramic coating. It keeps the heat inside the pipe and helps scavenge the gases for a better bang.
    “Amazing stuff, and it really works,” says Kev, “Zircotec coat F1 exhausts in the same material to prevent them from burning through the carbon bodywork.”
    The final job was to liberate a little more power and torque. So Spirit performed their usual air box surgery, tickled the gearing, and retuned the ECU on T3 Racing’s rolling road. “The bike now has more power and torque right across the rev range.”
    “And it sounds pretty bloody good too.”
    A custom Triumph Bonneville T100 built by the English workshop Spirit Of The 70s.
    via The Bike Shed

    THE BIENVILLE LEGACY


    JT-Nesbitt-Custom-Motorcycle-13
     This article is a conversational interview of motorcycle and car designer JT Nesbitt by Jason Cormier –
    “So tell me what you think, man.”
    JT is wearing a shit-eating grin and holding a tallboy of Coors. He’s beaming because today is the first time his incredible creation has been rolled out of his New Orleans workshop into the public eye. I’m standing outside the Motus factory in downtown Birmingham, Alabama on a warm fall evening in October 2013. I’m barely able to process what I’m seeing, let alone formulate any meaningful opinion about it.
    I recall my immediate reaction as being “What the fuck does it matter what I think?”
    The thought comes in a moment of pure intensity for me. It followed a long, difficult day spent running around in muggy Southern heat while attending the Barber Vintage Festival. I’ve dragged myself here to meet the man who I’ve been following and conversing with for several months, an enigmatic and controversial motorcycle designer who has been keen to share his ideas with me. Today is the day his baby gets unveiled to the public. This marks the first time I’ve met JT Nesbitt in person, and it’s the first time I’ve seen his handiwork outside of a computer screen. And I’m completely awestruck.
    I wasn’t the only one. That evening Pierre Terblanche, Miguel Galuzzi, Alan Cathcart and several other motorcycle industry celebrities made appearances at the Motus factory to check out Nesbitt’s latest mad creation. Cathcart was so taken by the machine that he cancelled a dinner engagement and called his photographer in to do an impromptu interview and photo session on the factory floor.
    JT Nesbitt Custom Motorcycle 1 740x986 The Bienville Legacy
    The machine in front of us that evening was the pre-production prototype of the Bienville Legacy.  It was the culmination of many years of thought and hard work on Nesbitt’s part, and the generosity of a singular organization called the ADMCi, and it was utterly astonishing. My introduction to this machine left a deep impression on me. Here was a machine that completely obliterated any pre-conceived notions of what would constitute the chassis and suspension design of a motorcycle, and did so in spectacular fashion with some of the most intricate workmanship you will see this side of the jewellery industry.
    There was no need to give my opinion. This motorcycle was spectacular. It was ridiculous. It was so unlike anything I had seen before that it was hard to comprehend. I knew this machine had great significance, perhaps even more than I realized at that moment – here was not just a design that defied convention in nearly every aspect, but it was also the product of a program of sponsorship that represented a new way of conceiving of craft production in America.
    Exactly one year later Nesbitt and the staff of the ADMCi unveiled three complete machines at the Barber Vintage Festival, and once again proudly showcased the Legacy at the Motus Motorcycles factory in downtown Birmingham. I was fortunate enough to be present at the unveiling of the finished machines and to once again spend some time with Nesbitt and his ADMCi entourage. Now that the completed Bienville Legacy has been unleashed upon the world, it seems an appropriate time to interview Mr. Nesbitt and get his thoughts now that the project had been completed.
    JT Nesbitt Custom Motorcycle 18 740x491 The Bienville Legacy

    JT NESBITT AND BIENVILLE STUDIOS

    JT is an enigmatic and fascinating player in the motorcycle industry. He is outspoken and uncompromising – sometimes a bit arrogant, but always honest and perceptive. He openly flaunts convention and refuses to abide by the arbitrary rules laid out within the motorcycle industry. His iconoclastic work has garnered more attention, good or ill, than his apparently marginalized position would allow. He is a motorcycle designer, but not one that abides by any conventional definition of the position – his work exhibits none of the compromises that most industrial designers are forced to abide by. Traditional designers tend to view him as more of an artist than a member of their ranks, but he refuses to identify as one.
    “I suppose that from the very beginning it has been a struggle to define the odd place that I have occupied. Making motorcycles in Louisiana does seem a bit improbable. From my father’s condemnation of my motorcycle fascination at age 14, the near expulsion from college threatened by my professors for the same offence, and for the past couple of decades, not much more than a confused reaction from the majority of locals.
    My first big break came with Iron Horse Magazine. Its potency can still be felt some 25 years after David Snow assumed the position of Editor-In-Chief. He, more than any other, is responsible for the explosion of underground, hardcore, minimalist custom motorcycles that we take for granted today. Back then there was only a small group of guys working in that vein, and for whatever reason, he allowed me to contribute to Iron Horse as a columnist and reporter – For no money of course… But the lack of pay never mattered. Snow was the first person to ever care about what I had to say about motorcycles and I don’t think that he has ever been given enough credit by American motorcyclists at large or by me in particular. David Snow is a very special person, and not forgotten by those who were there.”
    Any discussion of Nesbitt’s work inevitably must include a nod to his days at Confederate, where he worked from 2000 to 2005. While there he designed two of the company’s most iconic motorcycles, the G2 Hellcat and the Wraith.
    “Needless to say, discovering Confederate Motorcycles in 1994 was a revelation and I knew that I had to be a part of the team that founder Matt Chambers had created. His vision for a rediscovery of industrial heritage was the most powerful message that I ever heard. Matt was an avid fan of Iron Horse Magazine (a guilty pleasure for many in the industry) and knew a little about my work for Snow.
    My chance finally came in 2000 when the company was in Chapter 11 and I was able to get my foot in the door. There wasn’t exactly a line of folks waiting for interviews for jobs that were not guaranteed pay. It was, however, a great place to prove my passion. Lack of experience and talent at that point were secondary to fervent desire to be a part of something special and I think that Chambers found that enough of a reason to keep me around.
    The subsequent painful reorganization of Confederate led to the move to New Orleans and a flourishing of new ideas about motorcycle design. I had assumed the role of designer/project manager, but also worked on the production line, human resources, delivery driver, floor sweeper, etc. I don’t think that I ever made more than minimum wage considering all of the extracurricular hours, but it didn’t matter… I was having the time of my life and allowed a tremendous degree of autonomy by Matt.
    Confederate was well on the path to recovery with a two model line-up. The G2 Hellcat was a solid seller and the original concept and two prototype Wraiths were generating tremendous interest and press thanks mainly to Alan Cathcart, who really wanted us to succeed.
    Katrina changed everything. With the factory completely destroyed in 2005, Matt did what he felt was best for the company, a move to Birmingham. I stayed in New Orleans and suffered greatly for that decision. I cleaned bathrooms, bartended, waited tables, was a barker on Bourbon Street.
    While in the ‘wilderness,’ I dedicated my free time to resuming my love affair with cars. I have done some pretty interesting projects, but let’s stay on topic – the work presented here, nine years after losing everything… Nine years of planning, sketching, waiting, for just the right conditions to build and present the next motorcycle.
    Once again, it is worth note that I am not being paid to build these three motorcycles. I think that it is fair to say that I have been doing more, with less, for a long time.
    Rubbing two sticks together to make motorcycles has, however, been great training… It is the difference between a zealot and a mercenary; feel free to decide which category should be mine.”
    JT Nesbitt Custom Motorcycle 14 740x491 The Bienville Legacy
    Nesbitt likes to play up his current projects while downplaying his past work. He is a man who is always looking forward. He likes to say his best design is his next design, while waving away inquiries into his past work. During those days in the “wilderness” he managed to open Bienville Studios in the heart of the iconic French Quarter of New Orleans and work on a series of remarkable projects. His portfolio following his departure from Confederate was as eclectic as it was fascinating – he designed a Bowie knife, reimagined the LeMat revolver, rebuilt a Katrina flood damaged Lincoln Mark VIII into a Bonneville contender, and scratch built astunning natural-gas powered roadster he called the Magnolia Special which he and Maxwell Materne drove from New York to Los Angeles in a record 89 hours. His design for a new motorcycle that would follow up on his work at Confederate was relegated to the drawing board and his sketchbook while he took the time to experiment with other projects.
    A man like Nesbitt doesn’t have a traditional set of idols. His inspirations and his heroes are varied but all follow what he perceives to be the purest goal: uncompromising ideals that are uncorrupted by commercial considerations.
    “My heroes are the true Zealots. Mostly they are not household names because their contributions were never rewarded with fortune. I can definitely sympathize with those toiling in relative obscurity, finding it a thrill being fortunate enough to be asked these questions currently.
    Of those names that we do know, Horacio Pagani is the first to mind. The misconception that he is a rich guy building cars for rich guys belies an understanding of his resume and the reality of boutique manufacturing. He must project an aura of confident stability for marketing reasons, but having a little experience in that world myself, I suspect that it is much more hand-to-mouth. Focusing on product rather than financial instruments pretty much means taking a vow of poverty and Horacio’s cars are a direct line to this philosophy. They are an inspiration. Sitting in a Zonda puts me in SUCH a special place, reverence and awe. Probably the closest to a spiritual experience as I have ever had.
    John Britten’s motorcycle is equally as compelling. I think that it is safe to say that my design heroes are the ones whose work makes me antsy to get back to work. I simply can’t be in the presence of a V-1000 for very long before the urge to make something sends me back to the studio.
    Equally, Norbert Riedel’s Imme inspires with its astoundingly beautiful economy of design and is truly a function of its post-war austerity.
    The beauty of the French coachbuilders Figoni et Falaschi, DeVillars, Henri Chapron, Saotchik, Vanvooren, etc…
    The risk-taking by the Italian coachbuilders: Pininfarina, Boano, Vignale, Touring, Fantuzzi, Scaglietti, Bertone, etc….
    The perfection of function of the guns of John Moses Browning…
    The ever-irascible Enzo Ferrari, combative and forceful, always playing the game by his own rules, the passion for the cars that bear his name is unmatched….
    The near religious dedication of the Hizen tradition of Japanese sword smiths led by the Tadayoshi…
    Ettore Bugatti mastered the art of a perfect life, and the work is so thoroughly imbued with that beauty…
    All of these works have one thing in common- They are contextual. They are more than objects, and have transcended to become icons for a CULTURE. A representation of the thoughts and aspirations of a specific set of people, yet inevitably a product of individual and uncompromising vision.
    That means that I can’t re-hash motorcycles from a time and place that has no direct connection with my culture, it would be dishonest. With that in mind, I have made it my life’s work to contribute to an understanding of what a Louisiana motorcycle should be, starting from first principles, guided by the whispers of the Titans, living and long dead.”

    THE MOTORCYCLE INDUSTRY

    Nesbitt’s list of zealots is noticeably devoid of icons of motorcycling. His work has led him to projects in what are traditionally two disparate industries which often see very little crossover – motorcycles and automobiles. As a man who has experimented in both fields, he has formulated a unique perspective on the differences between motorcycle and automotive culture.
    JT Nesbitt Custom Motorcycle 24 740x555 The Bienville Legacy
    “Motorcycle culture has really been marginalized and still suffers from PTSD, having been virtually wiped out in the 70’s by the Japanese. I think that the near complete hegemony removed a lot of variety and cultural expression from the gene pool. The quality of the Japanese machines was better, but I don’t think that it was an equitable trade when one factors in the quality of people and ideas that were destroyed by the invasion. There is also a maturity in the automotive world that does not adhere to a morality based on money.
    It’s like this, generally speaking: real car guys approach their passion as a wonderful salad of choices, and enjoy a personal relationship with the designers and engineers (individuals) who made it all possible, while motorcycle guys tend to self-identify with big corporations that make products. The humanity has been removed from the object.
    A corollary – as a Fine Arts Major, I am a big fan of Rembrandt Van Rijn. When I am in the presence of his work, something wells up inside me and I am frequently moved to tears, but I have absolutely no need to own one of his works. The fact that I cannot afford to personally possess a canvass does not upset me in the least. I think that the world is a better place with him in it, and most car guys feel the same way about the masters of their craft. I don’t have to own a car by Horatio Pagani for it to make sense to me, for it to be an inspiration, an artefact, and a testament to the aspirations of humanity.”
    Nesbitt has a simple litmus test to illustrate the divide – have a look at eBay motors, searching for all auto listings from highest price to lowest, then do again with the motorcycle listings. Compare and contrast what fetches top dollar in each category. Think about what we apparently value in each category (at least on eBay Motors, anyway).
    Nesbitt has long been a proponent of high-minded ideals and intellectualism in an industry that can often seem anti-intellectual; something that has led to him being increasingly marginalized as he more vehemently defends his principles. Motorcycles are traditionally plebeian, blue collar devices. Their history is one of utility, cheap performance, and a tinge of outlaw culture keeping them just slightly out of the realm of respectability. It’s a reality that makes motorcycles accessible and appealing to many, but it often leads to a dumbing-down of the ideas surrounding bikes. They remain utilitarian, democratic devices. Commercial success often comes by abiding by the status quo – give the people what they want, which is almost always what they expect. Change is bad. Tradition reigns. Trying to rethink the design and conception of a motorcycle will generally net you a bunch of vicious commentary and a vocal reiteration of conservative tendencies. It is a reality Nesbitt is intimately familiar with.
    “I will comment specifically on the American motorcycle industry… It is a poverty of the imagination, coupled with real lack of resources… In a word: degenerative. But from large companies, whose main focus is the mitigation of risk, what else would you expect?
    JT Nesbitt Custom Motorcycle 7 740x986 The Bienville Legacy

    DREAM WHEELS CITYFLY SCRAMBLER


    Dream Wheels Scrambler 1
    Life can be full of regrets. Standing there in silence at the school gates when your mind is telling you to ask the hot girl to the movies, pulling that wheelie down the high street past a police car and failing to get away and spending too much time titting around with KDX and TZR 125s. The current custom scene is an incredibly exciting thing to be part of and if I was offering advice to any young person at the beginning of their two wheeled voyage I’d insist they scrap any plans to finance a mass produced, plastic clad 125 and get creative in the workshop. And if a workshop is a distant dream, deliver all the papers in the land, wash every dirty car and cut lawn until sunset to pay someone else to build you something.
    Dream Wheels Scrambler 2
    Hélder Moura of Dream Wheels Heritage in Portugal have done just that for a customer who didn’t have their full bike licence, creating a street scrambler from the ever popular, pizza delivering Honda CLR City Fly. The provenance of the donor was more important than condition, as paperwork is important in Portugal, so an ex-Pizza Hut hack was found and offered a new lease of life.
    Dream Wheels Scrambler 3
    Once naked, the transformation could begin. Firstly with the fabrication of new subframe and seat pan. The seat itself is the handiwork of local buddy Luís Conrado, and anyone who’s ridden small capacity machines will know that it’s all about momentum so there are grippy bits and slippery bits to ensure roundabouts can be hit flat out.
    Dream Wheels Scrambler 4
    The zorst is custom pipework into a repacked FMF Mega Max II silencer which should add a bit of aural speed to the riding experience. Side covers are of course one-offs with artwork to match the Yamaha FS1e fuel tank, hand painted by Pitta Designs. Behind the covers hides a new battery in a neater box.
    Dream Wheels Scrambler 5
    After a fat front tyre, a set of beefier forks is perhaps the single easiest way to improve the look of leaner-legal machinery. The spindly originals have been superseded by a pair of rebuilt upsidedowners from a Suzuki RMX50, which have been lowered 150mm. The better quality triple clamps were also carried over, furnished with Renthal Fatbars and vintage grips.
    Dream Wheels Scrambler 6
    The stumpy mudguards were made in-house and are a token gesture to keeping the rain at bay, rather than suggesting off-road capability. 18″ x 4.00 Heidenau K67 trials tyres are super soft and grippy on tarmac whilst knobbly enough for the odd excursion to the loose stuff. The front wheel, complete with brake, is from a Yamaha XS400 while the rear hub has been laced with new spokes to an Excel rim.
    Dream Wheels Scrambler 7
    A normal gas cap wouldn’t have done Pitta’s paint job justice so Hélder repurposed a fridge magnet. The speedo is a Daytona unit for simplicity, a rev counter on a single cylinder 125 is a bit of a pointless exercise, just wait for the vibrations to plateau and then change up. Neater switcher gear on the left side is courtesy of Blitz Motorcycles in France.
    Dream Wheels Scrambler 8
    Although the engine had been used to spread doughy pleasure across Porto, the under-stressed, well engineered single needed little more than a good service and a coat of paint before being reunited with the frame. A K&N filter and NGK plug lead the only nod towards performance, the lead is red though which must mean more horsepowers.
    Dream Wheels Scrambler 9
    Marketing is everything these days, so Dream Wheels fit laser engraved rolling business cards to their builds.
    Dream Wheels Scrambler 10
    No urban hack is complete without a skateboard rack so Hélder fabricated an easily removable one allowing the customer an alernative should the Porto traffic snarl-up too much even for a bike.
    Dream Wheels Scrambler 11
    If you’re motivated to get out there and build your own leaner legal funster the Dream Wheels guys have further photos from the build process here. If I was 17 again I’d want something expressive and nimble like this CityFly, although probably with a slightly longer seat, just in case that hot girl needed a lift back from the movies.
    Thanks to Pedro Marcelino for the wonderful photographs.
    via The Bike Shed

    MINI SE PAIE TONY HAWK POUR SA PROCHAINE PUB PAS SI MINI QUE ÇA

    mini-cooper-works-tony-hawk
    Et deux qui font la paire!

    Dans le cadre du lancement de la toute nouvelle Mini Cooper John Works, version survitaminée de la célèbre citadine anglaise, que la marque britannique s'offre les services du skater mondialement connuTony Hawk et du pilote de rallye Guerlain Chicherit.

    C'est donc dans un court spot d'un peu plus d'une minute que le constructeur britannique (appartenant désormais au groupe BMW) a mis au défi les deux riders 4 roues dans un décor urbain industriel.

    Le résultat en image:


    VIDEO BACKSTAGE CALENDARIO BARRACUDA 2015