The Hooker: Fat57′s Gasser

I reelieve the cars we build have personalities. Looking at the Fat57 Customs ’55 Chevy, all the adjectives I can think of could just as well be describing a person: scrappy, rough, stocky, crass. This is the guy you don’t want to meet in a dark alley, embodied in automotive form.

Just looking at this opening photo I can picture Dino with his camera on a tripod, nervously setting up his shot and hitting the shutter before he jumps out of the way. From all this I can only draw one conclusion: this car wants to devour you.

It wants to unleash all 1500 of its horsepower from the 598 cubic inch big block, spin those portly Hoosiers until they stick, then gobble you up and spit your bones out.

Who builds a car with so much personality that it can scare people standing still? Mark and Harley Jones do. They’re a father and son team from Australia with a penchant for building wild street machines like this. Clearly they’re good at pumping them full of attitude too.

I got to chat with Harley and Mark at the SEMA show and was surprised to learn that their gasser ’55 actually came from New Mexico, just next door to my home state of Arizona. Somehow the menacing hunk of metal made it halfway around the world into their capable hands, and now I sit back here on the other side of the globe writing about it. What a small world it is we live in.

While the boys did a ton of work to make the car into what you see here, one thing they didn’t do was change the body. They wouldn’t dare sand off the original ’70s Hooker paint scheme; it’s still exactly as they found it.

This car seems to have a bit of history behind it, which is precisely why the Fat57 crew wanted to resurrect it.

Crucial to any gasser is the big and little tire combo. The ’55 wears skinny bias ply front runners on 15×6 E/T ten spokes.

The rears are twice as wide, with meatier tires still. Deep dish steelies are just another part of the scrappy street vibe.

Of course one doesn’t simply bolt up tires this size: the rear fenders have to be radiused. Fortunately this was attended to in the car’s previous life.

Also one doesn’t simply bolt up huge tires without a way to spin them. You would need a blown, methanol-chugging Dart big block for that.

Compressed air comes from a Littlefield blower.

I was surprised to learn that this is already the second engine that’s been in the car. They had a brand new 468ci motor that blew on its very first launch due to excessive boost from the blower. Can you imagine the heartache?

Big wheel tubs were made to fit the big tires, and now we start to see where most of the work took place. The chassis was almost a build in itself and was a learning experience for Harley and his dad.

The cage is all TIG-welded chromoly and is approved by the Australian National Drag Racing Association for an 8 second pass. Twenty-three-year-old Harley and his buddy Luke Phillips TIGed the whole thing.

Despite the vintage exterior the structure of the car is very much up to date and legal to race.

A Mooneyes metalflake steering wheel and blue acrylic windows adhere to the vintage drag race feel.

When you’re making 1500 horsepower, a wheelie bar and parachute become necessary…

…which are obviously modern items too.

Do you notice the freshly-painted, modern chassis under that original sheet metal now?

The front end is all sheet metal still, but plans are in place to acquire a fiberglass front clip soon. Notice the beefy steel pivots they built to support it.

Even though the chassis is all new, Fat57 still built it like a traditional gasser, using a solid front axle with early ’50s Chevy truck springs.

Current disc brakes keep it safe without taking away from the look.

This little Moon tank holds enough fuel to get the car down the track, but Harley and Mark wanted to be able to cruise it too so they recently installed a 60 liter cell in the back to feed into the Moon tank.

Over-the-rail Hooker headers are practically required on a gasser like this.

The Hurst Quarter Stick shifts a Powerglide with a beefed-up T400 input shaft.

A 12 bolt rear axle was sourced from a big block Camaro, but Harley says he knows it won’t live for long. They’re already building a full-floating, chromed Ford 9″ to take its place.

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As you can see, even though Fat57 stayed true to the vintage gasser look on the outside, their ’55 Chevy is all business when it comes to equipment to get it down the track. Harley says they’ll be happy to run in the 10s, but you know how that always goes. I’m thinking they’ll be looking for faster ETs as soon as they make their first pass.

If ever an automobile deserved to wear a #MaximumAttack decal, it’s The Hooker.

I found the headlights interesting, with one blocked off and the other not. I asked the guys why this was, and they said that one of the block-off plates got knocked out when they had the front fenders media blasted and they never bothered to replace it. Somehow it’s just so fitting on this car – like a black eye or a missing tooth.

It’s great to meet individuals with such passion and ability like Harley…

… and his pops Mark.

How lucky are these guys to have a common bond and work ethic, so that they get to crank out amazing stuff like The Hooker? I know it’s all a lot of hard work, but I think we can all tell they’re passionate about what they do.

How else would anyone come up with a car so tough it can scare people while sitting still?

Keith CharvoniaInstagram: SpeedhuntersKeithkeith@speedhunters.com

Photos by Dino Dalle CarbonareInstagram: speedhunters_dinodino@speedhunters.com

Fat57 Customs’ 1955 Chevy 2 Door Post Gasser

Engine
598ci Dart Big Block, 7:1 compression, Brodix heads, front and rear engine plates, mechanical fuel injection, MSD plug wires, 8-71 high helix supercharger

Driveline
BTE Powerglide, T400 input shaft, 12 bolt posi, 31 spline axles

Suspension/Brakes
Chrome SoCal shocks, ’50 Chevy front leaf springs with solid axle, Spax rear coilovers, Competition Engineering steering column, Vega steering box, CPP and Wilwood brakes

Chassis
TIG welded chromoly cage, ANDRA approved for 8 second passes, complete re-fabricated stock chassis, boxed frame rails, stepped-in rear frame rails, integrated floors, removable body, Simpson parachute

Wheels/Tires
15×6 ET front wheels and 15×12 steel rear wheels with Excelsior bias plys and Hoosier drag radials

Exterior‘The Hooker’ graphics untouched since the ’70s, radiused rear wheel openings, blue acrylic windows, tilt front end

Interior
Kirkey seats, Simpson harnesses, Mooneyes 12″ steering wheel

#IAMTHESPEEDHUNTER: The Big Theme

Generally speaking, I’m not a big fan of change and am usually the last person dragged, kicking and screaming, into line with new developments. Funnily enough though, the new Speedhunters layout was an easy switch for me. And the more time I spend on it, the more I realise we could never go back to the old blog format. Not only had we outgrown it, but we can now finally show off our photography in the way it should be viewed: BIG.

It was with that idea that we knew this was where #IAMTHESPEEDHUNTER needed to go. Earlier this month, we put out a request for your big images. The result was a response like we’ve never seen before on Speedhunters. Our inbox was literally bulging with submissions, even after the deadline. So much so, that I’m going to split the results into this post and another to follow in a couple of weeks time…

(Above) The featured image for this theme comes from Victor Bondar. The lighting, location, framing and subject all come together to create an image that leaves a lasting impression.

Images that previously may have been overlooked due to their tiny-ness, can now be appreciated properly. The contrast of the smooth paintwork versus the texture of the roadside foliage. Beautiful.

It honestly makes such a huge difference viewing each image in high resolution. There’s so much more detail to take notice of.

Julian took this on one of many drives near where he lives, captured on an Olympus 35mm camera. A perfect capture of the simple thrill of driving.

Another shot that needs to be seen big to get a proper feel for the whole image.

In fact, by going big, we can open the door for images that previously just didn’t work quite as well when viewed small.

The other interesting nuance is that by displaying images at a higher resolution, there’s no hiding behind small previews to disguise any shortcomings in the image. As a photographer, it also allows you to study the work of others closer to get a better appreciation of the circumstances surrounding each photograph.

Stunning flare, shadows and colour are impressive at the low resolution preview, but the photograph absolutely transforms when viewed in presentation mode.

I’m honestly at a loss for words with this change. I find myself just staring at all the little things…

… like the spray in this for example, and how it forms as the water is thrown behind the tyres. These are just things no one could appreciate before.

The slightly high point of view here allows the viewer to picture what lies ahead for this Jaguar. The time of day also lends itself to telling part of the story too.

Never be afraid of negative space; you don’t always need to fill the frame. That sky is majestic!

I love this, shot from the spectator area at the recent Singapore GP. There’s just so much life and soul to the image. The obstructions between the lens and car only add to this feeling.

Grif has been sending us some stunning images from Japan, and I’m looking forward to seeing what else comes from his direction. This Mercedes, framed naturally by the open garage door is a great shot of a moment in time. I can already imagine how this will look when viewed back upon in twenty or thirty years time.

We can wrap this up with the master of lines, Mr. Midgett. I’m always fascinated with how he incorporates these into his work and his ability to make a plain enough backdrop look so much more interesting.

I hope you’ve enjoyed this, the first high resolution #IAMTHESPEEDHUNTER post. I think you will agree with me when I say that this must now be the new standard…

Paddy McGrath

The leather-workers of Tolentino: A visit to Poltrona Frau

From Ferraris to the EU Parliament - many of the most exclusive places in the world offer leather seating by Poltrona Frau. But what is really behind the Italian name on some of the world's finest furniture? We were curious - and so we headed for Tolentino... in a Ferrari FF.

This is leather of particular sensuality, the sort that is only found in Italy

Sometimes, Italy can be like this: dark, leaden skies over the Adriatic Sea, pouring rain and endless construction sites. For a 660-horsepower Ferrari, these conditions are hardly ideal, but our reasons for driving one today are not to test its acceleration. Instead, we aim to revel in its interior – the leather in particular – and that can be quite happily achieved at relatively low speeds. Ah, the deep, cognac-coloured brown; the impression of natural warmth when you slide your fingers over the surfaces and seams; the strong, spicy scent. This is leather of particular sensuality, the sort that is only found in Italy. It comes from Poltrona Frau in Tolentino on the Adriatic coast, an hour south of Ancona – and all the world desires it.

From lounge chairs to helicopters

In 1912, a leather workshop was established in Turin by Sardinian-born Renzo Frau, a workshop that produced such gorgeous, classical items of furniture that 100 years later the same designs are still on sale. Under the name of Poltrona Frau – poltrona is the Italian word for armchair – numerous design icons were born. In the 1960s, the company began to commission renowned designers to bring fresh ideas on board: famous names such as Gio Ponti, Marco Zanuso and Ferdinand A. Porsche designed contemporary seating, starting a tradition that continues to this day. In the last few days alone, an aluminium chair created by VW designer Walter de Silva was unveiled.

But Poltrona Frau is no longer confined to the living rooms of the rich and famous, with ever-larger, ever-more daring projects. Since the 1990s, the leather design house and furniture-maker has been working with architects such as Renzo Piano, Santiago Calatrava and Herzog & de Meuron, with high-profile results. Hence visitors to the Frank Gehry-designed Walt Disney Concert Hall in Los Angeles now sit on Poltrona Frau seating, as do the members of the European Parliament in Strasbourg. By investing in material research and development, Poltrona Frau had made its leather finer and more durable than ever, until the company is now considered one of the best leather-processing manufacturers in the world. Meanwhile, planes, helicopters, yachts and luxury trains are equipped with beautiful, long-lasting leather from Tolentino. And, of course, there are the cars.

'Made in Italy'

In 1984, the Ferrari-engined Lancia Thema 8:32 acquired a sumptuous leather interior by Poltrona Frau, a feature which became a selling point for the luxury automobile. But this was just the start. In 1998, Poltrona Frau was asked to asked to upholster its first series production Ferrari, the elegant 456M, shortly followed by the 550 Maranello. When, in 2000, the prolific British company Connolly Leather ceased production, it opened up a whole new world of opportunity for the leather-workers of Tolentino: Lancia, Fiat, Maserati, Alfa Romeo, BMW, Mercedes, Jaguar, Land Rover and Bugatti – suddenly, all were being finished in leather by Poltrona Frau. VW today offers its Phaeton to the Chinese market with a ‘Made in Italy’ optional extra, which includes a matching armchair for each new customer. And Audi is about to release a limited edition of 50 examples of the A8 with exclusive Poltrona Frau leather.

What’s more, anyone who buys a current Ferrari will find themselves sitting on Poltrona Frau's luxury leather. The close cooperation between the two companies is no coincidence – as a child, Luca di Montezemolo played on a Chesterfield sofa ‘race car’ and in 2003 took over the Poltrona Frau Group, which incorporates other Italian design brands such as Cassina and Cappellini.

Bear in mind that processing leather is anything but simple: the Italian hides are tanned according to strict quality standards, and split, dyed and cut without losing any of the leather’s natural feel. Compared with leather chairs and sofas, which are processed in the same workshops, car leather needs to be significantly stronger and thicker. In Poltrona Frau’s own, in-house laboratory, the leather is also put through endless ‘stress tests’, ensuring that even after 200,000 movements and 300 hours of sunlight, the leather remains colourfast and wrinkle-free.

A question of individuality

The secret of the success of Poltrona Frau, however, lies in understanding the mystery of individuality: every Ferrari FF has the same technical specifications, the same silhouette – but its unique personality comes from the detail. Which leather, which tanning process, what colour, what thread will the customer choose? Even the stitch density of the seams can be specified in Poltrona Frau's individualisation department ‘Interiors in Motion’ – and, if you still fail to find something you like, you can (as one Japanese customer did) order a leather interior tailor-made to match your beloved crocodile-leather slippers. "In Italy, there are many companies that can be compared with Ferrari," said Luca di Montezemolo recently. "They might not appear in the headlines and in the news, but the talent of their employees, the level of their craftsmanship and their exclusivity is on a similar level. One such company is Poltrona Frau."

Photos: Jan Baedeker

You can find more information about Poltrona Frau and its products at www.poltronafrau.com. We also encourage interested readers to visit the new, beautifully designed  Poltrona Frau Museum in Tolentino and to enjoy the book 'Poltrona Frau: Intelligence in Our Hands', published by Rizzoli to celebrate Poltrona Frau's 100th anniversary. Meanwhile, the Ferrari FF and other models with Poltrona Frau leather can be found in the Classic Driver Market.

DRIVERS' CINEMA: GONE IN 60 SECONDS (1974)

by Andrew Schneider 

Gone in 60 Seconds (1974) was written, directed, and produced by H.B Halicki. This well-known flick follows a team of professional car thieves who double as insurance employees. They are commissioned by a South American drug lord to hijack a slew of automobiles. Their plan to acquire the cars is unique and well thought out as they grab the totaled cars from wreck yards and replace the parts from the totaled cars on the new cars. Impressively, the thieves are able to steal all but one of the 48 cars. The one missing link is none other than the infamous 1971 Eleanor Fastback. The film portrays the stealing of the cars but ultimately centers on the final chase that takes police through five different cities in Southern California. This film provides a nice showing of rare automobiles. The 1970 Dodge Challenger that appears in the opening sequence of the film is in my favorite color. The car is later involved in a somewhat of a chase. This chase in particular is entertaining, as the car is hitched to a tow truck that is running from police. Be prepared to close your eyes shortly after, because watching the car being crushed is something I could hardly bear. The most unique car in the film is the yellow Manta Mirage, and it produces the finest exhaust note as well. Additionally, getting to watch a 1968 Intermeccanica Italia GFX take off is pretty awesome.  Finally, last but not least is the 1971 Ford Mustang code-named "Eleanor". This car is really one of the only cars that is driven hard and fast in the film. This is one of the main differences between the original film and the remake released in 2000. The remake of the film features more of the stolen cars being driven instead of mainly focusing on the Eleanor’s wild chase. At times the plot is a little iffy and the exposition becomes a little too obvious, but what more could you ask from a B-level ’70s flick. I would recommend this film for the near 40-minute chase scene that finishes the movie. It’s captivating and the stunts will leave you on the edge of your seat. True car enthusiasts will find some very enjoyable moments in the film, so if you haven’t seen this classic tune in and buckle up for a wild ride. Click here to pick up the DVD from Amazon.