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#amd that's where the real challenge lies
mayasaura · 2 years
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I see a lot of meta talking about how the John Verses are John telling the story of the leadup to the apocalypse with the most sympathetic biased self-justifying gloss to make it sound like nothing was his fault, and I guess that's why so many readings go for a hardline worst-faith interpretation of them, but.... I don't really see it.
When he tells about how he murdered everyone who had a gun, he could have played up the self-defense angle. He could have claimed he was scared, and he did it to protect everyone. He could have emphasized that he was killing cops, instead of emphasizing the civilians. He could have stuck with the story he told at the time, that he freaked out and made a mistake and hadn't meant to kill them all. He doesn't. He admits to mass murder, and he admits to having done it because he was angry. And he admits to still not regretting it one bit.
The story John tells just doesn't paint him in the best possible light. He does include all of the justifications he used at the time, he does explain why on earth any of this ever seemed like a good idea to anyone, and he does want to be understood, but he doesn't really try to sell it as having been right.
I really don't see the verse chapters as being John's justification. They're his confession. That's why they feel so good to condemn.
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everhat78 · 3 years
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Manufacturer :Apple IncLanguage :Multi-languagesMac Platform :IntelOS Version :macOS X 10.8.5CPU Type:86-Bit & 64-bitSize : 4.2 GB
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Tutorials: How to Clean Install Mac OS using a USB drive on Mac
License Official Installer
File Size 5.0GB / 4.85GB
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Language English
Developer Apple Inc.
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About Macintosh OS Server 1.0
Macintosh OS Server 1.0- 1.2v3 based on Rhapsody which is half and half of OPENSTEP from NeXT Computer and Mac OS 8.5.1. The GUI looks like the blend of MAC OS 8’s Platinum appearance with OPENSTEP’s NeXT based interface. This Blue box is for running inheritance MAC OS based applications which have a different window. There was a discussion of the ‘straightforward blue box’. MAC OS X Server 1.0- 1.2v3 are Incorporated with the following:
Apple File Service.
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F. From one Apple device copy the content including text, image, photos, and videos, and paste the same to another device.
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Apple security archives the vulnerability by CVE- IR when it is conceivable.
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MacOS 10.13 is renowned as the High Sierra operating system whose main focus on the continuity, iCloud, and operating system experience. The operating system X extension will be removed from Apple. Apple converts it to Mac OS. It is because of the nominal similarity to iOS, tvOS, and watchOS. Siri has been merged with the opening system and users must use it in their Macs. The ability to display image to image is another new feature of Mac OS Sierra. Besides these multi Windows capabilities Which look the same the iPad Pro and Mac computers.
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There were many security issues that arose with High Sierra that was a cause of concern. Users who expected this new version to be more focused on gaming and other entertainment features were disappointed as they did not get what they were looking forward to. In spite of these slight setbacks, mac OS High Sierra was an excellent attempt that helped lay the groundwork for the future of Apple’s products.
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During this period new macOS were also introduced but people didn’t stop selecting High Sierra as it was the best software macOS ever had. macOS High Sierra was a tremendous hit even after macOS Catalina was launched during the days. In 2020, macOS High Sierra is available on both Mac computers and Windows computers. Both the segment users can get the benefit of using the same software. After macOS High Sierra macOS Mojave was introduced but it wasn’t as popular as High Sierra.
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Emotional Hell prompts
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Anon: Okay (sorry if it’s disappointingly crap lol), but the first bit was where the four of them all end up getting into a major argument over something and it gets all angry and tense and ppl lose their tempers and go off on each other and say some nasty things they probably don’t mean, and they all fall out (or people take sides and fall out so it’s two against two, or the ever-dramatic three against one). Then someone ends up storming out. (This sounded more interesting in my brain I swear lol)(Second Message)Oh and the second thing was that one of them gets really badly injured (possibly the person who stormed out?) while they’re all still mad at each other over whatever was said. One of the other three find out and worry takes over the anger and they all end up rushing to the hospital(/Deaton probably, but I have a fluffy thing for if it’s in the hospital). The three of them are sitting in an awkward silence on the way there bc they’re anxious but also aware of what was said before.(Third Message)And if it were in a hospital, the fluffy thing is basically that they’re all sitting in the waiting room and one of the doctors or nurses comes over and asks if ?? has any family members waiting and the three of them stand up at the same time and share a brief look before following the nurse/doctor and then in the end they all make up. // p.s I’m so sorry about my bad ideas and even worse description skills, please don’t feel like you have to write any of this to humour me or anything lol! x
@jazzijanal: Ooh. If you could do something based off of Stand By You by Rachel Patten with reader x pack×everyone like issac, derek, please! If you cant its fine. I just listened to it and realized I needed it.
Anon: “I’ve loved you since the moment I laid eyes on you” w/ roommates (the tall ass jiraffe ☺️)
Anon: Roommates: “I was in love with you yesterday, I’m in love with you today and I’m going to be in love with you tomorrow.” But to not make seem weird, you can make it: “I loved you yesterday, I love you today and I will love you tomorrow. Always amd forever, Isaac.” ❤️ I just can’t with these two 💕
Anon:“Are you seriously threatning my best friend?” W/ Roommates Anon: I know that this isn’t in the prompt list but I wanted to ask you for a Roommates drabble/imagine with this prompt “I will love you forever and always. No matter what we go through, I’ll be there through every step of the way. Is it going to get crazy? Hell yeah! But I’m willing to risk everything to be with you. You’ll never be alone cause you’ll have me by your side, I promise you that. So are you willing to have some adventures with me? If you are, take my hand and let’s to it together.” ❤️
Anon: Roommates where Y/N has a stalker (Allison/Matt situation) and the boys help her figure out who the person is and they find out that the person is an evil supernatural creature and they manage to take him down after they fight him?
Anon: Roommates request: Theo goes after y/n to try and take her power because she’s in route to becoming a true alpha and Derek, Isaac and Peter go resscue her maybee???
Anon: Can you make a roommate chapter where Theo kidnaps the reader so he can steal her power because she’s in route to becoming a True Alpha and Derek, Peter, Isaac and Scott’s pack rescue her and she talks about what happened with Scott- -and Scott says that she has to wait a little while to become one but it’s true and the 3 stooges say that they’re proud of her with some fluff if you want. I’m halfway through them and I love them ❤ thank you for making me smile always 😘
Anon: Can you write a roommie drabble, where y/n and Isaac go on a mission to take down a powerful werewolf and Derek and Peter don’t know about it and really intense stuff happens and Isaac is ALMOST killed by the werewolf but she saves him (Second message) I was reading the ficlet list and I was wondering if you could write it with these: 2,7,14,20,24,29,31,33,43,44 and 47… Are you up for a challenge? 😈 Ps: Peter and Derek never find out about what happened😼 (Third message) The list is the one that you reblogged from everybirdfellsilent that says “send me a number and I’ll write a ficlet”. I can’t send the link on my computer idk why but you can find it in you masterlist 😊 Ooh girl then you better make it good 🔥😉❤😈 “Have you lost your damn mind!?” “I almost lost you.” “Hey, I’m with you, okay? Always.” “You need to wake up because I can’t do this without you.” “You’re the only one I trust to do this.” “I thought you were dead.” “You lied to me.” “Please don’t do this.” “YOU DID WHAT?!” “If you die, I’m gonna kill you.” “No one needs to know.”
Anon: Isaac lost his memory fighting a werewolf(not by claws) and the reader gets emotional and stuff and peter and derek do everything they can to bring him back (but not easily). Could you make it last like 2 chapters? (Isaac with no memory) 🙏😀😈🔥❤👍
Anon: Could you make an imagine where Isaac and Y/N are fighting for something really stupid (like literally thrwing their claws at each other) and when Derek and Peter intevene Derek pushes the reader away from Isacc but in the process she falls to the floor for Derek’s shove and hits her head in the floor and gets knocked out. And in her unconciousness she is imagining what it would be like if Issac and her were acually related and lived with Peter and Derek their whole lives
Anon: Okay, so we already know what Isaac would do for Y/N ifnsomething happened to them, but i was wondering if you could do an imagine where the reader gets into real serious danger because of a baddie in BH amd Peter, Derek, Isaac and Scott’s pack have to do everything they can to keep the reader safe and get rid of the bad with roommate fluff. This was inspired by the imagine with theo and everything. I would love to read that if you could make it. Love your blog btw :)
Anon: Can you make an imagine on what happens during the full moon like where does Derek take Isaac and Y/N for protection, and the whole tranformation process where Y/N uses Isaac as her anchor and how Isaac finds out
Anon: “Look. I have to say something. I know that we always fight and we annoy the hell out of each other, but that’s what families do. And while I do admit that sometimes I wonder how the hell I got dragged into all of this, I wouldn’t change it for the world. I love you all, even if I don’t show it. I know that sometimes I’m hard on you, but I do it because I’m afraid to lose you. So now you know… But I just wanted to tell you guys that. Roommates (Derek)
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24
This is a long post because it's my birthday and I needed to reflect on the past year so here. Please don't read because it's long and vague and you prolly won't care anyway. Don't complain if you read it anyway. (Sidenote: Where is the 'Hide Content' button located in the mobile version anyway?)
23 is a weird year to be in when your contemporaries seem to already have an idea of what they're supposed to do in life, while I'm here studying in my little corner of the universe. But really, what am I studying for? Actually, what have I been doing with my life so far?
This year, I have been truly blessed with all my friends and family who keep supporting me in my chosen endeavors, even if I myself am not sure of what I am doing. And I truly thank them all for the love and comfort, and the occasionally harsh wake up calls. So really, the difficulty of this year lies within me amd my never-ending existential dread.
I feel like as I approach the age equivalent to the last hour in a day, it seems like it signifies my inevitable entry to the adult world. The realization of this eventuality has given me more panic attacks than I would like to admit, basically because I feel that I will never be prepared to face whatever "adulting" involved. In my mind, all I knew in my entire life was to keep working hard in studying and keep being nice all the time. 23 was the year that told me I can fail both miserably and repeatedly, and that sometimes, effort is futile. So now, if I keep failing "simple" things like studying, how am I supposed to handle more seemimgly complex things in the fantastic world of adults?
This year of age, I would like to keep comforting myself with a universal fact - that I know myself than others. By that, I mean I am more acutely aware of all my anxieties, fears, obsessions, and compulsions than what I know about other people's struggles.
Therefore, it is an unfair comparison to declare that I might never be able to cope up in life unlike my contemporaries. I never knew the immensity of their struggles, but I'll always be aware of mine. And that probably, worrying about the future intensely was never a curse dedicated to myself, because others may have also struggled before me. The difference is that they still persevered despite those fears, and I have yet to conquer mine.
As for my streak of failure, I really feel like it's nothing but strategies I employed incorrectly due to overwhelming anxieties, resulting to a self-fulfilling prophecy of failing again. I have to learn to forgive myself for putting too much pressure, mostly because I thought that was the best thing I could do to keep going. For the past few months, my mood has been floating in a limbo of laziness and emptiness, bordering on apathy and hopelessness. And as the new year approached came the dread creeping at my back. I have to change this outlook.
I have to learn to keep trying, and to keep trying in a better way, and not just mindlessly pounding on something. Because this is the only thing I can do right now. Because I shouldn't set myself up to failure just so to say 'ha I told you you can't do it!' Because I should be kind to myself, of all people in the world. Because the outside world will still be there after I do this. And that I should trust the process. By doing things earnestly, I have to hope that one day, I'll be prepared to tackle more complicated things, and finally be of help to other people.
Finally, as for the 'why,' I do know my reasons. I really do. Sometimes though, it feels fake to me. My frustrations over failing has made me question the credibility of my reasons. Are they enough to sustain me? I would have to say no. I feel like the real pre-requisite here is that I should believe in my capacity to be in med school and in life, and do things expected in my profession and as a productive individual. It was not by sheer luck that I got this far. Your why's should remind you of how much you want to be here, but to 'be here,' you have to remind yourself how you got in here in the first place. Never doubt yourself. And your why's. They're as real as you.
Wow I have said a lot in this essay, but what I would like to say is that 23 challenged my own being and my image of myself. I promise to do better as I am now 24. I will believe in myself better. That's pretty much it.
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showbizchicago · 7 years
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Porchlight Music Theatre and Artistic Director Michael Weber are proud to announce the first mainstage production it its 2017 – 2018 season Billy Elliot the Musical, music by Elton John and book and lyrics by Lee Hall, with direction and choreography by Porchlight Artistic Associate Brenda Didier, with Associate Choreographer Craig V. Miller and music direction by Porchlight Artistic Associate Linda Madonia at Porchlight’s new home, the Ruth Page Center for the Arts, 1016 N. Dearborn Street. Previews are Friday, Oct. 6 and Oct. 13 at 8 p.m., Saturday, Oct. 7 and Oct. 14 at 8 p.m., Sunday, Oct. 8 at 2 p.m., Monday, Oct. 9 at 7:30 p.m., Thursday, Oct. 12 at 7:30 p.m. The regular run performance schedule is Thursdays at 7:30 p.m., Fridays at 8 p.m., Saturdays at 4 p.m. and 8 p.m. and Sundays at 6 p.m.(October 22, October 29 and November 5) and at 2 p.m. (November 12 and 19) with an open captioned performance, Saturday, Oct. 28 at 4 p.m. and a weekday matinee Thursday, Nov. 16 at 1:30 p.m. Please note: there is no 7:30 p.m. performance Thursday, Nov. 16. Tickets are $33 – $60 and available at PorchlightMusicTheatre.org or by calling the Porchlight Music Theatre  box office, 773.777.9884.
Billy Elliot the Musical is based on the 2000 film “Billy Elliot” and features music by Elton John with book and lyrics by the film’s screenplay writer Lee Hall. Winner of both the Tony Award and Olivier Award for Best Musical, Billy Elliot the Musical is an inspirational story set in an English mining town during the miners’ strike of 1984-85. Billy Elliot takes a journey from the boxing ring to a ballet class to make his dreams come true while challenging the long held beliefs of his hometown. Along the way, he discovers a passion for dance that unites his family, inspires his community and changes his life forever.
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The cast of Billy Elliot the Musical will be the largest in Porchlight’s history and includes Jacob Kaiser and Lincoln Seymour sharing the title role of “Billy Elliot;” Shanésia Davis, “Mrs. Wilkinson;” Sean Fortunato, “Dad;” Iris Lieberman*, “Grandma;” Adam Fane, “Tony Elliot;” Peyton Owen, “Michael Caffrey;” Nicole Cready, “Mum;” ”Princess Isis Z. Lang, “Debbie Wilkinson;” with Jordan DeBose, “George/Ensemble;” Gabriel Robert, “Small Boy;” John Gurdian, “Big Davey/Ensemble;” Michelle McKenzie-Voigt, “Lesley/Ensemble;” Jeff Bouthiette, “Scab/Posh Dad/Ensemble;” Tommy Novak, “Mr. Braithwaite/Ensemble;” Ivan Bruns-Trukhin,“Older Billy/Ensemble;” Bernell Lassai III, “Pit Supervisor/Ensemble;” Logan Baffico, “Posh Boy;” Alejandro Medina, “Tall Boy;” Jessica Vann, “Clipboard Woman/Ensemble;” Graham Hawley, “Accordion Player/Grandma Dancer/Ensemble;” Jacob Voigt, “Ensemble;” Roy Brown, “Ensemble;” Jenny McPherson, “Ensemble/Grandma Dancer;” Kayla Boye, “Ensemble;” and Darby Leetch, “Alison Summers;” Moriah Mitchell, “Keeley Gibson; Paula Hlava, “Angela Robson;” Anna L. Bramlett, “Julie Hope;” McKenna Rogers, “Karen Davidson;” Emerson Tait, “Sharon Percy;” Katelyn Montgomery, “Margaret Gormley;” Kendall Sorkin, “Tina Harmer;” Ayla Gray, “Tracy Atkinson” and Bernadette Olivia Schwegel, “Susan Parks.”
Additional members of the creative/production team of Billy Elliot the Musical include Porchlight Artistic Associate Bill Morey, costume designer; Denise Karczewski, lighting designer; Christopher Rhoton, scenic designer, Robert Hornbostel, sound designer; Mealah Heidenreich, props designer; Adrian Abel Azevedo, assistant director; Kayla Boye, assistant choreographer/dance captain; Sara Haverty, assistant to the choreographers/associate child supervisor; Sammi Grant, dialect coach; Jaq Seifert, fight choreography; Sean McStravick, stage manager; Corey Boughton, assistant stage manager; Matt Nadler, assistant stage manager; Shannon Desmond, assistant stage manager; Joaquin Gomez, child supervisor/ASM swing and Samantha Treible, wardrobe supervisor.
Musical Director Madonia conducts and is the pianist with musicans Justin Kono, drums/percussion; Cara Hartz, reeds; Sarah Younker, french horn; Greg Strauss, trumpet; Justin LaForte, guitar and Dan Kristan, electric bass.
*Denotes member of Actors’ Equity Association
ABOUT BRENDA DIDIER, DIRECTOR/CHOREOGRAPHER
Brenda Didier, a Porchlight Music Theatre artistic associate, returns to Porchlight where she last directed and choreograhed In The Heights and the award-winning Dreamgirls. Didier is a multiple Jeff Award recipient in both direction and choreography, and the recipient of After Dark Awards, BroadwayWorld awards and the National Youth Theatre award. She is the proud owner and artistic director of the Lincolnshire Academy of Dance, celebrating its 20th season. Other credits include work at the Goodman, Chicago Shakespeare, Second City, Theatre at the Center, BoHo, Mercury Theatre Chicago, Theo Ubique Cabaret Theatre, Stage Left, Six Flags Great America, Busch Gardens Virginia, Cirque Shanghai at Navy Pier, T-Mobile’s national commercial “Home for the Holidays,” The Kenny Rogers Christmas Tour and the University of Illinois, University of Wisconsin and Carthage College.
ABOUT CRAIG V. MILLER, ASSOCIATE CHOREOGRAPHER Craig V. Miller returns to Porchlight Music Theatre where he choreographed the Porchlight Revisits production Little Me and was the assistant choreographer for the Jeff Award-winning Ain’t Misbehavin’. As a guest artist, he has performed with the Civic Ballet of Chicago’s production of The Nutcracker, Esoteric Dance Project, Dance in the Parks, and Chicago Dance Crash. Additional choreography credits include: The Color Purple at Mercury Theater Chicago where he was the associate choreographer and won the Broadway World Award-Best Choreography in a Musical and Carl Neilsen’s Maskarade (Vox3 Collective, choreographer). His work has also been presented at Dance Chicago, Dance Chance and Chicago Freelance Dance.
ABOUT LINDA MADONIA, MUSIC DIRECTOR/CONDUCTOR/PIANIST
Linda Madonia is a Porchlight Music Theatre artistic associate and has previously worked with Porchlight on Porchlight Revisits Little Me, A Funny Thing Happened on the Way to the Forum and Double Trouble. As a music director and conductor in the Chicago area for more than 30 years, Linda Madonia’s recent credits include Mary Poppins and I Left My Heart: A Salute to the Music of Tony Bennett at The Mercury Theatre. Other credits include Grand Hotel and Nunsensations at Drury Lane Water Tower Place, and A Chorus Line, She Loves Me and Me and My Girl at Theatre at the Center and The Man Who Murdered Sherlock Holmes at Mercury Theatre Chicago. For the past nine years, Linda has been the music director for Chicago’s Equity Joseph Jefferson Awards. Madonia also owns American Eagle Productions, a touring theater company that takes shows and workshops directly into schools. American Eagle has been doing shows for twenty-four years and presents 250 shows a year to Chicago area schools.
ABOUT SHANÉSIA DAVIS, “MRS. WILKINSON”
Shanésia Davis makes her Porchlight Music Theatre debut with this production. Recent credits include Baltimore Center Stage: Jazz and Intimate Apparel, Mark Taper Forum/ Goodman Theatre: Immediate Family (NAACP award nomination) and Congo Square’s What I Learned in Paris, Brothers of the Dust. Other credits include South Coast Rep’s Intimate Apparel; The Gift/Steppenwolf’s Richard III; Court Theatre/American Blues Theater’s Native Son; Steppenwolf’s Our Lady of 121st St, One Arm, and The Glass Menagerie; The Goodman’s Watermelon Rinds (Jeff nomination), Black Starline, Spunk, The Visit, Drowning Crow (Jeff/BTAA nominations). Davis’ Film and TV credits include Early Edition, Cleveland Abduction, Empire, Chicago Fire, Crisis, Detroit 187, Chicago Hope, Missing Persons, Making a Case for Murder: The Howard Beach Story, Internal Rivals, Consumed, Damaged Goods, The Weatherman, Uncle Nino and Life Sentence.
ABOUT SEAN FORTUNATO, “DAD”
Sean Fortunato makes his Porchlight Music Theatre debut with this production. His recent credits include Cabaret at Theatre at the Center and Death of a Streetcar Named Virginia Woolf: A Parody at Writers Theatre. Other credits includeThe Diary of Anne Frank, Hedda Gabler, The Real Thing, Rosencrantz and Guildenstern are Dead, Travels with My Aunt, The Chosen, Incident at Vichy, A Phoenix Too Frequent, Richard II, Rough Crossing, Spite for Spite (Writers Theatre), 2666, Measure for Measure (Goodman Theatre), Spamalot, The Producers (Theatre at the Center), Pericles, Cyrano De Bergerac, School for Lies, Sunday in the Park with George and Timon of Athens (Chicago Shakespeare Theater), “Rene Gallimard” in M. Butterfly (Court Theatre), “Detective Cioffi” in Curtains (Drury Lane Theatre) and work at Northlight Theatre, TimeLine Theatre Company, Remy Bumppo Theatre Company, About Face Theatre, Marriott Theatre, Next Theatre and First Folio Theatre. Regional credits include Intiman Theatre (WA), The Old Globe (CA), The Duke on 42nd (NY) and twelve seasons with Peninsula Players (WI), where he played “George” in Sunday in the Park with George. His film amd TV credits include The Merry Gentleman directed by Michael Keaton and Chicago PD. Fortunato has received four Joseph Jefferson Award nominations and an After Dark Award.
ABOUT PORCHLIGHT MUSIC THEATRE
Porchlight Music Theatre, now in its 23rd season, is nationally recognized for developing innovative new works, reimagining classic productions and showcasing musical theatre’s noted veterans and rising stars. Porchlight elevates the genre in Chicago by providing intimate and powerful theatrical experiences for its growing and diverse audiences. With the vision of Artistic Director Michael Weber, Porchlight builds on its role as Chicago’s only Equity not-for-profit company exclusively specializing in music theatre. Porchlight’s rich history includes the staging of more than 60 productions with 15 Chicago premieres and five world premieres. Through Porchlight’s “Off the Porch” new works program, the musicals of the next generation are developed and given a first audience. The School at Porchlight is Chicago’s center for music theatre training in the areas of performance, writing and appreciation including the launch of a youth Summer Camp in 2017. The company’s many accolades include 17 Black Theatre Alliance nominations and three awards, as well as a total of 126 Joseph Jefferson Award nominations resulting in 39 Jeff Awards including four consecutive Best Production awards for Dreamgirls (2016), Sondheim on Sondheim (2015), Ain’t Misbehavin’ (2014) and A Class Act (2013).
Porchlight Music Theatre and Artistic Director Michael Weber are proud to announce the first mainstage production it its 2017 – 2018 season Billy Elliot the Musical, music by Elton John and book and lyrics by Lee Hall, with direction and choreography by Porchilght Artistic Associate Brenda Didier, with Associate Choreographer Craig V. Miller and music direction by Porchlight Artistic Associate Linda Madonia at Porchlght’s new home, the Ruth Page Center for the Arts, 1016 N. Dearborn Street. Previews are Friday, Oct. 6 and Oct. 13 at 8 p.m., Saturday, Oct. 7 and Oct. 14 at 8 p.m., Sunday, Oct. 8 at 2 p.m.,Monday, Oct. 9 at 7:30 p.m., Thursday, Oct. 12 at 7:30 p.m. Opening night is Sunday, Oct. 15 at 6 p.m. The regular run performance schedule is Thursdays at 7:30 p.m., Fridays at 8 p.m., Saturdays at 4 p.m. and 8 p.m. and Sundays at 6 p.m. (October 22, October 29 and November 5) and at 2 p.m. (November 12 and 19) with an open captioned performance, Saturday, Oct. 28 at 4 p.m. and a weekday matinee Thursday, Nov. 16 at 1:30 p.m. Please note: there is no 7:30 p.m. performance Thursday, Nov. 16. Tickets are $33 – $60 and available at PorchlightMusicTheatre.org or by calling the Porchlight Music Theatre  box office, 773.777.9884.
Porchlight Music Theatre is partially supported by generous contributions from the Actors’ Equity Foundation,  the Bloomberg Philanthropies, Chapman | Spingola, Attorneys at Law, the Elizabeth F. Cheney Foundation, Cooper’s: A Neighborhood Eatery, the Gaylord & Dorothy Donnelley Foundation, James P. and Brenda S. Grusecki Family Foundation, the MacArthur Fund for Arts & Culture at the Prince Foundation, The Saints, the Service Club of Chicago, and the Topfer Family Foundation. The season program is partially supported by a grant from the Illinois Arts Council Agency, a state agency and by a CityArts Grant from the City of Chicago Department of Cultural Affairs & Special Events.
Porchlight Announces Casting for Brenda Didier Helmed BILLY ELLIOT Porchlight Music Theatre and Artistic Director Michael Weber are proud to announce the first mainstage production it its 2017 – 2018 season 
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itsworn · 7 years
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How To Replace The Rear Crossmember On A Mopar B-Body
If there is one thing that’s a constant when it comes to muscle car restoration projects, it’s that each one will require a unique approach. There might be common processes. There will certainly be foundational skills that are needed, core principles that must be followed, but there is very little that’s routine.
Each one must be approached as its own challenge with an eye toward the specific goals set for that particular project. Each one must be completely thought through before the work starts so that one doesn’t “paint themselves into a corner” that they can’t get out of.
This particular ’70 Road Runner is a great example of this. The guys at Muscle Car Restorations seldom work on a car that doesn’t need both quarter panels replaced and this one is no exception. Normally, the quarters would be among the first things to be cut off to make it easier to get at the more internal pieces that might need repair or replacement. In this case, the trunk floor, its outer quarter extensions, and the rear crossmember under the tail panel will all be replaced with AMD parts.
What makes this project unique is that the tail panel has some minor physical damage. It doesn’t need to be replaced, but it’s much easier to do this type of repair on the bench. Removing it also facilitates replacing the crossmember underneath it and replacing the trunk floor which, as you’ll see, ties all three of these pieces together. As usual, not much happens in isolation with these cars.
You’ll also see that the reason MCR choose to leave the quarters in place during this part of the repair is that they provide an absolute reference to get the tail panel back to its exact original location. Rushing to “get them out of the way” could have compromised the project. This way, the properly relocated tail panel can return the favor to the quarters and provide an absolute reference for them.
Normally, Muscle Car Restorations (MCR) would leave the tail panel in place and use it as a reference for replacing the quarters, but in this case, it needed to come out to repair some non-rust damage and to make it easier to access the rear crossmember underneath it. A 3/8-inch Rotabroach cutter is the standard for releasing spot welds.
Since the top part of the quarter along with the trunk gutter will be saved on this side, only the top most spot welds were drilled. Making a slice near the rear edge of the quarter will separate the tail panel from it but also leave an exact reference point to reattach it when the repair work is complete.
Once the tail panel is free, much of the trunk floor and the crossmember can be cut out of the way.
The guys at MCR really like their 3M belt file for quickly busting through spot welds without damaging the part underneath.
It’s no real surprise that the end of this frame rail suffered some rust damage as well. This part will be removed and used as a pattern to make a new piece.
Even when the seam will likely never be seen again, MCR still uses their tack welding procedure to produce a full strength structural, seamless, weld.
The only real variable when lining up the new crossmember is right and left alignment, which is easily done by restoring frame-rail-to end-of-crossmember measurements.
MCR prefers to use their ProSpot spot welder to reproduce the factory welds but an inexpensive spot welder from Harbor Freight would do the job just fine here. Of course plug welds are an acceptable alternative.
Crossmember reinforcing plates (where the bumpers are bolted) can be either spot or plug welded to the crossmember and the frame rail. Locate these by referencing the originals before you cut them off. Note the crossmember extension on the right: MCR test fits it now but won’t weld it until the quarter and the trunk floor extensions are in place.
Part of the tail panel damage consists these rivets that were used to hold trunk floor patches during an earlier resto. They will be removed and the holes welded shut.
Removing what’s left of the trunk floor at the tail panel seam is another great job for the 3M belt file.
Often repairing minor dents is best done using various shot bags and the like. Doing this type of work on the car is very difficult if not impossible. The time and effort it takes to remove the panel is usually more than made up for by the time saved and the quality of the repair achieved while on the bench.
Here it’s plain to see how the trunk-side edge of the quarter can be used to put the tail panel back to its exact original location.
This is the reason the quarters were left in place for this procedure: The cuts used to remove the tail panel provide a perfect reference to put it back again. Once the tail panel is fully secured, it will be used as a reference to locate the new quarters when it’s their turn.
Here you can see the relationship between the tail panel and the crossmember. The trunk floor lies on top of the crossmember and butts up against the tail panel.
With the trunk floor in place on the crossmember, the relationship between those two and the tail panel is clear. The tail panel is not yet welded in place.
The post How To Replace The Rear Crossmember On A Mopar B-Body appeared first on Hot Rod Network.
from Hot Rod Network http://www.hotrod.com/articles/replace-rear-crossmember-mopar-b-body/ via IFTTT
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