Posts Tagged by matt anderson
While others might welcome the start of summer with the Memorial Day weekend, those of us in the Motor City know that the season begins when racing returns at the Chevrolet Detroit Belle Isle Grand Prix. The early-June event just completed a successful third year since its 2012 revival, and the drivers, venue and city all shined. Several races took place over the three days, giving fans a chance to see IndyCars, sports cars, and even Baja-style trucks compete on the 2.36-mile, 13-turn Belle Isle circuit.
The Cadillac V-Series Challenge, a part of the Pirelli World Challenge Series, pitted production-based cars against each other in two races. Fans saw some of Detroit’s best compete with foreign marques. The Grand Touring Sport class featured Camaros and Mustangs against Nissans, Kias, and Aston Martins. The Grand Touring class put Cadillacs against legendary names like Audi, Ferrari, Lambroghini, McLaren and Porsche. The “home” cars did well this year. Dean Martin won the GTS events in a Ford Mustang Boss 302S, while Johnny O’Connell took the GT events in a Cadillac CTS-V.R. Continue Reading
race cars, events, 21st century, 2010s, racing, Michigan, Detroit, by Matt Anderson
Earlier this month, I had the honor of serving as a guest judge at the 2014 Keels and Wheels Concours d’Elegance in Seabrook, Texas. As the name suggests, the event features vintage watercraft alongside automobiles. It’s a rare combination on the concours circuit, but one that works well in this balmy resort community on Galveston Bay. More than 160 cars and 60 boats registered for this year’s show, and the sunny skies ensured big crowds at the two-day event.
Auburn, Cord, and Duesenberg were the featured marques for 2014, and fine examples from each were present. The celebrated Cord L-29 and Duesenberg Model J were both represented, but I was most taken by a 1929 Auburn 120 Cabriolet. It characterized Auburn’s glory years, when owner Errett Loban Cord brought the company to prominence by offering technically sophisticated cars at – for Auburn at least – comparatively modest prices.
Keels and Wheels always includes a nice selection of foreign makes. This year was no exception, with Ferraris, Porsches, Aston Martins and Jaguars all in attendance. Nothing was quite so exotic, however, as the show’s 1971 Alfa Romeo Montreal. The futuristic coupe debuted as a concept car at Expo 67 in its namesake Canadian city. So great was the crowd reaction that the Italian automaker put the car into production. Some 3,900 units were built between 1970 and 1977.
The Mustang’s big five-oh was commemorated with no fewer than six ponies. The one that turned the most heads was a 1968 fastback repainted, reupholstered, and fitted with a 390 cubic inch engine, all in tribute to Steve McQueen’s iconic ride in Bullitt.
If the Mustang is a car that reminds us of movies (Goldfinger, Bullitt, and Gone in 60 Seconds for starters), then the DeLorean DMC-12 is a car that’s remembered primarily because of a movie. John DeLorean’s stainless steel sports car may have lacked horsepower, but its pop culture staying power is certain. Just ask the five year-old boy I overheard saying, “Look dad, it’s McFly’s car!”
Wheels, of course, are only half the story at this concours. The Lakewood Yacht Club’s inner harbor was awash with classic watercraft, from sporty wooden runabouts to luxurious yachts. My favorite was a 1958 Chris-Craft 17-foot Custom Sportsman named Woody II Shoes. The boat was beautiful, but my choice was purely sentimental – Woody II Shoes was built at the Chris-Craft plant in my hometown of Cadillac, Michigan.
The most unique vessel at Keels and Wheels was La Petite Belle, a one-half scale replica of a ship used by René-Robert Cavelier, Sieur de La Salle (1643-1687). The French explorer built the first sailing vessel on the Great Lakes, explored the Ohio and Mississippi Rivers, and met an untimely death by his own crew during an expedition to the Gulf of Mexico. Gearheads (and All in the Family fans) will recognize La Salle as the namesake of General Motors’ similarly ill-fated companion car to Cadillac.
Classic cars, wooden boats and beautiful weather. It’s a formula that’s made Keels and Wheels a success for almost 20 years. And really, what more could you ask?
Matt Anderson is Curator of Transportation at The Henry Ford.
Texas, 21st century, 2010s, cars, car shows, by Matt Anderson
The Henry Ford’s 1965 Mustang Serial #1 and 1962 Mustang I concept car were honored guests at a pair of simultaneous events honoring the pony car’s golden anniversary in Charlotte, North Carolina, and Las Vegas, Nevada. The four-day celebrations, hosted by the Mustang Club of America with close cooperation from Ford Motor Company, brought together cars, owners and fans from around the world to commemorate one of the most influential and enduring automobiles.
The Charlotte event, held at Charlotte Motor Speedway, opened in grand fashion on April 17. Fifty years to the day after Henry Ford II introduced the Mustang at the 1964 New York World’s Fair, current Ford Motor Company Executive Chairman Bill Ford unveiled the 50th Anniversary Edition 2015 Ford Mustang. Limited to 1,964 units, the 50th Anniversary car comes fully loaded but available in just two colors: Kona Blue and Wimbledon White – the latter something of a nod to Serial #1’s paint.
Other distinguished guests in Charlotte included Ford Board Member Edsel Ford II, Ford Chief Operating Officer Mark Fields, the 1965 Mustang Design Chief Gale Halderman, and current Mustang Chief Engineer Dave Pericak. Retired Chicago-area school teacher Gail Wise enjoyed a unique fame at the event. On April 15, 1964, she purchased a Skylight Blue Mustang convertible – making her the first Mustang buyer in the United States. She still owns the car today, which also makes her the senior-most original owner. Gail and her convertible posed for countless photos with Mustang fans over the four-day party.
I had the privilege of joining Serial #1 in Charlotte. As I spoke with visitors, nearly every one of them was familiar with the car’s story. In fact, many had seen Serial #1 before, either at The Henry Ford or at a previous show. My favorite reaction was from members of the Montreal Mustang Club. Upon seeing Serial #1 with its Newfoundland license plates, they immediately shouted “Captain Tucker! Captain Tucker!” – referring to their fellow Canadian, the airline pilot who inadvertently purchased the car in April 1964.
The sister celebration at Las Vegas Motor Speedway was even more international in tone. While Ford has never directly sold the Mustang overseas (until the 2015 model, that is), this hasn’t stopped the car from winning fans abroad. Our Mustang I concept car brought smiles to the faces of Mustang club members from Sweden, France, Switzerland and Brazil, among other nations. Special guests in Las Vegas included Ford Sales Zone Manager Henry Ford III, Ford COO Mark Fields (yes, the busy Fields visited both celebrations), and former Ford Special Projects Assistant Hal Sperlich. Along with Ford Vice-President Lee Iacocca and Ford Product Manager Don Frey, Sperlich is one of the key people who brought the Mustang into being 50 years ago. He was given a hero’s welcome by the fans gathered in Nevada.
Mustang owners and enthusiasts at both events enjoyed various activities. Souvenir stands sold Mustang merchandise of all descriptions. Vendors and swap meet participants sold parts for Mustangs from every vintage. Mustang historians gave presentations on the car’s debut and evolution. Owners with performance cars took laps around the tracks. And then there were the cars themselves – thousands of Mustangs filled and surrounded the venues in Charlotte and Las Vegas.
By the time each event wrapped up on April 20, new friendships were formed, the latest version of the pony car was revealed to the world, and a passion for the Mustang had been ignited in the young visitors who will take the car into its next generations. I’ll bet a few of them are already dreaming about 2064!
Matt Anderson is Curator of Transportation at The Henry Ford
North Carolina, 21st century, 2010s, 20th century, 1960s, Mustangs, Ford Motor Company, events, convertibles, cars, by Matt Anderson
It’s ironic – like, in the actual “opposite of what you’d expect” way as opposed to the “merely coincidental” way in which the term is often misused. The Ford Mustang is revered as one of the most “American” of all cars. Its name conjures up images of the Wild West. Its early logo incorporated red, white and blue stripes. The car’s very look is based on our country’s obsessions with speed and style. And yet Mustang Serial Number One, sold 50 years ago this month, went to a Canadian. Yeah, that’s irony.
On April 14, 1964, Eastern Provincial Airlines pilot Stanley Tucker walked into George Parsons Ford, a dealership perched on the eastern edge of the continent in St. John’s, Newfoundland. It was love at first sight. The sharp-looking Wimbledon White convertible jumped out at the 33 year-old pilot, and he knew he had to have it. We don’t know the name of the person who sold the car to Tucker – but the pilot must have been quite a salesman himself. Somehow, he convinced Parsons Ford to break street date and sell him the car three days before April 17, when Ford officially released Mustang to the world. He took serial number 5F08F100001 home and, for a short time, was the general public’s only Mustang owner.
Mustang Serial Number One should not have been sold on that early date. In fact, it shouldn’t have been sold at all. The car was one of approximately 180 pre-production cars built at the Rouge between February 10 and March 5, 1964. These initial cars served two purposes: 1.) They eased Ford into full production by familiarizing workers and supervisors with the build process, and 2.) They formed a batch of physical cars that could be shipped to every major Ford dealer in time for the April 17 launch. Logically, the first cars built were sent to the farthest dealers – hence Serial Number One wound up 2,180 miles from Dearborn in St. John’s. (Twelve of these pre-production cars, incidentally, went to the New York World’s Fair for use in Ford’s Magic Skyway ride.)
Being a pre-production or, if you will, “practice” car, Serial Number One has a few quirks not seen in regular Mustangs. Careful observers will notice that the hood’s fit is a little crooked. The door lock knobs have no grommets at their bases. The front grille’s color tends more toward gray than the bluish hue seen on regular production cars. The engine block is painted gray instead of the black on later Mustangs. Little details like these changed after full production began on March 9.
Not long after Capt. Tucker made his purchase, Ford tracked him down and asked to have Serial Number One back. Not surprisingly, Tucker declined the request. He spent the next two years putting some 10,000 miles on his pony car. By early 1966, when nearly one million Mustangs had been sold and the car’s status as a Ford landmark was secure, the Blue Oval called again. This time, Ford offered Tucker a worthy trade: in exchange for returning Serial Number One, he could have the One Millionth Mustang, equipped to his specifications. Tucker agreed and, when filling out the order, covered the entire option sheet with single large “X.” The only extra he didn’t take was the High Performance 289 engine – it carried a shorter warranty period.
Tucker came to Dearborn on March 2, 1966, met Ford vice-president (and Mustang father) Lee Iacocca, and posed for photos with his new Silver Frost 1966 Mustang convertible. Meanwhile, Ford reclaimed Tucker’s much-loved Serial Number One and soon donated it to The Henry Ford. Seventeen years after the trade, when Mustang Monthly magazine caught up with Tucker, the pilot expressed some understandable regret that he’d let go of Serial Number One. As we celebrate 50 years of Mustang, though, we can be grateful that 5F08F100001 is preserved for all to enjoy. Many of our visitors, upon seeing the car in Henry Ford Museum, get that same gleam in their eyes that Stanley Tucker must have gotten all those years ago.
Matt Anderson is Curator of Transportation at The Henry Ford
Driving America, Henry Ford Museum, Canada, 20th century, 1960s, shopping, Mustangs, Ford Motor Company, convertibles, cars, by Matt Anderson, aviators
Spring means many things to many people: an end to cabin fever, swapping the snow blower for the lawn mower, or getting the car out of winter storage and ready for the summer cruising season. For car museum folks, though, spring means the annual conference of the National Association of Automobile Museums. This year’s meeting, hosted by the Petersen Automotive Museum in Los Angeles, California, was particularly special. For the first time in many years, it was a joint conference with the World Forum for Motor Museums.
NAAM conferences traditionally provide three important opportunities. First, there is the chance to network with auto museum colleagues from around the country (or, this year, the globe). You find that many of us share the same joys – the thrill of sharing our collections with the public, the fun in working with incredible automobiles – and the same challenges, like the long-term preservation of complex machines, or writing informative but engaging label text with a limit of 60-odd words.
Second, and central to the NAAM conference, is the chance to hear presentations from curators, archivists, conservators and administrators from the car museum world. Standout sessions this year included a talk on the peculiarities of corporate car collections and museums; strategies for dealing with the media (this session included comments from Wendell Strode of the National Corvette Museum, who worked masterfully with the press during that museum’s recent sinkhole crisis); and ideas on incorporating “visible storage” into your museum’s plan, in which visitors are able to view cars “behind the scenes” as a part of special tours. I should note that Robert Coyle, our Conservation Specialist for Automobiles, Gary Martin, of Dan Gurney’s All American Racers, and I spoke together about our project to conserve the 1967 Le Mans-winning Ford Mark IV.
Finally, NAAM brings the chance for special tours of public and private collections near the host institution. This year’s itinerary did not disappoint. Attendees were treated to tours of the Mullin Automotive Museum, the Toyota USA Automobile Museum, the Nethercutt Collection, and the Pasadena-based Art Center College of Design. It should be no surprise that Southern California, nexus of American car culture, is home to so many incredible automobile and auto-related collections.
There is one additional NAAM highlight: the annual NAAMY awards! These prizes, given at each conference, honor the best in publications, exhibits, programs and events at nonprofit automotive museums. I’m pleased to report that our new book, Driving America: The Henry Ford Automotive Collection, took first place in our division for books and exhibit catalogs. Accolades are always special, but particularly so when they come from your colleagues in the field. With the 2014 meeting barely over, I’m already looking forward to next year’s conference.
Matt Anderson is Curator of Transportation at The Henry Ford
21st century, 2010s, California, cars, by Matt Anderson, #Behind The Scenes @ The Henry Ford
William Clay Ford, who passed away on March 9, 2014, is remembered for his generous philanthropy, his dedication to the city of Detroit, and his long-time ownership of the Detroit Lions. They are important legacies that will continue to benefit and inspire for years to come. Automotive industry leaders, historians and enthusiasts point to another of Mr. Ford’s lasting contributions: the 1956 Continental Mark II.
While his brothers Henry II and Benson – especially Henry II – made their marks in Ford Motor Company’s business offices, William Clay Ford inherited his father Edsel Ford’s passion for automotive styling, as well as his consummate good taste. Fittingly, the younger Ford’s most important automobile project was a revival of Edsel’s much-admired Lincoln Continental of 1939 to 1948. The revival car, built and sold under a separate Continental Division, not only measured up to the original Continental’s legend, but became a classic in its own right.
At just thirty years of age, William Clay Ford headed a team of stylists and engineers who worked around the clock to design a car of rare style and luxury. The resulting Continental Mark II, with its clean lines and understated trim, stood in stark contrast with the chrome confections typical of the 1950s. Build quality was of the highest order. Suppliers’ parts were checked and re-checked, and factory components were tested and re-tested. Each car was essentially hand-built, and workers were encouraged to report even the slightest defect so that problems could be corrected before a car ever left the factory.
Power came from a 368-cubic inch Lincoln V-8 capable of 300 horsepower. The car was appointed with every available convenience. Automatic transmission, power steering, power brakes and power windows were all standard equipment. Air conditioning was the only optional extra. Quality and luxury, of course, came at a cost. The Continental Mark II debuted with a price tag of $10,000 – more than twice the cost of a conventional Lincoln. The car quickly became a status symbol among business and entertainment elites. Frank Sinatra and Elizabeth Taylor were proud owners, as was Elvis Presley – despite his penchant for Cadillacs.
Ford Motor Company never intended the Mark II to be a mainstream success. Instead, it was a “halo car” that sprinkled a touch of status over the automaker’s entire line. Even with that imposing price tag, Ford undoubtedly lost money on each Mark II it sold. But the company was willing to take the loss in return for the prestige and publicity the car generated. That mindset changed swiftly when Ford became a publicly-traded company in 1956. The limited-market Continental Mark II was no longer sustainable, and production ceased after just 3,000 cars over two model years.
Today the Continental Mark II is regarded as one of the most elegant American automobiles ever built. Some 1,500 examples survive, and bidding is intense whenever one comes up for auction. Mark II owners and fans keep the car’s spirit alive through clubs and car shows, and car magazines regularly include it in their “best ever” lists. It’s an enduring testament to William Clay Ford’s contributions to the automobile industry.
Matt Anderson is Curator of Transportation at The Henry Ford.
Michigan, 20th century, 1950s, William Clay Ford, luxury cars, Ford Motor Company, Ford family, engineering, design, cars, by Matt Anderson
Last year I was invited to serve as a guest judge for the CASI Cup at the Detroit Autorama, the signature hot rod and custom car show that comes to Cobo Center every March. I’m happy to report that the Autorama team invited me back this year, but with a nice amendment – this time I got to give out an award created and sponsored by The Henry Ford.
The Henry Ford’s members and visitors know that our institution is dedicated to American innovation, a commitment reflected in our mission statement. Hot rods and custom cars were born of the time-honored American traits of ingenuity and individuality, and the Detroit Autorama showcases the finest examples of creatively modified automobiles. The Henry Ford’s Past Forward Award celebrates these traditions. Winning cars are those that best evoke the spirit of hot rodding and customization. These vehicles:
- Combine traditional inspirations with modern innovations
- Exhibit a highly skilled technique
- Show a decided sense of whimsy
- Capture the “anything goes” attitude behind the rodder’s and customizer’s craft
With these criteria to guide me, I hit the show floor in search of potential winners. To be sure, there was no shortage of candidates. The show seems to get bigger each year, and more than 1,000 exhibits filled Cobo Center for 2014. While pre-war Fords, post-war Mercurys and late 1950s Chevrolets were all present in big numbers, I was struck by the number of more recent cars. Fieros, Camaros and Mustangs from the 1980s all appeared. It seems that rodders from my generation are drawing on the cars from our youth for inspiration, just as the Boomers have done for years. While I haven’t seen a chopped Plymouth Horizon yet, it seems there’s hope.
After a few trips around the floor, I settled on three possibilities. With only one award to give, though, I let the crowd help me make my final choice. While every car had its admirers, there was a steady stream of people drawn to “Orange Crush,” a 1969 Chevrolet Chevelle owned by Joseph Messina of Fair Haven, Michigan. The Chevy had presence – even beyond that electric orange paint. What really struck me in talking to Joe, though, was the pride he took in the small details. He boasted about the car’s stainless steel bolts, explaining that he spent 20 minutes grinding and polishing each one personally. The companion washers were all laser-cut to exacting specifications. It was the perfect blend of new technology and old fashioned craftsmanship that the Past Forward award is all about. Plus, I loved the double meaning in the name. Sure, the car’s color looked a lot like the soft drink, but it’s also clear that Joe had a deep “crush” on his car and was rightfully proud of his work. I hope he’s proud to be our 2014 Past Forward Award winner, too.
And so another great Autorama came to a close. It was a much-appreciated reminder that, despite all the bitter cold and snow this winter, it won’t be long before these cars come off of their mirrored platforms and start hitting the streets as cruising weather returns.
Matt Anderson is Curator of Transportation at The Henry Ford.
21st century, 2010s, Michigan, Detroit, cars, car shows, by Matt Anderson, Autorama
Visitors to The Henry Ford may have noticed that we have a very special guest in the Driving America exhibit: GT40 chassis number 1075, one of the world’s most celebrated race cars. The car has six race victories to its credit, but it is best known for winning the 24 Hours of Le Mans – twice. Race fans know that Le Mans is not only the most prestigious event in motorsport, but also among the most grueling. Cars and drivers are pushed to their limits, running hard on the difficult course for 24 non-stop hours. Simply finishing the race is a major accomplishment. Winning is the capstone in any car’s career. Winning twice, well, that’s nothing short of extraordinary.
Car 1075 has its roots in Ford Motor Company’s legendary fight to beat Ferrari in the 1960s. After avoiding motor racing for many years, Ford jumped in with both feet in the early 1960s. The company actually tried to purchase Ferrari in 1963. It was a shrewd idea – the acquisition would have given Ford instant prestige and a massive head start in its racing efforts. But it was not to be. The two companies could not come to agreeable terms and the negotiations ended. Unable to buy the Italian automaker, Ford decided to beat it.
Ford turned to Eric Broadley, of British-based Lola Cars, to jump-start its sports car racing effort. Broadley designed a car based on Lola’s own sophisticated 1963 GT car and powered by Ford’s Indy Car 289-cubic inch V-8. The resulting racer stood a mere forty inches off the ground – hence its name, the GT40. Results in the 1964 season weren’t particularly promising, and Ford turned to its big NASCAR 427 V-8 to power the GT40 Mark II. The bigger engine started winning races in 1965, and a Ford-sponsored Mark II took the checkered flag at Le Mans in 1966. As if to prove the victory wasn’t a fluke, Ford came back and won again with the Mark IV in 1967. The Mark IV, having been designed and built entirely in the U.S. and piloted by Californian Dan Gurney and Texan A.J. Foyt, gave the 1967 win the further distinction of being an all-American effort.
Ironically, Ford’s domination with the big 427 engine provided a break for the smaller 289. The big engines regularly pushed cars past 200 miles per hour on the Le Mans circuit and French officials, fearing a catastrophic accident on a track designed for slower speeds, imposed a 305-cubic inch limit for 1968. The Mark I’s 289 cubic inches suddenly didn’t seem too few. Ford ended its involvement at Le Mans after 1967, but other teams continued to field GT40s. JW Automotive Engineering dominated the next two racing seasons with Mark I cars, including chassis 1075.
Mexican Pedro Rodriguez and Belgian Lucien Bianchi drove 1075 to its first Le Mans win in 1968. It was an unusually cold and wet race (held in late September, rather than the usual June, due to political unrest), but the drivers – and the car – performed flawlessly and held the lead for 17 of the 24 hours. It was the third win in a row for a Ford car, but the first for the original Mark I design. Sadly, Rodriguez and Bianchi both died in separate racing accidents within three years of their Le Mans triumph.
Car 1075 came back to Le Mans in 1969, this time with Belgian Jacky Ickx and Brit Jackie Oliver at the wheel. Ickx started the race with a bold protest against the fabled “Le Mans start,” in which drivers stood across the track, ran to their cars and then drove off – buckling their harnesses as they sped along. Ickx took his time getting to his car and carefully strapped himself in before setting off. Tragically, Ickx’s point about the inherent danger was proved on the first lap: British driver John Woolfe was killed in an accident before he had a chance to buckle his harness. The fatal crash foreshadowed one of the most dramatic Le Mans races. Car 1075 traded the lead with a Porsche 908 constantly during the last 2½ hours. On the last lap, the Mark I crossed the finish line a mere 100 yards ahead of the Porsche – in a race of more than 3,100 miles. With that second win, car 1075 earned its place in history and cemented the GT40’s reputation as one of the most successful cars in motorsport.
Matt Anderson is Curator of Transportation at The Henry Ford
1968 Ford Mark I, Chassis Number 1075
Competition History: Winner of Le Mans 24-hour in 1968 and 1969. Winner of BOAC International 500 in 1968. Winner of Spa 1000-kilometer in 1968. Winner of Watkins Glen 6-hour in 1968. Winner of Sebring 12-hour in 1969.
Europe, 1960s, 20th century, race cars, Le Mans, racing, Henry Ford Museum, Driving America, cars, by Matt Anderson
Many words have been written on the automobile’s effects on our courtship rituals. (See John Heitmann’s The Automobile in American Life for a good discussion.) Prior to the car, a young man “called” on a young woman at her home under her mother’s watchful eyes. The couple might find a few moments of privacy on the front porch, but that was about it. The automobile threw the old rules out the window and gave couples a literal escape from the confines of the home. It either took them somewhere where they could, ahem, be affectionate, or was itself the place for their amorous activities.
Kenny Roberts, the Yodeling Cowboy, voices this shift in his 1949 hit “I Never See Maggie Alone.” As the title suggests, Kenny can’t get a private moment with Maggie – her large family is always there. He buys a car for a little seclusion, takes Maggie for a ride, but… Well, I won’t spoil it for you, but you probably know what happens. Fast forward 30 years and you’ll find Robbie Dupree covering the same ground in “Hot Rod Hearts” from 1980. Times have changed, though. While Kenny and Maggie were merely “huggin’ and kissin,” Robbie has “young love born in a backseat.” One suspects there’s more than innocent necking at play.
When the car isn’t providing young lovers with a means to get away together, it’s often the means to bring them together. Many tunes tell of someone driving through the night to reach a significant other. Cyndi Lauper made a big hit out of this very scenario with 1989’s “I Drove All Night.” It’s been an enduring song, with subsequent hit versions from Roy Orbison and Celine Dion. (Celine’s version even backed a series of Chrysler commercials in the early 2000s.)
Classic Rock fans recognize the “drive to romance” concept from Golden Earring’s 1973 smash “Radar Love.” While the title refers to the lovers’ seemingly telepathic connection, the opening couplet is pure road song: “I’ve been drivin’ all night, my hands wet on the wheel / there’s a voice in my head that drives my heel.” Country fans, meanwhile, might be reminded of Dave Dudley’s 1963 cut “Six Days On the Road.” In this case, the narrator is a professional truck driver longing to get home, but the sentiment is the same: “Well it seems like a month since I kissed my baby goodbye… My hometown’s comin’ in sight / If you think I’m happy you’re right / Six days on the road and I’m a gonna make it home tonight.”
Tom Waits puts a nice spin on the situation with his 1973 song “Ol’ 55” (memorably covered by the Eagles in 1974). Instead of driving his car to his lover, he’s driving back home from his lover. So warm is the afterglow that traffic is a “parade” as he rides “with lady luck.” In the song itself, Waits never identifies his vehicle beyond a model year. In subsequent interviews, he’s pegged it as a 1955 Buick Roadmaster, but I still picture a Chevrolet.
Chuck Berry is often cited as “rock and roll’s poet laureate.” His witty lyrics helped to establish rock’s very structure during the formative 1950s. It’s no surprise that Berry created some memorable car songs. His very first hit, 1955’s “Maybellene,” is one of the genre’s best. We find Chuck cruising in his hot rod Ford V-8 when he spies the eponymous Maybellene in her Cadillac Coupe de Ville. They race down the highway, “bumper to bumper, rollin’ side to side.” An overheated engine threatens to end Chuck’s race, but a well-timed cloudburst cools his flathead and allows him to catch the Caddy at 110 miles per hour. While the race goes Chuck’s way, the “Why can’t you be true” chorus suggests that the romantic relationship doesn’t work out so well.
Brian Wilson and the Beach Boys are rightfully credited as the masters of the car song. They gave us “Little Deuce Coupe,” “I Get Around,” “Custom Machine,” “This Car of Mine,” “Shut Down” and a host of other hot rod hits. (And really, who else but the masters could have written a song – and a good one at that – inspired by engine displacement?) But Wilson & Co.’s genius with the genre is perhaps most evident in the haunting “Don’t Worry Baby.” Casual listeners will hear the oft-told tale of a man who draws strength and support from his significant other. Those who listen more closely, though, will hear a song about… a car race! Brian boasts about his car, talks himself into a race, and shares his apprehensions with his love. She reassures him – makes him come alive, makes him want to drive – when she shares the titular advice. One of my favorite things about the song – apart from that deft modulation from E to F# between verse and chorus – is the ambiguity in the ending. We never do find out if Brian wins his race, but I suppose that’s beside the point. “Don’t Worry Baby” is the rare track that thick-skinned gear heads and sensitive poets can both embrace.
Among the most atmospheric car/love songs has to be 1984’s “Drive” by the Cars. (And, by the way, how’s that for title/artist synergy?) While the song is open to wide interpretation, I think of it as being about a relationship strained by chemical dependency. The central question, “Who’s gonna drive you home,” is rhetorical. The narrator pleads that his lover “can’t go on / thinkin’ nothing’s wrong” as he watches her self-destruct. If he leaves, then who will be left to care for her? “Drive” isn’t a roll-down-the-windows and rock-down-the-highway hit, but it is a reminder that car songs can be subtle.
Maybe the best twist on the car song/love song style is when the car itself is the object of the singer’s affections. Dan Seals’s 1985 country hit, “My Old Yellow Car,” is the perfect example. It’s a sentimental ballad in which, despite all of his fame and fortune (he’s “got a Mercedes-Benz with a TV and bar”), the thing Dan pines for most is his first car. Even though “she weren’t much to look at / she weren’t much to ride,” this yellow car made young Dan the king of the world: “There was no road too winding / there was nowhere too far / with two bucks of gas in my old yellow car.” It’s emotional stuff, and by the end of the song we realize just what that first car represents. It’s more than empowerment and independence; it’s a talisman of lost youth. There’s a reason we all get nostalgic about our first rides, no matter how humble they were.
Enjoy your Valentine’s Day everyone. Light a few candles, open a bottle of wine, and put together your own playlist of favorite car-related love songs. It’ll put you in a romantic mood – and tide you over until its time to pull the classic out of winter storage.
Like the songs you heard here? Watch them on YouTube or log into Hypster and listen to the whole list.
Matt Anderson is Curator of Transportation at The Henry Ford
Andy Williams was off by a month. Auto industry insiders and enthusiasts know that January is the most wonderful time of the year, as it brings the annual North American International Auto Show (NAIAS). Since 1907, automakers have used the event to showcase fresh designs and innovative technologies. New models are introduced with suitable razzmatazz, and concept cars tantalize us with possibilities for the future. I set out to Cobo Center this year excited for everything, but with three particular must-sees on my checklist.
Chevrolet wowed crowds last year with the return of the Corvette Stingray (it took “Car of the Year” honors at this year’s event). For the 2014 show, the Bow Tie gives us the 2015 Corvette Stingray Z06. With 625 horsepower surging from its 6.2 liter V-8, the Z06 is a legitimate supercar. No, it’s not going to sell in any significant quantity, but these halo dream machines are what make NAIAS so much fun.
Chrysler is making headlines with its introduction of the next generation 200. This car could be a coup for the Pentastar. There’s a lot of money to be made in the mid-sized segment, and Chrysler wants to increase its take. The 200 also builds on shared design and technology from parent Fiat – efficiencies that can help the company thrive. Analysts will keep a close eye on the 200’s sales, but what really caught my eye is the 200’s rotary dial transmission shifter. I’m a fan of the traditional floor-mounted lever, but buttons and paddles have their supporters, so why not a dial?
Ford made its 2015 Mustang splash last month, so its NAIAS presence is heavily focused on the aluminum-bodied F-150. This is a big play by the Blue Oval. The venerable F-150 has been the best-selling vehicle in the United States for close to 20 years (and the best-selling pickup forever – well, at 43 years, practically so!). But fuel efficiency is vital for environmental and economic reasons. With the 2015 F-150, Ford improves gas mileage by converting much of the truck’s body structure from steel to aluminum and dropping 700 pounds of curb weight in the process. It’s a breakthrough, but it surely takes courage to invest in expensive new metalwork and try major experiments on your most popular product.
The F-150 gets the headlines, but don’t think that the Mustang is ignored. Prototypes of the 2015 model are there for ogling, and The Henry Ford’s own 1962 Mustang I concept car and 1965 Mustang Serial Number One production car are on prominent display. Best of all, though, Ford has created a sort of museum to Mustang’s place in popular culture. Head upstairs into the gallery and you’ll find everything from die-cast models, to Avon cologne bottles, to movie posters. (Yes, Bullitt is there.) There’s trivia too. Who knew, for example, that “Mustang” is one of the most popular computer passwords? Or that a Mustang was one of the original 16 Hot Wheels cars? My favorite display consisted of a jukebox playing nothing but Mustang-related songs, from Wilson Pickett to Vanilla Ice. “Rollin’ in my 5.0” indeed.
On a final note, there is a real treat in seeing Cobo Center itself this year. The new atrium and Grand Riverview Ballroom (fashioned from the old Cobo Area) are absolutely breathtaking. Detroit has much to be proud of this year – on both sides of the NAIAS showroom doors.
Matt Anderson is Curator of Transportation at The Henry Ford
21st century, 2010s, NAIAS, Mustangs, Michigan, Detroit, cars, car shows, by Matt Anderson
