Posts Tagged ‘1970s’

Ferrari 512 BB

Thursday, January 26th, 2012

I always thought the 512 BB was a really under rated Ferrari.

In my opinion, in fact it’s one of the prettiest Ferraris ever.

There was something wonder­fully under­stated about those Pininfarina lines. As a kid in the seventies it seemed the cooler, more elegant oppos­ition to Lamborghini’s outrageous Countach.

It probably stemmed from the time I came up close and personal with one.

As a kid (I must have been 9 or Ten years old), me and my mate Keith Curwood would cycle down to the junction of the A12 and sit there and spot cars. Sad but true.

Every now and then, when the main lights turned red, a real gem would turn up. It’s a bit of weird ‘confession of an urban kid of the seventies’ thing to admit, but this was the only sort of geeky sport I was inter­ested in.

I would of course pretend by Raleigh Grifter was a Moto Guzzi Le Mans too, and tug the flappy mud guard end to scrap along across the knobbly tires so it made a noise that approx­imated the sound of an Italian V-​​Twin.

This was all included in my mass of pre-​​teen dreams of exotic power and freedom a nice precursor to that flowering of auto-​​eroticism that came once we went to big school.

The 512 BB that pulled up was, I remember as if it was yesterday, an incredible powder blue, and it had cream leather interior and an even more incredible blond siren sitting in the passenger seat, wearing a hugely furry white fur coat.

This was bling before bling was bling, a Boogie Nights style spangled up deliciousness of a scenario.

It must have been 1976 or something. And it stayed with me for the rest of my life.

The 523 BB had 12 cyclinders arranged in a boxer engine, and prefigured cars like the 308, 328 and the Testarossa.

So, even if it stood in the Countach’s shadow from the moment it was born in 1974, it will always represent to me much more than the Lambo’s slightly staid cousin.

Porsche Factory c1972

Wednesday, September 7th, 2011

It’s no secret that we’re ambivalent about the 911. Until we drove a couple, we were a little sneery ourselves. You just see so many of the things that contempt is bound to arise through so much familiarity.

On the one hand, it is of course the ultimate, usable supercar. Most people stumbling upon this blog will have at one point or another fanstasised about being a 911 owner.

They are incredible cars and the formula has been honed to a fine edge at Stuttgart all the way from 1963. And aficionados insist that each Evolution of the rear engined wunderkind is simply better than the previous.

In their stripped down GT and RS guises the 911 is a pure race-​​bred monsters. The Turbos have retained their hooligan chic amid the bug eyed ubiquity and even bog-​​standard spec-​​levels of the contem­porary Carrera can be tweaked easily to create a unique, reliable, usable daily drive of style, speed and panache.

On the other, of course, the Porsche 911 is an over-​​refined evolution of the Beetle format, the impulse buy of the bonus jockey and mainstay of high-​​earning yummie mummies in the Waitrose carpark.

It’s testament to the brilliant longevity of the idea that is the 911 that each part of this broad spectrum holds more than a grain of truth.

We when we stumbled upon this set of amateur snaps from a factory tour some time, we reckon, in the early seventies, you realise that there was a raw artisan element to Porsche’s of that early period that laid the found­a­tions of the brand and facil­itated all those technical evolutions.

Nostalgia again — for a time we barely knew. We’d like a 1972 RS Coupé. In orange with blue rims. Please.

Photos via Cinelli Guy

Muscle Car Marketing

Wednesday, July 13th, 2011

Wether or not you like the classic American muscle car — all heavily burbling hemis, bold stripes, murderous visages and redneck steez– you have to admire the audacity of their creators.

Heavy Detroit-​​wrought steel kept the blue collar masses of the ‘States in gainful employ and made it cool for a while to ally one’s self to the aesthetic of denim, smokes and beer. The Ad agencies of Madison avenue meanwhile were kept in clover by the marketing employed to sell this testosterone fuelled dream to the American rank and file.

This was happening, remember, at the tale end of the 1960s and into the seventies. That other portion of the culture was wearing flowers in their hair, reeking of patchouli oil and preaching all that was opposite to what these cars represented.

The fact that this fragrant movement was clustered around the university campuses and the coastal capitals hints at the reason.

The muscle car was the projection into three tangible dimen­sions of conser­vative America’s distaste for all that hippie shenanigans — while the boys above Indochina carpet bombed hillsides and the Weathermen were sending letter bombs to The Man — buying a Dodge Charger was re-​​imagined as a posit­ively patriotic act.

The solid colours and offset darkness of the muscle car colourways was reflected in the copy in these ads too — it’s full of short sinewy sentences, images of all American guys and girls — and hokum phrases like ‘shucks’.

Our favourite is the perfectly named and perfectly typeset ad for the Plymouth Fury.

Never mind the motor. Look at that font!

Lotus Esprit in Movement

Thursday, June 23rd, 2011

Stumbled across this very beautiful video below recently of the Lotus Esprit (first version).

Made us reassess the beauty of the most extreme British– made Wedge ever designed. Made us think that it would be very, very pleasant to own one. And you can get these for a song these days.

Made us look forward, too, with even more intensity for their much vaunted range of Future releases.

If the design of these new concepts ends up being as extreme and dynamic as the original Esprit, then the future certainly looks bright for the Norfolk firm.

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Triumph Spitfire re-imagined

Monday, June 20th, 2011

Sometimes it’s good to have your precon­cep­tions challenged. I was brought up and into car culture through the enter­taining and sometimes scurrilous Custom Car magazine of the 1970s (below).

Anyone that remembers that wickedly funny ‘zine will remember that as well as marrying cool modded motors with half-​​naked ladies Custom Car’s editorial was shot through with unadorned hatred of the Triumph Spitfire.

Custom Car Magazine, August 1974

For some reason, the Spitfire seemed to represent to the editorial staff all that preten­tious, gutless and twee about motoring in the 1970s.

And being an impres­sionable pre-​​teen in those days heady with the reek of Brut 33 and Long Life and John Player Specials, I carried this unjust hatred of the Spitfire with me deep into adulthood.

But recently we stumbled across a little set of pictures of a Spitfrire on the excellent Asphalt Heritage blog, and we’re looking at the Spitfire afresh.

We’re digging the low-​​slung lines. We’re admiring the purposeful stance and the peaky rear end. We’re thinking that the Spitfire must have been a fun and accessible way into motoring with a bit of passion.

Barry Lee, Ford & Rallycross

Monday, June 6th, 2011

Barry Lee, charis­matic king of the UK Rallycross scene of the 1970s, used to own the garage around the corner from where I lived in East London as a kid.

There was something so completely of the time about our Barry. He was like a cross between Barry Sheene and James Hunt — but with a greasier, prole-​​ish edge.

He repres­ented all that was cool and Ford-​​like for everyone populating either side of the A13. And this was a mile or so down the road from Dagenham — Ground zero, of course, for all things Ford.

The only surprising thing was that he never got a Brut 33 campaign like the other Barry or our ‘Henry– those other working class media heroes of the age.

Except it wasn’t that surprising really.

Because Rallycross, for all it’s wheel to wheel racing and spectacular shunts; for all its access­ib­ility and the all round driving ability you needed to master it, never captured the glamour of the seventies in the same way as the higher end of motorsport.

Shame. because there was something uniquely appealing about a formula that pitched stripped down cars that you were used to seeing on the streets spanking around tarmac and dirt combo short track — with regular comings together and outrageous overtakes — was something that inspired boy racers from the esturine marshes of Essex to the high roads of Scotland.

But Barry Lee was a true advocate of road safety too. He came and drove his black Ford RS 2000 round our school playground to demon­strate the effect­iveness of smooth driving over the screech-​​and-​​burn, Halford stick-​​ons style of those afore­men­tioned boy racers.

It’s not all over for Rallycross. There’s a nascent scene all over the UK and in parts of Europe that continues to entertain and inspire — it’s just that at the moment it’s drowned out by the cacophony of other forms.

Power to its elbow.

The Beetle Pitch...

Thursday, April 28th, 2011
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Cars don’t come much more iconic than the Beetle. Love em or hate em, no automobile has repres­ented the ideals of everyman motoring more than the original “peoples car”.

It’s not surprising then that some strato­spheric stars have repres­ented the brand — From Paul Newman to Marty Feldman and even Buzz Aldrin of the Apollo 11 mission — have chosen to lend their image to this most basic of family cars.

To put this into context back in 1970 Aldrin, along with número uno Moonwalking astronaut Neil Armstrong, was perhaps the most famous celebrity on the planet.

To get an idea of the brand value of the Astronaut’s face, he was paid a cool $300,000 dollars for endorsing the car. Forty years ago that was an almost unima­ginable money for an endorsement of a car campaign.

In choosing a man that walked on the moon — an individual with a doctorate in Astronautics from MIT as well as an epoch-​​making claim to fame — was associ­ation of forward thinking tech way before Audi dreamed of Vorsprung Durch Technik.

And this for a car designed originally in Nazi Germany in the thirties.

It’s difficult not to mention the Werner Von Braun connection. Sometimes history has a fearful symmetry.