Posts Tagged ‘USA’

Ghost to the Ghost Towns

Thursday, December 16th, 2010

You need to under­stand that I live in a town of eight men. No women. Out of the other seven guys, six are alcoholics. The maintenance guy is an alcoholic. The guy who runs the post office is an alcoholic. The sheriff and his ‘friend’, they’re alcoholics. So I don’t fit in too good. But I estimate that three hot chicks pass through here every week. It almost makes it worth it.”

Jacob is in his early twenties and runs Roy’s service station in Amboy, population 8: ‘the ghost town that ain’t dead yet’. Amiable, plump and a little stupid, Jacob is exactly the kind of lonely gas-​​pumper who gets blown away by the villain in the opening scenes of a Coen brothers movie. Like many of the other ghost towns that litter the floor of California’s Mojave desert, Amboy stands on the old Route 66 and was founded to feed and shelter the millions of migrants who headed west along John Steinbeck’s Mother Road to escape drought and famine in the thirties. But when Route 66 was bypassed by the inter­states, the traffic dried up and the towns died. Amboy might not be dead yet, but it’s not looking too healthy.

So little disturbs Jacob’s days. And as a result, Jacob, we suspect, probably spends a little too much time sitting in the fierce Mojave sun. He’s impressed by the 155mph top speed of our Rolls-​​Royce Ghost, but certain his ancient, battered, dusty Mitsubishi is faster. “The guy I bought it from spent forty thousand dollars on the engine. It will do 287mph. He told me. I’ll never be caught speeding because that’s exactly 2mph faster than a cop car. A detective told me that.”

So what, exactly, are we doing in a £200,000 Rolls-​​Royce Ghost in a ghost town like Amboy? There’s more to this road trip than puns or irony. We wanted to explore California’s untidy back yard. Famously, were it independent, California would be the eighth richest nation on earth. But most of the wealth is on the coast; cross the San Bernadino mountains to the Mojave and it just gets weird. Weird landscape, like the Joshua Tree national park with its bizarre, twisted flora. Weird geology, like the inland Salton Sea, formed just a century ago and one of the hottest, least hospitable places on earth. Weird places names, like Zzyzx, Grimm, Mecca and Bagdad. And weird people: the very wealthy twenty minute’s drive from the dirt-​​poor; Mission Indians hosting poker on their reser­va­tions, and sun-​​crazed loners who honestly think their shitbox Mitsubishi will do nearly 300mph. But if that makes it sound crowded, it ain’t: it’s big and bleak and empty and slightly scary. It’s the California few know, and few get to see.

We also wanted to reconnect with a Rolls-​​Royce as a car, and as a piece of engin­eering, not a luxury good. Rolls no longer claims that famous old ‘best car in the world’ tag, but it ought to display some of the qualities that earned it that reputation a century ago; ought to take you deep into that desert at furious speed and in sybaritic luxury and without once making you worry that the nearest help is five miles overhead and just starting its descent towards LAX.

At 5.4 metres the Ghost still a colossal car; it even spills out of some plus-​​sized American parking spaces but it disguises its bulk beauti­fully and manages to look presti­gious but not arrogant, exactly the pose Rolls needs it to strike in more austere times. You slide inside; it’s so well made, and from such extraordinary materials – leather that’s almost oily to the touch, fat lumps of aluminium, frosted glass and Steinway-​​grade black lacquer – that £195,840 before ‘person­al­iz­ation’ starts to feel like good value.

Rolls-​​Royce has somehow managed to make its monstrous 563bhp, twin-​​turbocharged, 6.6-litre V12 as refined as a Tesla at cruising speeds. And of course, the low-​​speed ride is magni­ficent. So we sigh from light to light as we set out from Palm Springs. Soon shops like ‘Diamonds of Splendor’ give way to Ray’s Towing and Frank’s Auto Body, and then to fields of dates being picked by long rows of sweltering migrant workers, and then just flat scrub as we head south to the Salton Sea.

What a dump. If it wasn’t for places like this balancing out the absurd wealth of Palm Springs, California would be way higher on that rich list. Early, optim­istic attempts to market it as the Californian Riviera were scuppered by the intense heat, the water’s heavy saltiness and the stink caused by pollution and resulting mass die-​​offs of the fish. The sea is ringed with abandoned beach-​​front buildings and its few remaining settle­ments look more like the slums of Mexico City. This ain’t the OC. Many of the homes have an ancient Airstream caravan at their centre, to which various ramshackle lean-​​tos have been added: it’s as if those dustbowl migrants driving to the coast just gave up and stopped.

From here, the plan is to drive due north, over the Cottonwood Mountains into the Joshua Tree national park, through Twentynine Palms and north again across the Mojave to hit Route 66 and the ghost towns. Twentynine Palms is another weird place. Its 15,000 residents  — lots of hippies, lots of artists – co-​​exist uneasily with the 10,000 marines who occupy and regularly blow up a patch of desert the size of LA directly to the north of the town. There are only three kinds of business around the base; ‘massage parlours’, tattoo artists, and barbers providing the haircuts the grunts are required to have once a week.

The road out to the north is deserted, because it doesn’t lead anywhere normal people would want to go. It skirts the back of the marine base, climbs over the Sheep Hole mountains, then drops down towards the vast, flat valley floor and runs, mostly laser-​​straight, to meet what’s left of what the world’s most famous road. It is beautiful, but arid and bleak and terri­fying at the same time.

But for us it’s road-​​trip-​​perfect. I finally get that power-​​reserve gauge to show that the Ghost’s motor has nothing left to give. It’s very fast, the Ghost. It settles naturally at 130mph; enough for California’s famously unima­gin­ative state troopers to put us in a cell for the night, but necessary if we’re going to race and overhaul the mile and half-​​long freight trains that rumble alongside the road. Their drivers blow their horns in appre­ci­ation as we run alongside them before we drop a couple of cogs and surge off towards the vanishing point.

The ghost towns, when you reach them, can be easy to miss. The ironically named Bagdad is shown on the Ghost’s very modern sat-​​nav but literally nothing remains, other than a faint track that leads away into the desert. In Chambless, a glorious but faded fifties sign for the Roadrunner’s Retreat and Restaurant still stands, along with a boarded-​​up diner and a gas station whose pumps have long-​​since toppled over, the numerals on their rotating counters melted into Daliesque distor­tions. The tarmac parking lot has been all but reclaimed by the desert, but like Ellis Island in New York, it’s impossible not to feel the presence of the millions of poor but hopeful who passed through here. It was maybe the greatest motoring migration in history.

We head back to Jacob’s for a cold Coke and a fill-​​up; run out of gas out here and you might end up ghostly yourself, for any of a number of reasons. Jacob still won’t let us take his picture; he claims to be one-​​eighth Native American and worries about the effect on his soul. But he is delighted we came back, and even happier that the same, slightly out-​​of-​​place German cabaret singer and model duo who’d attached themselves to us the night before in Twentynine Palms had stopped at his gas station and flirted with him too. “Three hot chicks a week, but I get two in one day!” Big country. Small place.

Hemi 'Cuda!

Wednesday, June 30th, 2010

In the process of research for our forth­coming seventies edition, we came across what is defin­itely my favourite piece of American muscle.

The 1970 ‘Hemi ‘Cuda’ was the top of the range sports version of Plymouth’s workhouse the Barracuda, and was powered, naturally by the Chrysler version of the V8 Hemi (below).

Whilst most American muscle cars come across as brutal and one dimen­sional, there’s something about the ‘Cuda’s lines that look almost graceful in an (almost) European kind of way.

See the footage of a beautiful black version of the notchback two-​​door below to see how much grace the car posesses. We think you’ll agree it glides along the yank highway with uncommon poise.

YouTube Preview Image

Summer = Utility

Thursday, April 29th, 2010

About this time of year, with the back-​​to-​​back bank holidays and the blossom hanging heavy on the boughs, even the most committed drivers among us begin to think of the beauty of sports utility.

Despite the partly justified bad press that the four wheel drive behemoths known as SUVs have received of late, there remains a strong argument for their use. Especially if that use is actually for that which they were designed.

Just look at this mutant wagon (above). Woodied up and loaded down with all the add-​​ons known to man. It’s undoubtedly stylish and even cool in an ironic kind of way. Aerodynamics, we think, may have been affected by the lifeboat tackle and the BBQ extension. Pure King of the Hill.

And look, then, at one of our favourite pieces of beauti­fully boxy utility from American company International Harvester. IH was one of those companies that was founded in the protean energy of turn of the century America, and remains one of the venerated founding fathers of the American motor trade. The gorgeous little Scout (above) was their mainstay and has been credited with sparking the original SUV revolution. When kept pristine and preserved in its original state, the simplicity and no nonsense fun of the car shines through.

Even more brawny, rare and desireable is, though, IH’s Travelall. If you can find one this side of the pond it’ll be a miracle. But, what better than a Travelall to tick of your neighbour and the teeth-​​sucking envir­on­ment­alists than to load this baby up and take it camping for the weekend. Just better make it a local campsite, lest the fuel bill cost as much as a flight to the Carribean.

But if you needed convincing that these domest­icated agricul­turals are worthy of note, just take a couple of minutes to look at the video from one of the original US dealers. We would certainly buy a car from this man.

YouTube Preview Image

High on the Chaparral

Saturday, April 24th, 2010

As a European there are certain things about North American motor racing that get us excited. And its nothing to do with NASCAR.

But mention the words Laguna Seca, Can Am and Chapparal, and we get a little sweaty palmed and breathless.

There’s a common fallacy that the fact that America has never whole­heartedly submitted itself to the techno­lo­gical spectacle of F1 is basically because that yankee technology has always been all about brawn and cubic inches, and that the subtlety of Aerodynamic engin­eering and twisting circuits has been the sole preserve of we oh-​​so-​​sophisticated Brits and Euros.

Well, Jim Hall’s tarmac sucking Chaparral 2J of 1970 gives the lie to that.

Hall, born in Texas in 1935 the heir to a huge oil fortune, competed in F1 races in the early sixties and other series, but his real moment came when he started his own racing car brand in the Chapparal. The 2J, his magnum opus, innovated aerody­namic techno­logies that were hailed as revolu­tionary much later.

It wasn’t until 1977, For example, that Colin Chapman intro­duced the F1 world to ground effect aerodynamics.

But apart from the technology that distin­guished it, there was an other­worldly monstrosity to the look of the Chapparal 2J that slotted perfectly into the boxy brawn of Can Am racing and echoes down the ages.

You can smell the fumes and hear the growl and wheez of the cars just by looking at them.

Their purpose­fulness is encoded perfectly into the aesthetic of the design. Cars like the 2J remind us just what a shame it is that F1 design has converged to the point that without the paintwork and branding, few of us could distin­guish the cars from one another at first sight.

You certainly couldn’t say that of the Chaparral.

It's Better in the Wind

Monday, April 19th, 2010

Screen grabs. Social networking. Iphone apps. A world without walls was dreamt up by software marketing people to make you think that working every­where, any time would be a benefit to your own sense of freedom and transcendence of the bread and butter drudge of making a living.

In reality, this ‘world without walls’ has enslaved so many of us to the computer screen, the SMS and the email account.

Respect then, to people like those at It’s Better In the Wind, who use the tech at their disposal to dissem­inate a message that when all’s said and done getting out there in the elements on the road, looking for adventure, accepting what ever in real visceral time, may come your way — that that is the way to transcend the dull realities of simply getting by.

Have a great weekend. Load up, and get out there.

Andrew Bush: Vector Portraits

Tuesday, March 16th, 2010

LA based artist Andrew Bush graduated from Yale University with an MFA in Photography in 1982 and has been pursuing the Vector Portraits series since he moved to Los Angeles in 1989. For this series of photos he uses his car as a tracking device, strapping a medium format camera and a flash gun to the side of his car, and then, basically, going for a drive and snapping away at his fellow motorists.

The Vector portrait series is eerily intimate – reflecting those fascin­ating moments of imagin­ation you exper­ience when you peer into someone else’s automotive bubble.

It’s an often-​​repeating truism that Americans become who they really are only when they are behind the wheel of a car. Bush tempts us to imagine what that reality consists of.

The work has been exhibited extens­ively in solo and group shows, including The Metropolitan Museum of Art (New York), Walker Art Center (Minneapolis), Davis Museum and Cultural Center at Wellesley College (Wellesley, Massachusetts) and Staatliche Kunsthalle (Baden-​​Baden, Germany).

For more info on this and other of Andrew Bush’s work, go to http://www.mbfala.com/artists/_Andrew%20Bush/_other%20works/

Hip to Be Square?

Friday, January 29th, 2010

Scout Poster

Sometimes sophist­icated indus­trial processes are over-​​rated. Sure, we love the hand-​​wrought curve of fine steel wrapped around a frame and some rolling gear. But luscious curves  alone do not a cool motor make.

box appeal

The Americans, in particular, have always known how to construct a good-​​looking box-​​on-​​wheels. It wasn’t just the stoic Swedes at Volvo who knew the beauty of form following function.

function over form

Many an angular hunk of automotive goodness has been manufac­tured in the name of utility right out of the foundries and production lines of Detroit.

We can’t be the only ones who have gazed longingly  out of airliners’ port holes at the ultimate utility vehicles – that’s right: those beauties that trundle around airport aprons. But could a milk-​​float ever be cool?

We think with the right box-​​like stripped-​​down aesthetic, there’s no reason why not. Just look at this hunkered down Stud.

Studebaker square truck