Posts Tagged ‘Rolls Royce’

Rolls Royce & Bentley, 1955...

Tuesday, September 13th, 2011

We stumbled across these very lovely images from the Rolls/​Bentley brochure recently and were taken aback by the range of truly beautiful cars that were being produced in England at the time.

These wonderful cars were of course heading up the high-​​end. But there was at each echelon of British motoring a choice selection of vehicles with real panache.

From Aston’s DB 3 right down to the MGA — taking in Bristol’s sports cars and of course Jaguar’s XK series on the way — the English motorist, as long as he had a bit of cash at his disposal, was spoilt for choice.

For us we would have gone for the Bentley Continental Park Ward coupé convertible (above) — preferably in patriotic racing green with, perhaps, a deep chocolate brown hood and leather to match.

Perfect for both inter­con­tin­ental dash to the Riviera as well as negoti­ating the elegant streets of Mayfair and Belgravia.

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.

1969: Crisis? What Crisis?

Thursday, November 11th, 2010

1969 was a critical moment in the history of the American and British car indus­tries: it was the beginning of the end. Both were about to endure a pretty horrible 1970s; within a few years there would be virtually nothing left of the home-​​owned British car industry, and while the US carmakers would survive and sporad­ically prosper in the future, they would never be as dominant and confident as they were in ’69.

I don’t mean to trivi­alize the Vietnam War but it’s tempting to compare what was happening there with what was happening in the car world. In both cases, an over-​​fed, over-​​manned, over-​​confident West faced a modest, adaptable, nimble, clever Asian foe able to get by on a bowl of rice each day. Just as the North would win in Vietnam, the Japanese would take advantage of the coming reces­sions and oil crises to rout the complacent American and British carmakers in their home markets and the new ones that were springing up around the world.

But like all empires, they went out with a party. In America, 1969 was all about the muscle car. Just a year later, the Clean Air Act would kill them stone-​​dead. But in ’69, you could still buy a Plymouth Barracuda or Superbird, or a Chevelle SS454 or an AMC Rebel ‘The Machine’, all intro­duced in ’69 for the 1970 model year.

You love muscle cars. You might not think you do, but you just haven’t yet stared slack-​​jawed at the vast wing on the back of a Superbird, or into the ultra-​​clean, chrome and body-​​colour engine bay of a custom. You haven’t seen their candy-​​coloured paintjobs looking perfect in Californian sunshine. You haven’t smelt the sickly-​​sweet unburnt petrol, old vinyl and car wax, or heard the lazy whump-​​whump-​​whump of a seven-​​litre V8 that can’t be bothered to make more than 400 horsepower. These things are the inbred, mutated spawn of an utterly isola­tionist car culture that just didn’t care what the Europeans or Japanese were doing. But their self-​​confidence makes them instantly, impuls­ively covetable.

And in possibly the single coolest act in the history of the car industry, Chrysler somehow got over the rule-​​by-​​committee that usually cripples creativity in a big corpor­ation and offered those muscle cars in colours called Sub-​​Lime, Go Mango, Panther Pink and Plum Crazy. The guys at Ford thought this was a great idea, so they loosened their Mad-​​Men-​​style tightly-​​knotted skinny ties, lit a massive doobie and came up with some colour names that were even better. Bring ‘Em Back Olive was probably a thinly-​​veiled reference to Vietnam, Anti-​​Establish Mint described the political mood, Original Cinnamon reflected what everyone was up to and Freudian Gilt probably over-​​estimated the intel­li­gence of the average muscle car buyer. Hulla Blue, History Onyx and Good Clean Fawn were just funny.

Of course, if you really were part of the counter-​​culture you probably didn’t care much about cars, unless you were into the nascent envir­on­mental movement and had a vague idea that a 7-​​litre V8 wasn’t good for, like, the air, or something, or had no other way to get to Woodstock or Altamont. Probably couldn’t afford them either, unless you were a Beatle.

By 1969 John Lennon had finished work on the Rolls-​​Royce Phantom V – also used as transport by the Queen – which he’d bought three years earlier. He added a double bed, a thumping sound-​​system with loudhailer, and finally a gyspy-​​caravan-​​meets-​​mescaline paintjob by Dutch art collective The Fool. A year later, the Beatles would split and John and Yoko would ship the Rolls to New York, but in 1969 it was still a regular sight on London streets.

But the Beatles’ other car choices reflected the classness of the time. Brian Epstein had bought them each a Mini Cooper S. George Harrison painted his with mystical Indian scenes, and he, John, Cynthia and Patti Boyd are reported to have folded themselves into its tiny cabin to take their first acid trip.

The Italians weren’t much concerned with the counter-​​culture, and were just taking advantage of the relative economic prosperity to produce some of their most seductive supercars and GTs. Ferrari and Lamborghini were in full flow – the Miura was unques­tionably the star – and they were briefly joined by super-​​exotic marques like Iso and the Swiss-​​based Monteverdi. ’69 driving Italian-​​style is perfectly encap­su­lated in the opening scenes of The Italian Job, released that year, in which Beckermann in his big shades and driving gloves pilots an orange Miura over the St. Bernard Pass, managing somehow to light a (conven­tional) cigarette as he tackles the Alpine hairpins. The reality of ’69 Italian motoring was rather different: an unreliable Fiat 124, with premature rust.

The Italian Job made heroes of its British star cars; not just the Minis, but the E-​​Types, a Land Rover, an Aston-​​Martin DB4 and a Bedford coach too. It ought to have launched a colossal export drive; plainly, the British car industry could do sexy, fast, clever, tough and affordable too. But another film – this year’s Made in Dagenham, set a year earlier in 1968 – shows why it didn’t happen. The film captures the atmosphere of a sixties car plant perfectly; all brown overcoats, roll-​​ups, tea breaks and sexism. The boxy MkII Cortina gets a starring role. It tells the story of the walkout by 150 women employed by Ford to stitch Cortina seats when they were reclas­sified as unskilled labour and denied the better pay of the men – often their husbands – who assembled the cars’ oily bits with varying degrees of success at the main plant across the road.

The Ford strike of 1968 was different to the walk-​​outs led by the infamous Red Robbo at Longbridge in the ‘70s. It wasn’t directed specifically at the misman­agement of the car industry but was inspired by the general principle of equal pay, and led, admirably, to the Equal Pay Act of 1970. But it marked the start of a decade of indus­trial action that, together with that misman­agement, some terrible products and terri­fying new compet­ition from Japan and Germany, effect­ively killed the British-​​owned car industry. As the Dagenham women walked out, Britain was making more cars than ever; peak production actually came in 1972 with a slightly freakish 1.9 million. Less than a decade later that figure had halved.

But in 1969, nobody really knew what was coming. Cars reflect their times. The times were good.

Hedi Slimane's Rolls Royce Corniche

Wednesday, June 23rd, 2010

Whilst in a partic­u­larly patriotic mood last week and putting together our Brit theme (this has nothing to do with the football, we should add), we stumbled across the beautiful shots of Hedi Slimane’s 1985 Rolls Royce Corniche.

The renowned fashion designer and photo­grapher shot the car for London based fashion and arts magazine Dazed — and got his mate, LA record producer and artist Beck, to record the engine note. Couldn’t grab the soundtrack, but we wanted to share the pictures with you.

Having had to reverse carefully recently in a beautiful Somerset lane on a beautiful June day to avoid besmirching the latest Rolls,The Ghost we couldn’t help feeling a bit of nation­al­istic stirring –despite the fact that the company is now, of course, owned by BMW.

Cue Elgar’s swelling strings. Cue lusciously composed images of this Green And Pleasant Land. Cue Capello’s bootcamp boys exiting the World Cup ignomini­ously against Slovenia. Or not.

Once more unto the breach Engerland.

Stars And Their Cars

Friday, April 30th, 2010

A skyrock­eting star need a killer car.

And over the years various shots of legends of music, screen and stage have been photo­graphed with their ride of choice. Each has added something to each’s image.

Here’s our latest selection of inter­esting cars and their signi­ficant others.

Geneva Salon Roundup

Monday, March 8th, 2010

The 918 takes the classic Spyder fomat and plugs it into the 21st century

I’m not the greatest lover of motor shows. They’re all titil­lation and no consum­mation. I’ve never really under­stood their appeal in the same way I don’t get strip clubs. Just looking at cars is the same as looking at an attractive member of the opposite sex; very pleasant, as far as it goes, but you only get about ten per cent of the pleasure that should be had.

And it may be also that motor shows will wither away. The British show was once one of the most important but has effect­ively died off. Even the mighty Detroit, Tokyo and Frankfurt shows have been clobbered by the recession: non-​​attendance by a big carmaker at one of those was once unthinkable, but as the recession struck they bailed out in such numbers that last year’s Tokyo show was almost cancelled.

But it’s superfast broadband that might finally kill the motor show. Why would you travel for hours to a grim part of town to traipse around a draughty exhib­ition hall when you’ll be able to download hi-​​def, 3D renderings of the latest models which you can configure with your choice of colour and trim, look at without the backs of other people’s heads getting in the way, and then get into (virtually), start up and drive?

But if one show survives, I hope it’s Geneva. For a start it’s five minutes’ walk from the airport, so you can Sleazyjet in from anywhere. Second, it’s small enough that your feet won’t hurt by the end of the day. Third, despite the size, all the major carmakers and lots of insig­ni­ficant but insane ones are here: nobody bails on Geneva, yet.

I’ll get to the important cars of this year’s show in a moment, but those tiny, loopy tuning firms alone make Geneva worth the trip. You’ll see stuff you just won’t see elsewhere; really outrageous cars that it would be completely unacceptable to launch anywhere else. Thought the flagrant, aggressive SUV was a thing of the past? Oh no. Maybe it’s because Switzerland is neutral territory and non-​​EU that Hamann feels safe revealing its Range Rover Sport-​​based Conqueror II, or its BMW X6-​​based Tycoon Evo M. Carlsson brought its €429,000, 735bhp, Mercedes SL-​​based C25, whose envir­on­mental impact will be limited only by the fact that just one will be supplied to each of 25 countries. Swiss tuner Mansory has somehow managed to get hold of a Rolls-​​Royce Ghost already and pimped it with a shocking electric blue and gold paintjob, which looked even more garish alongside its more subtle but otherwise entirely pointless carbon-​​fibre bodied Mercedes G-​​wagen.

Ugliest was probably the Malaysian-​​made, V8-​​powered Bufori Geneva limo: slogan, ‘A Statement of Pride,’ though ‘a statement of staggering bad taste’ might be more truthful. Who in their right mind buys these things? Is Switzerland so awash with idle cash that these excres­cences are needed to soak it up? Even Bentley wasn’t immune, displaying a foul purple-​​and-​​cream Continental.

The design houses like Giugiaro have always used Geneva to show their own work, unfettered by the restric­tions of a commission from a big carmaker, and these cars are another good reason for coming. Pininfarina’s take on an Alfa spider is bewitching; Bertone’s Pandion, a variation on the same theme, more challenging. But you’ve never seen anything like the Pandion’s rear grille: a mad, asymmetric jumble of spikes, somewhere between a porcupine’s quills and broken glass. This is proper, free-​​thinking car design; you wonder if a big carmaker would have the balls to put it into production.

There were some great-​​looking cars from the major makers, though. The show-​​stopper was unques­tionably Porsche’s 918 Spyder. It was a genuine surprise; when the covers are whipped off new cars at motor shows they have almost always been leaked in advance or shown to car magazines so they can put them on their covers in time. But this was a genuine shock: a plug-​​in hybrid supercar with over 500bhp and a 3.2sec 0-​​60mph time, yet returning 90mpg and 70g/​km of CO2. Those figures are greener than a Prius, and Porsche is not in the habit – unlike some other car firms – of making claims it can’t prove. For once, looking was almost enough; the 918 manages to appear compact, delicate and light but raw and aggressive all at once. It also looked bored on that stand; bored being looked at when it’s built to be driven. And you just know it will be incan­descent to drive.

The most signi­ficant car of the show is probably Audi’s A1, because it sits at the nexus of a series of inter­con­nected trends. Audi is on a roll, despite the downturn. People want cool small cars again for a bunch of reasons and they want a premium badge. The Mini better watch out. Ford showed its new Focus, more signi­ficant than the A1 in terms of numbers, but the looks are a little Korean and you just know it will be more of the same from Ford; great dynamics, great quality, and a car that doesn’t treat the ‘ordinary’ driver like a schmo.

Alfa’s new, Focus-​​sized Giulietta was much better-​​looking, but like I said, the looks are only ten per cent of the appeal.
Elsewhere, like every other motor show for the past two years, pretty much every big carmaker had some sort of electric/​hybrid/​whatever concept on display, but there’s a big difference between just saying your new concept runs on manure and emits only butter­flies, and actually putting an appre­ciably greener car into profitable mass production.

And like every other motor show, Geneva’s halls are crammed with car-​​anoraks festooned with cameras and laden with brochures, with the garishly-​​dressed and bouffanted ‘valued clients’ being buttered up by the more exclusive carmakers (so that’s who buys a Bufori…), with teams of Chinese engineers taking digital pictures of obscure parts of the latest models, and with the angular, archi­tec­tural, intim­id­at­ingly beautiful stand-​​girls.

I’ve never quite under­stood this either; if a carmaker wants us to look at its new model, why does it distract us with beautiful women wearing very little? And why does the car industry continue to get away with a ‘marketing’ tactic that should have died off at the same time the Miss World contest was taken off TV? Maybe there’s a parallel with motor shows in general; maybe predic­tions of their demise are premature. A few more will die off, certainly. But if you don’t mind just looking, go to Geneva.

The Eight Principles of the Classic

Friday, July 10th, 2009

There’s a lot of misun­der­standing about the word ‘classic’. And for such a contro­versial word, petrol heads and general lovers of cars and bikes use the word perhaps more than any other. In a noble attempt to clarify our terms at the start of our ‘classic’ feature thread, we thought we’d consult the good book: and find examples out there in the real world that exemplify the various defin­i­tions of the ‘C’ word. Tell us what you think of our choices, and please, feel free to suggest your alternatives.

Classic (adj) (as defined by Collins Dictionary 1991)
1 ‘of the highest class’ : The Rolls Royce Phantom Coupé

rolls-phantom-coupe

Synonymous with the highest possible ideals of motoring perfection, many believe that Rolls Royce has reached new heights with the latest range of models. Combining as it does super­lative performance with bespoke tailoring, could the Phantom Coupé be the most classic Rolls ever?

2 ‘serving as a standard model of its kind’: The Honda Civic Type R

civic-typer2

In its many and various manifest­a­tions the Civic Type R has set the standard by which all hot hatches are measured. They are engin­eered with the perfect balance of fun-​​focused emotion and workaday reliab­ility – and that’s what Hot Hatches – the icon of the everyman – are all about.

3 ‘adhering to an estab­lished set of principles’: The Morgan Plus Four

morgan-plus42

Sticking with a formula of hand-​​wrought production values in a self consciously retro­spective style, a Morgan is instantly recog­nisable. Though that self-​​conscious styling plays on deep-​​lying popular ideas of what consti­tutes a classic (falling perhaps into cliché), it achieves its aim every time.

4 ‘charac­terised by simplicity, balance, regularity or purity of form’: Harley Davidson Sportster

harley-davidson-sportster

Love them or hate them, the perennial popularity of the simple but burly V-​​Twin form is the core of one of the strongest brands mankind has ever known. As such, the consist­ently pure idea that is the Harley will continue to rumble into legend.

5 ‘of lasting signi­ficance or interest’: McLaren F1

mclaren-f1

In 1998 the McLaren F1, setting a still rarely matched top speed of 243 MPH, almost single-​​handedly ushered in the era of the road going hypercar. Representing the boomtime economics of GP-​​roadcar crossover it remains a totem­ically signi­ficant classic – even in a world where the Bugatti Veyron exists.

6 ‘continu­ously in fashion because of a simplicity of style’: The Mini

mini

Despite the current mania generated by the fiftieth anniversary of the launch of Alex Issigonis’s Mini design, the little cars never really went out of fashion. Devastatingly simple, accessible and fun, the design will be forever associated with a time and a place in when Britain was at the centre of style.

new-mini

And it’s difficult to argue that the new Mini doesn’t carry on many of the tradi­tions initiated by the BMC version. Loved partic­u­larly by women of a certain age, and an ongoing exemplar of the British thing (ok, we know they’re German, but still…) their strato­spheric sales figures are testament to the brand’s ongoing appeal.

7 ‘of the highest excel­lence’: The Land Rover Discovery 3

land-rover-discovery3

With its ability to range deep into the most inhos­pitable terrain imaginable as well as being the perfect luxury long-​​distant ride for a family of six (or a handful of outdoor adven­turers), the Disco 3 is the apogee of a much-​​maligned form.

8 ‘regarded as defin­itive’: The Lamborghini Countach LP400

lamborghini-countach1

If you were a man-​​child of the seventies or early eighties, the Countach will always be the defin­itive dream car. The Gandini designed shell, the scissor doors and its multilayered hooligan chic remains unsur­passed. Hats off to Bertone.