There’s a nice comfortable cushion of years between the present and the 1970 and 1976 Motor Trend Cars of the Year, which gave our discussions about What Might Have Been a certain detachment. Today’s Car of the Year Revisionism discussion, however, takes as its subject a car that’s still with us in large numbers. Read More >
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We went all 20/20 hindsight on the 1970 Motor Trend COTY choice yesterday, and today we’ll be jumping right into the depths of the Malaise Era for the MT gurus’ 1976 choice: the Dodge Aspen/Plymouth Volaré Read More >
Having just spent a weekend officiating at a race with one of the perpetrators of the latest Motor Trend Car of the Year choice, I got to thinking about past controversial COTY choices… and what choices we might make today, with the benefit of hindsight. Second-guessing the 1971 and 1983 choices is fish-in-a-barrel stuff (though I think the very radical-for-Detroit Vega deserved the award in spite of its terrible execution), but you can find tough choices all the way back to 1949. Today we’re going to talk about 1970’s Car of the Year winner: the Ford Torino. Read More >
Back in junior high in the late 1960s, we had an assignment to write about “the good life in the year 2000”. Since I regularly read magazines like Popular Science and Mechanics Illustrated, it wasn’t too hard to put something together about edible silverware (didn’t happen) and microwave ovens (did). Perhaps that’s why I like the site Retro Future so much. There’s something meta about looking back into the past at how people looked forward into the future. While researching the Brooks Stevens Studebaker concepts I came across this 1963 clipping from the Milwaukee Journal. Stevens was based in Milwaukee and his hometown paper reported on a panel at the SAE congress in Detroit which featured Stevens and Richard Teague, who was by then the head of styling for American Motors after stints at Chrysler, GM and Packard. Stevens worked as a contract designer for a variety of non-automotive companies in addition to his work for Studebaker. The topic of the SAE panel was the car of the future. Stevens had a grandiose plan for a rolling living room. Teague, no stranger to cutting edge designs himself (cf. Packard Predictor) suggested a more evolutionary process. The interesting thing is that they both sort of turned out to be right, if not on the exact time frame.
Last fall, the first tests of the new Chevy Caprice PPV, Dodge Charger Pursuit and Ford Taurus Interceptor generated quite a bit of interest here at TTAC and beyond, as three all-new contestants battled to replace the outgoing Crown Victoria as America’s cop car. At the time, the Caprice seemed like the clear performance favorite, but as Sajeev Mehta has pointed out, there’s more to the cop-car equation than pure speed. Although good luck trying to tell the Detroit Three that, as all three are cherry-picking performance stats in the wake of the latest round of Michigan State Police testing.
I’ve often wondered if there is a relationship between the decline of the automobile’s cultural relevance, and the decline of the larger-than-life auto executive. Clearly the car’s waning ability to excite, inspire and shape material culture is a complex phenomenon with no single cause, but it’s got to have some kind of connection to the people making the cars. After all, the original Mustangs, Corvettes, and Model Ts emerged from firms led by such oversized presences as Lee Iacocca, Bill Mitchell and the original car-guy-as-folk-hero, Henry Ford. Today there’s no shortage of brilliant, engaging, passionate people working in the car industry, and yet few contemporary executives have made the kind of cultural impact that their predecessors once did. This, in a nutshell, is why Bob Lutz fascinates me: though he never made as wide of a mark on popular culture as an Iacocca or DeLorean, he’s one of the last remaining links to an era in the car industry that now seems impossibly out of reach.
But because he is not a man of the times, it’s incredibly easy to misunderstand the guy. In fact, having spent several hours chatting with him on and off the record, I’d argue that the best anyone can hope for is to simply not misunderstand him. In that spirit, I’ve assembled ten impressions of the man that I found not to be true in our conversation. But be warned: just because these “myths” aren’t completely true doesn’t mean they’re completely untrue either…
[Editor’s note: Today, at 12:25 pm, the very last Panther-platform Crown Victoria rolled off the line at St. Thomas Assembly Plant. Ryan Paradis, a.k.a. “86er,” has the honor of eulogizing the beloved beast in his first-ever contribution to TTAC]
It has become beyond trite by this point to say that, with the end of the Crown Victoria, Grand Marquis and Town Car, an era comes to an end. And yet it is thus: the last of the body-on-frame, rear wheel drive and eight cylinder engine passenger cars, once a species unique to North America, have now reached the end of an 80 year span that commenced with the advent of the 1932 Ford V-8.
Having transported generations of Americans through some of the nation’s finest decades, full-size cars like the Crown Victoria, Grand Marquis, and Town Car are now an anomaly. While large V8-powered sedans made a comeback in the 21st century, the Ford Panther chassis was one of the very few full-size, rear-drive sedans that never left. And today we bid it farewell.
The theme that’s emerged most clearly from my interview with Bob Lutz was, somewhat counterintuitively, compromise. Every vehicle that’s developed and built is the product of nearly countless compromises, on everything from performance to efficiency, and from weight and materials to cost. The question isn’t so much if you compromise when developing a new car, but how you compromise… as was demonstrated in our last Lutzian anecdote. And even during my interview, as the conversation bounced from GM to Chrysler, from mass-market products to niche halo cars, I was thrilled that this issue kept coming up. Why? Because this theme played perfectly into the question that was at the top of my list of prepared questions. After all, there has been a mystery haunting GM followers for some time now… a mystery that I’d never seen a journalist ever ask about. And there I was, sitting with one of the few people who was even capable of fully answering it. So I just waited for a pause, opened my mouth and asked:
Why do GM cars weigh more than other cars?
I had no idea what kind of answer to expect… but I definitely wasn’t expecting the answer I got.
Bob Lutz admitted in his book Guts that he “possesses a certain duality of mind,” and he ain’t kidding. After all, how could someone spend a career in an industry built on “the industrial logic of scale” (to borrow a phrase from Sergio Marchionne) while trying to connect new vehicles with the lust centers of the human brain without developing a certain amount of creative schizophrenia? But, as anyone who has ever driven a Pontiac Solstice knows, sometimes compromises are made between the conflicting pulls of lust and practicality… and when those compromises must be made, Lutz tends to err on the side of lust. I confronted him about this tendency in our recent conversation, and rather than accept the criticism, he doubled down on his premise that lust-worthy design is more important than practicality. And he illustrated his point by telling the tale of a long-forgotten concept and its troubled path to production.
Few will be surprised to hear that Chrysler Group will end production of its Dakota compact pickup truck next Tuesday, as sales of all small-to-midsized pickups have cratered over the last decade. Indeed, the Detroit News reports that the end of Dakota production will result in the layoffs of only 39 employees, although that number may climb as high as 150. In any case, the end of Dakota production is just the tip of the iceberg: Ford’s Ranger goes out of production in December of this year, and GM’s Colorado/Canyon twins will be discontinued sometime next year. Though Dodge plans to bring a minivan-platform-based AWD “lifestyle pickup” to market as a 2014 model, and Chevy is planning to build a North American variant of its new Global Colorado for the 2015 model-year, we’re looking at a several-year interlude in which no American OEM will offer a small pickup in the US. And looking at this chart, you almost can’t blame them…
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No, I’m not talking about the cars and SUVs that Mercedes assembles in Alabama. Yesterday, Jack Baruth told us about the relationship between the American Steinway and German Daimler companies and the cars that Steinway started assembling under license from Mercedes in 1905. When I read Jack’s article I remembered that I had something in my collection of press kits, sales brochures, images and and assorted swag (with apologies to Mr. Zimmerman) that I’ve been accumulating for the past decade or so of working the press previews for the Detroit, Chicago and Toronto auto shows. In 2006 Mercedes Benz distributed a reproduction of a reproduction. It’s actually a very cool little piece of automobilia and a nice facsimile of a historical artifact, in a couple of ways.
It’s a small booklet, less than 40 pages, called The American Mercedes. It was originally distributed in 1906 by the Daimler Mfg. Company, on Steinway Ave. in Long Island City, and promotes the 1906 45 horsepower “American Mercedes”. It was reproduced in the early 1960s, and the copy M-B gave out in 2006 had a 1961 afterword and an insert from 1964. The whole package is chock full of historically interesting aspects.
Steinway & Sons may be the last great American brand: from 1853 to the present day, the company has built world-class musical instruments by hand in New York. Unlike their contemporaries in the guitar-making business, Steinway never went through “bad times”, even after the family sold out in 1972. (Interestingly, although CBS bought both Fender and Steinway, the paths taken by the two companies under CBS ownership were very different.) Nor have they become mere cloacae for the diarrheal discharge of Foxconn’s suicide factories the way Hewlett-Packard, Dell, and Apple have. Steinway’s business model is simple and hasn’t changed for over a century. They build the pianos in the United States to exacting standards, charge premium prices for them, and everybody is happy.
The power of the Steinway brand is such that everybody from random auto reviewers to big-time ad agencies feels compelled to mention their products in an automotive context. Googling the Steinway name together with that of any major auto-media outlet will yield results ranging from dismal to pathetic. Engines, body panels, dashboards, radio switches, and brake feel are all likened to the company’s eight-hundred-pound musical gorillas. There’s something about Steinway that gets car guys excited.
Wait till they find out that Steinway was in the business of building automotibles before Soichiro Honda was born, and remains so, in minor fashion, to this day.
If you asked an auto industry lobbyist, say, a month ago, what the big fights were over in CAFE negotiations, he probably wouldn’t have said “the number.” In the parlance of the Potomac valley, that means everyone at the table knows that at some point they’re all going to join hands and sing kumbaya over one highly symbolic number. Not surprisingly, the numbers that everyone in DC has been looking at fall right in the middle of these four scenarios… not coincidentally the tipping point where hybrids swing from a quarter to nearly half the market. But are these WSJ [sub] charts even accurate? John Krafcik, CEO of Hyundai Motor America and the industry’s CAFE contrarian implies that it’s not for everyone, telling Automotive News [sub] that
Honestly, our focus isn’t on hybrid. Our focus is on optimizing internal combustion and getting as many fuel-efficient vehicles out there, across the lineup. That’s the way you do it. If you look at the math, if you look at how CAFE math works, volume trumps everything.
But then Krafcik oversees a brand that doesn’t just sell lots of high-efficiency cars, it sells very few pickups… resulting in a sales-weighted fleet fuel economy 35.7 MPG in the first half of this year (as calculated by Hyundai). Did we mention that the 2016 passenger car standard is 37.8 MPG, at which time it figures its non-hybrid Elantra will get 50 MPG combined on the CAFE test? And nobody can look at Hyundai’s six-month sales performance (up 26%) and argue that Americans don’t want to buy fuel-efficient cars. In short, Hyundai is proving that automakers who can make money selling appealing, fuel-efficient cars need not binge on hybrids Even, according to the EPA’s final rule on standards through 2016, for manufacturers trying to sell as many pickups as possible.
Dan Gurney signing autographs for members of the the media at the 2008 New York Auto Show
The big OEM car show season is over and now that summer is here, it’s time for car shows, meets and cruises. For the people who work for marketing in the car companies and in the aftermarket it’s really a year long season. I see some of the same faces at the NAIAS, the Detroit Autorama, the Hot Rod Power Tour and the Woodward Dream Cruise..
I’ve attended press previews of some of the big auto shows since 2002. I’ve worked Detroit every year since, Chicago every year but ’09, and Toronto a couple of times when it didn’t conflict with Chicago. A car show media preview is not the same as the public car show and not just because there is staging and seating for the press and the displays are not in their final form. In a word the difference is access. During the public days, some of the cars are locked, and the ultra luxury and exotic rides are completely roped off from the unwashed masses. If you have a question to ask, there are trained product spokes men and women who will tell you about the floor models or give you a shpiel about a concept vehicle. There may be some sales reps from local dealers as well who will gladly give you a business card. You never see an executive from an automaker on the show floor during the public days. If there are celebrities, like racers, athletes and entertainers making personal appearances, they too are usually behind ropes and if autographs are available, the lines are long.
The media preview is completely different. Aside from its utility to journalists, for a car guy or gal it’s an auto show on an exponential scale. Yes there are models and product specialists on the turntables and around the displays who can try to answer you questions, but more important there are all the executives, product managers, engineers, designers and marketing people involved in making this year’s tangerine flake streamline babies. I like to talk to pretty ladies as much as the next guy so the models and booth professionals are fine with me. If I have a question or comment about a car, though, I think the chief designer could probably answer my question better than someone who’s learned a script. If you had your choice of people to talk cars with, wouldn’t you pick Carroll Shelby over someone hired by a talent agency?
At the height of the Second Red Scare, a Southern California man named Willy Witkins imported and sold East German Wartburgs and Škodas. The hate mail came rolling in. Read More >
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