https://wikicars.org/api.php?action=feedcontributions&feedformat=atom&user=ZerillosWikicars - User contributions [en]2026-04-21T22:51:21ZUser contributionsMediaWiki 1.38.4https://wikicars.org/index.php?title=TVR&diff=17216TVR2006-09-21T12:05:35Z<p>Zerillos: </p>
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<div>[[Image:Tvr_logo.jpg]]<br />
<Br><Br><br />
TVR was established in 1947 by Trevor Wilkinson. The first cars were specials using the drivelines from production cars, tuned and installed in a lightweight TVR chassis with minimal bodywork to maximise the agility and power-to-weight ratio, which remain TVR virtues to this day. <br />
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TVR made use of proprietary engines, like many low-volume manufacturers, to power its cars for many years. However, there were those who opined that this somehow diminished the cachet of the Great British sports cars from Blackpool, despite the fact that the engines, by the late '80s, were very heavily modified to TVR's own unique, high-power specifications. <br />
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That began to change in the early '90s with the birth of the TVR V8 engine, which in 1995 became the world's first racing engine to be de-tuned and installed in a road car: the TVR Cerbera. The Cerbera was a rude awakening for the supercar establishment. "0-100mph in nine seconds dead," screamed Autocar magazine's front cover. <br />
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But the Speed Eight (aka AJP8) was only the beginning. In 1997, a Griffith Speed Six concept car was unveiled at the Earls Court Motor Show. It showcased the TVR Speed Six engine, a very modern take on the quintessentially British, growling straight-six. The Speed Six engine, like the Speed Eight, first appeared in the Cerbera. But the Speed Six is renowned as the power-house of the jaw-dropping Tuscan Speed Six that starred with John Travolta and Halle Berry in the Hollywood movie Swordfish. <br />
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The Speed Six is also the power plant of the T400R, with which TVR returned to Les 24 Heures du Mans in France in 2003 and 2004. Both Speed Six-powered T400Rs finished this most gruelling of automotive challenges - no mean feat in a class dominated by German and Italian stalwarts. <br />
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At the end of 2004, the Speed Eight engine, after an illustrious motorsport career, not to mention a spectacular crop of headlines in the world's motoring press, ceased production with the Cerbera. Now, the Speed Six engine, in various guises, is at the heart of every current TVR model.<br />
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* [http://forum.zercustoms.com/viewtopic.php?t=31 2000 TVR Cerbera Speed 12]</div>Zerilloshttps://wikicars.org/index.php?title=Enzo_Ferrari&diff=17215Enzo Ferrari2006-09-21T12:03:24Z<p>Zerillos: </p>
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<div>Enzo Ferrari was born in Modena, february 18th 1898. At the age of ten years his father Alfredo, manager in a local factory of metal works, took both him and his brother Alfredo Jr. to Bologna, to watch a car race. After seeing that and other races Enzo Ferrari decided that he wanted to become a pilot.<br />
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The school career of Enzo Ferrari was quietly insufficient, and that was reason of great regret in his last years. 1916 is a tragic year, when suddenly death catches both the father and the brother.<br />
During the World War he worked as a horsesmith, building and repairing horseshoes for the mules of the italian army, and, in 1918, he nearly died because of the terrible epidemy that hit the entire globe.<br />
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He started to wark at the CMN, a small car factory converted at the end of the war. His tasks included test driving, thing that he did with extreme joy.<br />
Right at that time he started to seriously approach the races, and in 1919 took part to the Targa Florio, where finished in ninth place.<br />
Thanks to his friend Ugo Sivocci Romeo started to work at the [[Alfa Romeo]]. Alfa Romeo produced new concept-cars for the 1920 Targa Florio and Ferrari, driving one of these cars, arrived in second place.<br />
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While working at [[Alfa Romeo]], he became one of the favourites of Giorgio Rimini, the main assistant of Nicola Romeo.<br />
In 1923 he raced and won on the circuit of Sivocci, near Ravenna, where he met the father of the legendary italian ace pilot of the World War, Francesco Baracca, that was astonished by the courage and the audacity of the young Ferrari, and introduced himself to Enzo with the badge of the son's air squadron, the famous raging black horse in one yellow shield.<br />
In 1924 hit his highest level winning the Acerbo Cup.<br />
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After some other successes he was promoted official pilot. But his racing career continued only in local championships and with second-hand cars. Finally he had the possibility to drive a new car in the most prestigious race of the year, the french Grand Prix.<br />
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He married, and opened an Alfa official shop in Modena. In 1929 he opened his own factory, the Scuderia Ferrari. He was sponsored in this bet by rich textile entrepreneurs from Ferrara, Augusto and Alfredo Caniano. The main objective of the company was to supply mechanical and technical know-how to the rich purchasers of Alfa Romeo that used these cars in the races. He signed an agreement with the Alfa Romeo to supply technical attendance also to their direct customers.<br />
Enzo Ferrari signed similar contracts also with [[Robert Bosch GmbH]], [[Pirelli]] and [[Shell]].<br />
In order to increase its ''scuderia'' of amateur pilots, he convinced Giuseppe Campari to join the squadron, and then another hit followed with [[Tazio Nuvolari]]. In its first year the Scuderia Ferrari counted 50 pilots, both full time and part-time!<br />
The team competed in 22 races and the results were eight victories and several good placements.<br />
The Scuderia Ferrari became a study case, also because of being the greatest team built together by a single person. The pilots did not receive a salary but a percentage of the victory prizes, but every technical or economical request from a pilot was accepted.<br />
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All that started to change when Alfa Romeo announced its decision to withdraw during the racing season 1933, because of financial problems. The Scuderia Ferrari could then enter officially in the world of races.<br />
In the 1935 the french pilot Rene Dreyfus signed for the Scuderia Ferrari. He used to be a Bugatti pilot before.<br />
He was so hit by the difference between the old team and the Scuderia Ferrari to say such words:<br />
''"The difference between the Bugatti team and the Scuderia Ferrari is like between the day and the night. [...] With Ferrari I have learned the art of the business in the races, because there is no doubt that Ferrari is a great businessman. [...] Enzo Ferrari loves the races, "su questo non ci piove" (literally: "can't rain on that" means there's no doubt). Though he is able to smooth everything for the prosecution of his objective that is to build a financial empire. I am sure that one day he will become a great man, even if the cars that he will send to the tracks would not carry his name anymore"''.<br />
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In these years the Scuderia Ferrari could boast great pilots like Giuseppe Campari, Louis Chiron, Achille Varzi and best of all, Tazio Nuvolari. During these years the team raced against the power of the german teams Auto Union and Mercedes.<br />
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After the second World War, Enzo Ferrari built his first own car and in the Grand Prix of Monaco of 1947 appeared the model [[125]] (Tipo 125) with 1.5 liters engine. The car was conceived by his helper Gioacchino Colombo. The first victory of Ferrari in a Grand Prix came in 1951 in the GP of Great Britain where the argentinian Froilan Gonzales leaded to the victory the car of the Scuderia. The team nearly won the World Championship but any hope vanished in the GP of Spain when the Scuderia chose the Pirelli tires: the result was a disaster, and let Fangio win the race and his first world championship.<br />
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The sport's cars became a problem for Ferrari, not totally satisfied by his victories. His main market was based on race cars of the previous year sold to private pilots. The Ferrari cars became common in all the main race events like Le Mans, Targa Florio and the Mille Miglia. And it is right at the Mille Miglia that Ferrari had some of his greatest victories. In the 1948 edition, Nuvolari, already in bad health conditions, was enrolled, even if his body could not resist to a similar effort. At the stage of Ravenna Nuvolari, as the great champion he has ever been, was already far ahead, and his advantage was more than 1 hour. Unfortunately Nuvolari was stopped bye the breakdown of the brakes.<br />
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In that period [[Ferrari]] began to produce his famous Gran Turismo, designed by Battista "Pinin" Farina. The victories in Le Mans and in other long distance races made the Ferrari brand famous all over the world.<br />
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In 1969 Ferrari had to fight against serious financial efforts. The cars were very requested at that time but Ferrari could not produce enough to satisfy the demand and at the same time to maintain his own racing ambitions. In his aid came FIAT and the Agnelli family. That agreement between Ferrari and the FIAT empire was very criticized and thought responsible for the inability to dominate the smaller English teams.<br />
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In 1975 the Ferrari came to a rebirth with the new pilot Niki Lauda who in three years won two driver's World Championship and let Ferrari win three manufacturer's World Championship.<br />
But those were the last the important victories.<br />
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Enzo Ferrari was not able to see his team world champion again; in August 14th 1988, at the age of 90 he died.<br />
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* [http://forum.zercustoms.com/viewtopic.php?t=32 2002 Ferrari Enzo]</div>Zerilloshttps://wikicars.org/index.php?title=Bentley_Continental_GT&diff=17214Bentley Continental GT2006-09-21T11:58:52Z<p>Zerillos: </p>
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<div>[[Image:800px-SC06_2006_Bentley_Continental_GT.jpg|thumb|right|350px|2006 Bentley Continental GT]]<br />
'''Bentley Continental GT''' is a grand tourer coupé with two doors and a 2+2 seating arrangement released in 2003, replacing the previous [[Rolls-Royce]]-based [[Bentley Continental R|Continental R and T]].<br />
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The Continental GT has a 6&nbsp;L [[W12 engine]] with twin [[Turbo Engine|turbocharger]]s that produce 552 [[HP|hp]] (411&nbsp;kW). Acceleration from 0-60 mph takes 4.7 seconds (0 to 100&nbsp;km/h in 4.8 s), the top speed is 198&nbsp;mph (312&nbsp;km/h). It has [[Four Wheel Drive|all-wheel drive]], the first Bentley to do so, and a six speed [[automatic transmission]] with [[steering wheel]] mounted gearshift paddles for instant override. The engine and air suspension are loosely based on owner [[Volkswagen]]'s flagship car the [[Volkswagen Phaeton|Phaeton]].<br />
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The Continental GT features the largest brake disc on any production car at 405&nbsp;mm (16&nbsp;in) in front. The rear disc measures 335&nbsp;mm (13&nbsp;in).<br />
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With a waiting list of 1 1/2 years it has proven to be a huge success for Bentley and Volkswagen. Depending on options it is priced around $170,000 (A$375,000).<br />
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[[image:800px-Bentley.continental.gt.unloading.arp.977pix.jpg|thumb|right|150px|Bentley Continental GT]]<br />
[[image:Bentleys.jpg|thumb|right|The car in the foreground is a Continental GT, while the others are Bentley Arnages.]]<br />
==Continental Flying Spur==<br />
''See also: [[Bentley Continental Flying Spur]]''<br />
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The four-door '''Continental Flying Spur''' [[sedan|saloon]] was shown at the 2005 Geneva Motor Show in March. The Flying Spur utilizes the [[Volkswagen Phaeton]] platform, and will be available in the United States in the summer of 2005 for around US$175,000. Together they will take Bentley production from around 1000 units in 2003 to nearly 9000 units in 2006.<br />
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One notable aspect of the Continental Flying Spur is its grille. Although it looks like a traditional chromed brass mesh, it is actually made of plastic. This was done to add pedestrian safety to the car — it is designed to break apart on impact to soften the blow. However, it will not meet the forthcoming European Union pedestrian safety regulations.<br />
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==Continental GTC==<br />
[[image:800px-Bentley_continental_gtc.jpg|thumb|left|150px|Bentley Continental GTC]]<br />
The convertible version of the Continental GT, the '''Continental GTC''', was presented in September 2005, and will be available by the fall of 2006. With the second generation [[Bentley Azure (2006)|Azure]], it is the second convertible by Bentley presented in 2005.<br />
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== Online Resources ==<br />
*[http://forum.zercustoms.com/viewtopic.php?t=34 2003 Bentley Continental GT Diamond Series]<br />
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This page uses content from Wikipedia; see [http://en.wikipedia.org/wiki/Bentley_Continental_GT Bentley Continental GT], which includes these [http://en.wikipedia.org/w/index.php?title=Bentley_Continental_GT&action=history contributors].<br />
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[[Category:Bentley vehicles|Continental GT]]<br />
[[Category:Grand tourers]]<br />
[[Category:Luxury vehicles]]</div>Zerilloshttps://wikicars.org/index.php?title=Bentley_Arnage&diff=17213Bentley Arnage2006-09-21T11:57:50Z<p>Zerillos: /* External links */</p>
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<div>[[Image:Arnaget.jpg|right|250px|2003 Bentley Arnage T]]<br />
The '''Bentley Arnage''' is a luxury car produced by [[Bentley|Bentley Motors]] in Crewe, England. The Arnage and its [[Rolls-Royce]]-branded sibling, the [[Rolls-Royce Silver Seraph|Silver Seraph]], were introduced in the Spring of 1998 and were the first entirely new designs for the two marques since 1980.<br />
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Another break from the past was to be found under the bonnet, for decades home to the same 6.75&nbsp;L [[V8]], a powerplant which could trace its roots back to the 1950s. The new Arnage was to be powered by a [[BMW]] V8, with Cosworth-engineered twin [[Turbo Engine|turbo]] installation, and the Seraph was to employ a BMW [[V12]].<br />
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The Arnage is over 5m long, almost 2m wide, and has a kerb weight of more than 2.5 metric tons. For a brief period it was the most powerful and fastest four-door [[sedan]] on the market.<br />
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==Development==<br />
Following the uptick in sales for all of Rolls-Royce and resurgence of the Bentley marque, then-owner, Vickers, set about preparing a new model to replace the derivatives of the [[Rolls-Royce Silver Spirit]]/[[Bentley Mulsanne]] which it had been selling since 1980. In a complete switch from tradition, these new cars would have bodies built at the Crewe factory with engines built elsewhere.<br />
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A number of potential engines were examined, including the [[GM Premium V engine]] and a [[Mercedes-Benz]] [[V8]], before Vickers selected a pair of [[BMW]] powerplants. It was decided that the Rolls-Royce model, to be called the [[Rolls-Royce Silver Seraph|Silver Seraph]], would use BMW's [[naturally-aspirated]] [[V12]] while the more-sporting Bentley model would use a special twin-[[Turbo Engine|turbo]] version of the 4.4&nbsp;L BMW [[V8]], which was developed by Vickers subsidiary, Cosworth Engineering.<br />
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On its introduction in the spring of 1998 as a 1999 model, the Arnage was available as a single model with this 4398&nbsp;cc BMW V8 engine, with twin [[Turbo Engine|turbocharger]]s, developing some 350&nbsp;[[HP|hp]] (260&nbsp;kW).<br />
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The basic BMW V8 Arnage was renamed the '''Arnage Green Label''' in 2000, its last model year.<br />
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===Red Label===<br />
Launched in late 1999 was the '''Arnage Red Label'''. [[Volkswagen]], who had purchased the Bentley name and Crewe factory was loathe to continue purchasing BMW's engines, and it turned out that Bentley engineers and customers felt the same way. The BMW-powered Arnage, while objectively more modern than the [[Bentley Turbo RT|Turbo RT]] it replaced, was more than a second slower to 60&nbsp;mph than that car, and lacked the massive torque that Bentley customers had grown accustomed to.<br />
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Vickers had outsourced to Cosworth the production of the old 6.75&nbsp;L Rolls-Royce engine for use in the continued [[Bentley Continental R|Continental]] and [[Bentley Azure|Azure]] models, so reverting to the old standby engine was a natural choice for the company. In fact, Volkswagen purchased Cosworth as well, so all the pieces fell into place to eliminate the BMW engine.<br />
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The Red Label model reverted to the old V8, which boasted torque of 835&nbsp;N·m with a single Garret T4 [[Turbo Engine|turbocharger]]. This was the greatest amount of torque for a four-door car at the time. Also returning was the [[General Motors Corporation|General Motors]]-sourced 4-speed ''[[GM 4L80-E transmission|4L80-E]]'' [[automatic transmission|automatic]].<br />
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A long-wheelbase version of the Red Label was launched at the Detroit Auto Show in 2001, and the Green Label ended production. The Red Label models were replaced in 2002.<br />
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==Series Two==<br />
[[Image:800px-SC06_2006_Bentley_Arnage_RL.jpg|right|thumb|250px|2006 Arnage RL]]<br />
In 2001, the '''Arnage RL''', a long-wheelbase limousine model, was launched. Available only as a bespoke ("Mulliner") model, each RL was customised to the desires of the buyer. The RL, however, was also the first of a new series of Arnaged which would break Bentley from its BMW-rooted past permanently, as well as presenting a challenge to that company's attempt to revive Rolls-Royce sales.<br />
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The RL was larger than any contemporary limousine, notably including those from its former sister company. Wheelbases ranged from 3336&nbsp;mm (131&nbsp;in) to 3566&nbsp;mm (140&nbsp;in) and even 3844&nbsp;mm (151&nbsp;in), the latter two including a 100&nbsp;mm (3.9&nbsp;in) increase in the height of the roof. The suspension was retuned for the added weight, allowing the larger car to still handle well.<br />
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Many RL models are ordered with armoured elements, reflecting the car's clientelle. In fact, some of the "basic" car's components were armoured from the start. But a full [[B6]] package was also available for £250,000 to £300,000, offering protection from assault weapons and grenades. The RL remains in production as of 2006.<br />
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Notable, though overlooked on the RL's introduction, was an entirely reworked engine. Where the Red Label had merely freshened the [[Turbo Engine|Turbo]] RT's engine, the RL featured an entirely reworked version of the old 6.75&nbsp;L V8. More than half of the engine's parts were completely new, with Bosch Motronic ME7.1.1 engine management replacing the old Zytec system and two small Garrett T3 turbochargers replacing the single large T4. This new engine developed 400&nbsp;[[HP|hp]] (298&nbsp;kW) and 616&nbsp;ft·lbf (835&nbsp;N·m), and was said to be capable of meeting all future emissions requirements.<br />
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In 2002, Bentley updated the Red Label as the series two '''Arnage R'''. This model was launched to contrast the Arnage T, which was developed to be more sporting. The Arnage R features two Garrett T3 turbochargers, as with the RL. <br />
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The '''Arnage T''', also from 2002, was claimed to be the most powerful roadgoing Bentley at its launch at the Detroit Motor Show. As with the Arnage R, there were twin turbochargers, but tuned to develop 450&nbsp;[[HP|hp]] (340&nbsp;kW) and 645&nbsp;lbf&nbsp;ft (875&nbsp;N·m). The Arnage T's 0–60&nbsp;mph time is 5.5 s; a top speed of 168&nbsp;mph (270&nbsp;km/h) is claimed.<br />
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All Arnage R and T models share the same 3116&nbsp;mm (122.7&nbsp;in) wheelbase. The Arnage range was facelifted in 2004, with a front end resembling that of the new [[Bentley Continental GT|Continental GT]].<br />
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===Diamond Series===<br />
Bentley is marking its 60 years of production at the Crewe factory with a special Diamond Series Arnage for 2006. 60 vehicles will be made, the majority for the United States, with diamond wood inlays, diamond quilted leather seats, a stainless steel front bumper, special 19 in alloy wheels, and Union Jack badges on the front wings.<br />
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==Azure==<br />
On January 17, 2005, the '''Arnage Convertible''' [[concept car]], also known as the '''Arnage Drophead Coupe''', was shown at the Los Angeles Auto Show. In April 2005, Bentley confirmed that the model will be produced at Crewe for Spring 2006 sales. Bentley also confirmed the new model will adopt the '''Azure''' tag, replacing the previous [[Bentley Azure|Azure]] as the company's large four-seat [[convertible]]. The new Azure will use a 6.75&nbsp;L twin-[[Turbo Engine|turbo]] [[V8]] which produces 460&nbsp;[[HP|hp]] (335&nbsp;kW) and 645&nbsp;ft·lbf (874&nbsp;N·m).<br />
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==References==<br />
*{{cite journal|journal=[[Car and Driver]]|title='99 Bentley Arnage Preview|author=Ray Hutton|pages=80–81|issue=July 1998}}<br />
*{{cite journal|journal=[[Car and Driver]]|title=Preview: Bentley Arnage Red Label|pages=84–85|author=Ray Hutton|issue=March 2000}}<br />
*{{cite journal|journal=[[Car and Driver]]|title=Bentley Arnage T|issue=October 2002|author=Jim McCraw|pages=95–98}}<br />
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==External links==<br />
* http://www.bentleymotors.co.uk<br />
* http://www.bentleymotors.com<br />
* [http://forum.zercustoms.com/viewtopic.php?t=34 2003 Bentley Continental GT Diamond Series]<br />
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<br />
This page uses content from Wikipedia; see [http://en.wikipedia.org/wiki/Bentley_Arnage Bentley Arnage], which includes these [http://en.wikipedia.org/w/index.php?title=Bentley_Arnage&action=history contributors].<br />
<br />
[[Category:Bentley vehicles|Arnage]]<br />
[[Category:Flagship vehicles]]<br />
[[Category:Full-size vehicles]]<br />
[[Category:Luxury vehicles]]<br />
[[Category:Prestige vehicles]]</div>Zerilloshttps://wikicars.org/index.php?title=World%27s_most_expensive_new_cars&diff=17210World's most expensive new cars2006-09-21T11:54:39Z<p>Zerillos: </p>
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<div>Thw World's Most Expensive News Cars (2006):<br />
* [[Bugatti Veyron]]: $1,192,057<br />
* [[Pagani Zonda Roadster]]: $667,321<br />
* [[SSC Ultimate Aero]]: $654,500<br />
* [[Saleen S7 Twin Turbo]]: $555,000<br />
* [[Porsche Carrera GT]]: About $500,000<br />
* [[McLaren Mercedes SLR]]: About $445, 000 <br />
* [[Maybach 57S]]: About $357,000<br />
* [http://forum.zercustoms.com/viewtopic.php?t=36 2003 Pagani Zonda C12-S Roadster]: About $325 000</div>Zerilloshttps://wikicars.org/index.php?title=List_of_Ford_vehicles&diff=17206List of Ford vehicles2006-09-21T11:46:22Z<p>Zerillos: </p>
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<div>[http://forum.zercustoms.com/viewtopic.php?t=39 2005 Ford GT]</div>Zerilloshttps://wikicars.org/index.php?title=Lotus_Europa_S&diff=17201Lotus Europa S2006-09-21T11:38:50Z<p>Zerillos: </p>
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<div>[http://forum.zercustoms.com/viewforum.php?f=23 2006 Lotus Europa]</div>Zerilloshttps://wikicars.org/index.php?title=Lotus_Exige&diff=17200Lotus Exige2006-09-21T11:37:02Z<p>Zerillos: /* External Links */</p>
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<div>[[Image:800px-Lotus_Exige.jpg|right|thumb|250px|UK-spec Lotus Exige]]<br />
The '''Lotus Exige''' is a two-door, two-seat sports car made by [[Lotus|Lotus Cars]]. It is essentially a coupe version of the [[Lotus Elise]].<br />
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The original Exige was launched in 2000 and had a 1.8 L Rover K Series engine. It produced 170 bhp in standard form and 190 bhp in the VHPD version. Compared to the Elise, it had wider wheel arches, a front splitter, a large rear spoiler and a fiberglass roof.<br />
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In 2004, the Series 2 Exige was introduced. It features a 1.8 L [[Toyota]] engine that produces 189 bhp.<br />
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In February 2005, Lotus announced a limited production run of 50 Exiges, using the Toyota engine with a [[supercharger]], that increases the power output to 243 bhp. These vehicles are only available in yellow or black, representing the colors of Lotus Sport, and are badged 240R. They have a projected 0-60 mph (0-100 km/h) time of 3.9 seconds and 0-100 mph (0-160 km/h) of 9.9 seconds, with a top speed of 155 mph (250 km/h) at a cost of £44,000.00 (approximately $76,500.00 or €65,000.00).<br />
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The North American Exige was unveiled at the Los Angeles Auto Show in January, 2006.<br />
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On the 9th of February 2006 Lotus announced the Exige S. This features a 221 PS supercharged version of the Toyota engine. Unlike the Exige 240R, which was produced by Lotus Motorsport, it comes straight from the factory. Lotus figures claim a 0-60mph performance of 4.1 seconds and state that it is their quickest production car to date. <br />
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== Specifications ==<br />
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According to Lotus, it has the following specifications:<br />
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Engine:<br />
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:Toyota Supplied, 1796 cc I-4, DOHC with VVTL-i (variable valve timing)<br />
:Bore/Stroke 82 mm/85 mm<br />
:190 hp@7800 rpm<br />
:138 ft·lbf@6800 rpm<br />
:Compression ratio: 11.5:1<br />
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Transmission: 6-Speed, Close Ratio with Single-Plate Dry Clutch<br />
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Weight: 2016 lb<br />
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Performance:<br />
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:0-60 mph: 4.7 seconds<br />
:0-100 mph: 12.9 seconds<br />
:Top speed: 147 mph<br />
:Fuel consumption: 24 city / 29 highway<br />
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==External Links==<br />
*[http://www.grouplotus.com/ Lotus Official Site]<br />
*[http://www.lotuscars.com/ Lotus USA Official Site]<br />
*[http://www.seloc.org/ SELOC, a not-for-profit global internet-based Lotus Enthusiasts Club, with a very active message board]<br />
*[http://forum.zercustoms.com/viewtopic.php?t=45 2006 Lotus Exige S]<br />
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<br />
This page uses content from Wikipedia; see [http://en.wikipedia.org/wiki/Lotus_Exige Lotus Exige], which includes these [http://en.wikipedia.org/w/index.php?title=Lotus_Exige&action=history contributors].<br />
<br />
[[Category:Lotus vehicles|Exige]]<br />
[[Category:Mid-engined vehicles]]<br />
[[Category:Sports cars]]</div>Zerilloshttps://wikicars.org/index.php?title=Saab_9-3&diff=17199Saab 9-32006-09-21T11:35:18Z<p>Zerillos: /* External links */</p>
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<div>[[Image:773px-2006_Saab_9-3_SportCombi.jpg|right|250px]]<br />
The '''Saab 9-3''' is a mid-sized luxury car made by [[Saab]] from Sweden. It shares platforms with the [[Opel Vectra]].<br />
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The car is actually badged as a '''9<sup>3</sup>''', although Saab consistently advertises it as the '''9-3'''. The name is pronounced "nine three". It should not be confused with the Saab 93.<br />
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==1999-2003==<br />
[[Image:800px-Saab_9-3_Turbo_Sport_2000.jpg|right|250px]]<br />
The original 9-3 was a rebadged, improved last-generation [[Saab 900 (NG)|Saab 900]]. Launched in 1998 for the 1999 model year, it featured slightly sleeker styling with some models sporting a black rear [[spoiler]] and removed Saab's trademark centrally-mounted "snow flap". It was available as a three or five-door [[hatchback]], and as a two-door [[convertible]]. This was the last small Saab to use the company's ''H engine''.<br />
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===Viggen===<br />
A high-powered, no longer in production version of the 9-3 was the Viggen, named after the [[Saab Viggen]] aircraft. It came with a turbocharged 2.3&nbsp;L engine giving 230&nbsp;hp ECE (169&nbsp;kW). 0-100&nbsp;km/h is done in 6.4 seconds and the top speed is 249&nbsp;km/h.<br />
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===Engines===<br />
* 2.0&nbsp;L ''B204'' [[Straight-4|I4]], 138&nbsp;hp ECE (1998-1999)<br />
* 2.0&nbsp;L ''B204'' [[Straight-4|I4]], turbo, 185&nbsp;hp ECE (136&nbsp;kW) (1998-1999)<br />
* 2.0&nbsp;L ''B205'' [[Straight-4|I4]], turbo, 185&nbsp;hp ECE (136&nbsp;kW) (2000-2002)<br />
* 2.0&nbsp;L ''B205E (non-US)'' [[Straight-4|I4]], LPT(light pressure turbo), 150&nbsp;hp ECE (110&nbsp;kW) (2000-2002)<br />
* 2.0&nbsp;L ''B205R'' [[Straight-4|I4]], turbo, 205&nbsp;hp ECE (151&nbsp;kW) (1999-2003)<br />
* 2.3&nbsp;L ''B235R'' [[Straight-4|I4]], turbo, 230&nbsp;hp ECE (169&nbsp;kW) (1999-2002)<br />
<br />
A total of 326,370 were made.<br />
<br />
==2003-==<br />
[[Image:Saab9-3sportsedan.jpg|right|250px|Second generation Saab 9-3]]<br />
The second-generation model was launched at the Detroit Auto Show in early 2003. All variants feature either a 1.8&nbsp;L or 2.0&nbsp;L [[straight-4]] gasoline engine derived from [[General Motors Corporation|General Motors]]' ''Ecotec'' family, or a [[turbocharger|turbocharged]] 2.8&nbsp;L ''High-Feature'' [[V6]] (starting in 2006). There are two different versions of the [[turbocharged]] I4, with the amount of turbo boost determining the power output.<br />
<br />
Power in the 9-3 is delivered through the [[front-wheel drive|front wheels only]]. It is available as a four-door [[sedan]], a wagon (introduced 2004, known as the Sport Combi), and a two-door [[convertible]]. It is the safest car in its class, including innovations such as Saab Active Head Restraints (SAHR II) to reduce whiplash and ReAxs, passive rear wheel steering to reduce understeering and passive toe-in under heavy braking. Out of these models, the convertible (manufactured by Magna Steyr in Austria beginning in 2003) is the best known, and is the best-selling in its class in many markets. <br />
<br />
The 9-3 and the [[Opel Vectra]] were the first of [[General Motors Corporation|General Motors]]'s global '''Epsilon''' platform, which has now been lengthened to accommodate three new cousins, the [[Chevrolet Malibu|Chevrolet Malibu/Malibu Maxx]] and the [[Pontiac G6]].<br />
<br />
A special "20 Years Edition Aero Convertible" for the American market was unveiled at the Los Angeles Auto Show in January 2006 to celebrate 20 years since the introduction of the [[Saab 900|900 convertible]].<br />
<br />
Engines (no diesel engines are available in North America):<br />
* 2003-2004 - 2.2&nbsp;L [[Diesel|Isuzu diesel]] [[Straight-4|I4]], 125&nbsp;hp<br />
* 2005-present - 1.9&nbsp;L [[Diesel|Fiat diesel]] [[Straight-4|I4]], 120&nbsp;hp ECE (88&nbsp;kW)<br />
* 2005-present - 1.9&nbsp;L [[Diesel|Fiat diesel]] [[Straight-4|I4]], 150&nbsp;hp ECE (110&nbsp;kW)<br />
* 2004-present - 1.8&nbsp;L ''Ecotec'' [[Straight-4|I4]] 122&nbsp;hp ECE (90&nbsp;kW)<br />
* 2003-present - 2.0&nbsp;L ''Ecotec'' [[Straight-4|I4]], low-pressure [[turbo]], 150&nbsp;hp ECE (110&nbsp;kW)<br />
* 2003-2005 - 2.0&nbsp;L ''Ecotec'' [[Straight-4|I4]], low-pressure [[turbo]], 175&nbsp;hp ECE (129&nbsp;kW)<br />
* 2003-present - 2.0&nbsp;L ''Ecotec'' [[Straight-4|I4]], high-output [[turbo]], 210&nbsp;hp ECE (154&nbsp;kW)<br />
* 2006-present - 2.8&nbsp;L ''HFV6'' [[V6]], low-pressure [[turbo]], 230&nbsp;hp ECE (169&nbsp;kW) <br />
* 2006-present - 2.8&nbsp;L ''HFV6'' [[V6]], [[turbo]], 250&nbsp;hp ECE (184&nbsp;kW)<br />
<br />
== 2008 ==<br />
The 9-3 will be replaced by a new model based on GM's Epsilon 2 platform, shared with the 2008 [[Saab 9-5|9-5]]. This vehicle will be built in Rüsselsheim, Germany rather than Sweden.<br />
<br />
== Awards and Achievements ==<br />
'''2004'''<br />
*Best Pick in side-impact crash tests, American IIHS (Insurance Institute for Highway Safety), USA. The Sport Sedan repeats the "Best Pick" rating from last year's IIHS frontal offset crash test and is now the first car with standard safety equipment to receive a double "Best Pick" honour. <br />
*Received highest rating, "Good" in the IIHS & Thatcham studies into the safety of car seats and head restraints, Insurance Institute for Highway Safety USA, Thatcham, Great Britain.<br />
*Awarded Compact Executive Car of the Year, Auto Trader, Great Britain<br />
*Voted Top Small Executive Car, Top Gear Magazine's New Car Buyer's Guide, Great Britain<br />
*Awarded one of "10 best Cars of the Year", Hong Kong Car and Driver, Hong Kong<br />
*Awarded Best European Intermediate/middle sedan, Car Plus Award, Hong Kong<br />
*Recommended buy, US Consumer Reports magazine, USA<br />
*Awarded maximum five star rating in EuroNCAP collision test, Saab 9-3 Convertible, EuroNCAP<br />
*Named UK's Most Secure Open-Top Car, British Insurance Car Security Awards, Great Britain<br />
*Prestigious Sporting Open Top award, The Institute of Vehicle Engineers (IVehE), Great Britain<br />
<br />
'''2002'''<br />
*Awarded maximum five star rating in EuroNCAP collision test, Saab 9-3 Sports Sedan, EuroNCAP<br />
*Best Family Sedan, Saab 9-3 Sport Sedan, PBS's MotorWeek television, USA<br />
*Prestige Car of the Year, Saab 9-3 Sport Sedan, Brisbane Courier Mail, Australia<br />
*Best Buy, Saab 9-3 Sport Sedan, Expressen, Sweden<br />
*Best New Car, Saab 9-3 Arc Sport Sedan ($30,000 - $40,000 range), Kiplinger's Personal Finance magazine, USA<br />
<br />
'''1999'''<br />
*Among the Top Ten Cars of 1999. Fortune Magazine, USA<br />
<br />
'''1998'''<br />
*One of the Top Ten Cars - Fortune Magazine, USA<br />
*Among Top Ten Family Cars - Consumer's Review, USA<br />
<br />
== External links ==<br />
* [http://www.saabo.com/pictures/showgallery.php/cat/510 Saab 9-3 Gallery]<br />
* [http://autoindex.org/maker.plt?no=139 Magna Steyr]<br />
* [http://www.saabnet.com/tsn/bb/9-3/ Saab 9-3 Owners Bulletin Board]<br />
* [http://forum.zercustoms.com/viewtopic.php?t=47 2006 Saab Aero X Concept]<br />
<br />
[[Category:Cars of Sweden]]<br />
[[Category:Front wheel drive vehicles]]<br />
[[Category:Luxury vehicles]]<br />
[[Category:Mid-size cars]]<br />
[[Category:Saab vehicles|9-3]]<br />
[[Category:Coupes]]<br />
[[Category:Hatchbacks]]<br />
[[Category:Sedans]]<br />
[[Category:Station wagons]]<br />
[[Category:1990s automobiles]]<br />
[[Category:2000s automobiles]]</div>Zerilloshttps://wikicars.org/index.php?title=Saab_9-5&diff=17197Saab 9-52006-09-21T11:34:56Z<p>Zerillos: /* External Links */</p>
<hr />
<div>The '''Saab 9-5''' is an [[automobile]] made by [[Saab]]. It was introduced in 1997 as the replacement to the [[Saab 9000]]. The 1999 model year 9-5 replaced the 9000 in the spring of 1998. The [[sedan]]'s cw value is 0.29. There is also a [[station wagon]] version with a drag coefficient of 0.31, which was introduced in 2000.<br />
<br />
The high powered version of the 9-5 is the called Aero, the current form producing 260&nbsp;hp ECE (194&nbsp;kW) and 350&nbsp;N·m (258&nbsp;ft·lbf) of torque (370&nbsp;N·m or 273&nbsp;ft·lbf with 20 second overboost function). Hirsch Performance, a tuner specialising in Saab models, can increase this to a maximum of 305&nbsp;hp ECE (224&nbsp;kW). The 9-5 Aero has a 0-60 time in the mid-sixes.<br />
<br />
The Saab 9-5 continued Saab's long-running tradition of offering a plethora of safety features, and pioneered the availability of ventilated seats with active headrests (SAHR, Saab Active Head Restraints) that moved up and forward to prevent whiplash when the car is struck from the rear. <br />
<br />
The 9-5 is powered by Saab's [[Saab H engine|''B205'' and ''B235'']] [[straight-4]] engines, and in Europe by [[Isuzu]]'s ''DMAX'' [[Diesel]] [[V6]]. A version of the [[General Motors Corporation|GM]] ''54°'' [[V6]] powered by a low-pressure [[turbocharger]] was available from 1999-2002. This engine was available only with an automatic transmission, and cars with this engine installed are distinguishable by their twin tailpipes.<br />
<br />
See Wikicars' comprehensive '''[[Saab 9-5 Review]]'''.<br />
[[Image:Saab9-5.jpg|right|250px|2000 Saab 9-5]]<br />
<br />
[[Image:750px-Saab_95_SportCombi_Sweden.jpg|thumb|right|350px|2006 Saab 9-5 station wagon]]<br />
===Recent Changes=== <br />
In 2005, an updated version of the 2.0&nbsp;L turbocharged [[Straight-4|I4]] was introduced in the European market together with the 2006 9-5. The engine is sold as ''2.0t BioPower'', and it is optimized to run on E85 producing 132 kW (180 [[Horsepower|hp]]) at 5500 rpm. Meanwhile, the base 2.3&nbsp;L turbo-charged straight-4 was bumped to 260&nbsp;hp, up from 185. With this new engine, the cheapest new 9-5 available in the US is now faster and more powerful than last year's 250&nbsp;hp Aero.<br />
<br />
Badged as a '''9<sup>5</sup>''', Saab consistently advertises it as the '''9-5'''. The name is pronounced "nine five" rather than "ninety five". This model should not be confused with the [[Saab 95]], produced from 1959 to 1978.<br />
<br />
====2008====<br />
The 9-5 will be replaced by a new model based on GM's Epsilon 2 platform, shared with the next generation [[Saab 9-3|9-3]].<br />
<br />
<br />
===Styles and Major Options===<br />
====Engines====<br />
The current (2006) range of engines.<br />
<br />
{| border="0" cellpadding="2" cellspacing="2"<br />
|-bgcolor="#efefef"<br />
|Model<br />
|Fuel<br />
|Engine<br />
|Vol, cc<br />
|Type<br />
|Power,<br>kW (PS) @ rpm<br />
|Torque,<br>Nm @ rpm<br />
|-<br />
|1.9 TiD<br />
|Diesel<br />
|&ndash;<br />
|1910<br />
|I4, 16v, turbo<br />
|110 (150) @ 4000<br />
|320 @ 2000<br />
|-bgcolor="#efefef"<br />
|2.0t<br />
|Petrol<br />
|B205<br />
|1985<br />
|I4, 16v, turbo<br />
|110 (150) @ 5500<br />
|240 @ 1800<br />
|-<br />
|2.0t BioPower<br />
|E85/petrol<br />
|B205<br />
|1985<br />
|I4, 16v, turbo<br />
|132 (180) @ 5500<br />
|280 @ 1800<br />
|-bgcolor="#efefef"<br />
|2.3t<br />
|Petrol<br />
|B235<br />
|2290<br />
|I4, 16v, turbo<br />
|136 (185) @ 5500<br />
|280 @ 1800<br />
|-<br />
|2.3T<br />
|Petrol<br />
|B235<br />
|2290<br />
|I4, 16v, turbo<br />
|162 (220) @ 5500<br />
|310 @ 2500<br />
|-bgcolor="#efefef"<br />
|2.3 Turbo<br />
|Petrol<br />
|B235<br />
|2290<br />
|I4, 16v, turbo<br />
|191 (260) @ 5300<br />
|350 @ 1900<br />
|}<br />
<br />
<br />
===Pricing===<br />
''Add more fields as necessary.''<br />
<br />
<table border=1 tablecolor=#000000 bordercolor=#000008><br />
<tr bgcolor=#cccccc><br />
<td colspan=4><br />
'''MODEL Trims'''<br />
</td><br />
</tr><br />
<tr bgcolor=#ffffcc><br />
<td><br />
Trim1<br />
</td><br />
<td><br />
Trim2<br />
</td><br />
<td><br />
Trim3<br />
</td><br />
<td><br />
Trim4<br />
</td><br />
</tr><br />
<tr bgcolor=#66ccff><br />
<td colspan=4><br />
''MSRP''<br />
</td><br />
</tr><br />
<tr bgcolor=#ffffcc><br />
<td><br />
$Price1<br />
</td><br />
<td><br />
$Price2<br />
</td><br />
<td><br />
$Price3<br />
</td><br />
<td><br />
$Price4<br />
</td><br />
</tr><br />
<tr bgcolor=#66ccff><br />
<td colspan=4><br />
''Invoice''<br />
</td><br />
</tr><br />
<tr bgcolor=#ffffcc><br />
<td><br />
$Price1<br />
</td><br />
<td><br />
$Price2<br />
</td><br />
<td><br />
$Price3<br />
</td><br />
<td><br />
$Price4<br />
</td><br />
</tr><br />
</table><br />
<br />
===Gas Mileage===<br />
''Add more fields as necessary.''<br />
<br />
As seen on the [http://www.fueleconomy.gov/feg/findacar.htm FuelEconomy.gov] website, the City/Highway MPG averages are as follows:<br />
<br />
<table border=1 tablecolor=#000000 bordercolor=#000008><br />
<tr bgcolor=#cccccc><br />
<td colspan=4><br />
'''Trim'''<br />
</td><br />
</tr><br />
<tr bgcolor=#ffffcc><br />
<td><br />
Trim1<br />
</td><br />
<td><br />
Trim2<br />
</td><br />
<td><br />
Trim3<br />
</td><br />
<td><br />
Trim4<br />
</td><br />
</tr><br />
<tr><br />
<td colspan=4 bgcolor=#cccccc><br />
'''MPG'''<br />
</td><br />
</tr><br />
<tr bgcolor=#ffffcc><br />
<td><br />
c/h<br />
</td><br />
<td><br />
c/h<br />
</td><br />
<td><br />
c/h<br />
</td><br />
<td><br />
c/h<br />
</td><br />
</tr><br />
</table><br />
<br />
===Reliability===<br />
Warranty options and scheduled maintainence information should be mentioned here. <br />
<br />
===Safety===<br />
This section should reference points on safety ratings and features of the vehicle. <br />
<br />
===Photos===<br />
Add ''Photos'' of the [[automobile|vehicle]] here.<br />
<br />
'''''Please make sure not to use copyrighted photos.'''''<br />
<br />
===Colors===<br />
List the colors that the particular <MODEL> is offered in.<br />
<br />
===Main Competitors===<br />
Create links to other <MAKE> <MODEL> pages in this section.<br />
<br />
==Hybrid Models==<br />
If there are [[Hybrid Cars|hybrid]] versions of this vehicle manufactured, then please elaborate a little bit on it here.<br />
<br />
==Unique Attributes==<br />
If there are any features of this [[automobile|vehicle]] that sets it apart from other [[automobile|vehicles]] in its class, then mention those ''unique attributes'' here.<br />
<br />
==Resale Values==<br />
''Add more fields as necessary.''<br />
<br />
<table border=1 tablecolor=#000000 bordercolor=#000008><br />
<tr bgcolor=#cccccc><br />
<td colspan=4><br />
'''<MODEL> Year'''<br />
</td><br />
</tr><br />
<tr bgcolor=#ffffcc><br />
<td><br />
Year X<br />
</td><br />
<td><br />
Year X-2<br />
</td><br />
<td><br />
Year X-3<br />
</td><br />
<td><br />
Year X-4<br />
</td><br />
</tr><br />
<tr><br />
<td colspan=4 bgcolor=#cccccc><br />
'''Resale Value'''<br />
</td><br />
</tr><br />
<tr bgcolor=#ffffcc><br />
<td><br />
$<br />
</td><br />
<td><br />
$<br />
</td><br />
<td><br />
$<br />
</td><br />
<td><br />
$<br />
</td><br />
</tr><br />
</table><br />
<br />
==Criticisms==<br />
Please make sure to '''''keep critiques in a third-person point of view'''''. If using criticisms from a reputable automotive source, then '''''please make sure to cite the quote'''''.<br />
<br />
==Generations== <br />
Fill in as many as appropriate. Add more if necessary and pictures wherever applicable. <br />
<br />
'''''Please make sure NOT to use copyrighted pictures'''''.<br />
<br />
==Current Generation: (YYYY–present)==<br />
<br />
===Fifth generation (YYYY–YYYY)===<br />
<br />
<br />
===Fourth generation (YYYY–YYYY)===<br />
<br />
<br />
===Third generation (YYYY–YYYY)===<br />
<br />
<br />
===Second generation (YYYY–YYYY)===<br />
<br />
<br />
===First Generation/Origins (YYYY–YYYY)===<br />
<br />
<br />
==Worldwide==<br />
If the [[automobile|vehicle]] is sold in other markets worldwide, then this is the section to mention that information. Also, mention if the <MODEL> goes by another name in these other markets.<br />
<br />
==Design quirks and oddities==<br />
Refer to any pop-culture tidbits about the [[Automobile|vehicle]] in this section.<br />
<br />
==Awards==<br />
'''2004'''<br />
* Best used car, US Consumer Reports magazine, USA<br />
* Recommended buy, US Consumer Reports magazine, USA<br />
* Saab 9-5 Sedan topped the luxury mid-size category, for relative frequency of injury insurance claims in the US. HLDI's study, covering model years 2001-2003, compares cars on the basis of cost of injuries sustained following on-road crashes. The study indicates the relative frequencies of injury compensation claims from an insurance company, per insured vehicle year. Both the 9-5 Sedan and Wagon achieved a rating of "substantially better than average" for injury claims in the luxury mid-size category. According to the HLDI formula, the Saab 9-5 Sedan's top ranking for injury claims is 53 percent better than average, and the Saab 9-5 Wagon's ranking is 39 percent better than average.<br />
<br />
'''2003'''<br />
* Awarded maximum five star rating in EuroNCAP collision test, Saab 9-5, EuroNCAP<br />
* The Safest Car in Sweden, Saab 9-5, Folksam insurance company, Sweden<br />
<br />
'''2002'''<br />
* The Safest Car in Sweden, Saab 9-5, Folksam insurance company, Sweden<br />
* Best of the Best, Saab 9-5, American Consumer Reports magazine, USA<br />
* Best in Class, Saab 9-5 Aero (in the USD 30.000-40.000 range), Kiplinger's Personal Finance magazine, USA<br />
<br />
'''2001'''<br />
* Best Mid Luxury Car 2001 in Initial Quality. J.D. Power and Associates, USA.<br />
* Best Car 2001 Saab 9-5 Wagon (in class USD 30,000-35,000). American Automobile Association, USA.<br />
* Best Engine Concept 2001, Saab Variable Compression (SVC), International Engine of the year Award<br />
<br />
'''2000'''<br />
* Best Technology / Innovation 2000 (SVC). Autocar Magazine, Great Britain.<br />
* Best of the new from Car Technology 2000 (SVC). Popular Science<br />
<br />
'''1999'''<br />
* Best Buy 1999, Saab 9-5 Sedan and Wagon. Consumers Digest, USA.<br />
* Estate Car of the Year 1999, Saab 9-5 Wagon. What Car? Magazine, Great Britain.<br />
* Excellent Swedish Design Prize 1999, Saab 9-5 Wagon. Swedish Soceity of Crafts and Design<br />
* Top Car Saab 9-5 Wagon for its balance of performance, quality and value. American Automobile Association, USA.<br />
<br />
'''1998'''<br />
* Executive Car of the year Diário de Noticias, Portugal<br />
* Among Top Ten Luxury / Sports Sedans Consumer's Review, USA<br />
* Best estate model Over £20,000 - IBCAM British Steel Awards, Great Britain<br />
* Best imported upper middle - segment car Auto Motor und Sport magazine reader's poll, Germany<br />
* Golden Tachometer As best Sedan - www.autochannel.com, USA.<br />
* Luxury Car of the Year New Zealand National Business Review, New Zealand<br />
* Best saloon model Priced £30,000 - £60,000 IBCAM British Steel Awards, Great Britain<br />
* Best Buy Consumers Digest, USA<br />
<br />
'''1997'''<br />
* Technology Award for the Saab Active Head Restraint - Prince Michael Road Safety Awards, Great Britain<br />
* Industry Award For the Saab Active Head Restraint - The Windscreens O'Brian Safety Award, Australia<br />
<br />
'''1996'''<br />
* Special Prize for the Saab Active Head Restraint - The Danish Association of Polio, Traffic and Accident Victims (PTU), Denmark<br />
<br />
==See Also==<br />
This section should be used to link to other pages within Wikicars, that are related to this article. <br />
<br />
* For example, the [[Lexus GS]] page, will have links to pages within Wikicars that are related to the [[Lexus GS|GS]], like the [[Luxury Cars]] page and the [[Hybrid Cars]] page, as well as a link to the [[Lexus GS 450h|GS hybrid]] article.<br />
<br />
==External Links==<br />
*[http://www.saabo.com/pictures/showgallery.php/cat/511 Saab 9-5 Gallery]<br />
*[http://www.saab.com/main/GLOBAL/en/model/95/index.shtml Saab 9-5 international page]<br />
*[http://www.clean-auto.com/article.php3?id_article=3919 article about the Saab 9-5 Biopower (in French)]<br />
*[http://news.caradisiac.com/Saab-9-5-Aero-BioPower other article about the Saab 9-5 Biopower (in French)] <br />
* [http://forum.zercustoms.com/viewtopic.php?t=47 2006 Saab Aero X Concept]<br />
<br />
[[Category:Front wheel drive vehicles]]<br />
[[Category:Luxury vehicles]]<br />
[[Category:Mid-size cars]]<br />
[[Category:Saab vehicles|9-5]]<br />
[[Category:Station wagons]]<br />
[[Category:Sedans]]<br />
[[Category:1990s automobiles]]<br />
[[Category:2000s automobiles]]</div>Zerilloshttps://wikicars.org/index.php?title=Caparo&diff=17196Caparo2006-09-21T11:31:44Z<p>Zerillos: /* Links */</p>
<hr />
<div>== Caparo T1 ==<br />
The Caparo T1 is a lightweight supercar styled like a formula 1 car. The car was designed by Ben Scott-Geddes and Graham Halstead who were responsible for the design and development of the McLaren F1 and the McLaren SLR. Originaly, the Caparo T1 was named the Freestream T1, but in ???? the Caparo group purchased the company. Some of the statistics claimed about the T1 are that it has a power to weight ratio of 1000 BHP-per-ton, 0-60 in 2.5 seconds, and capable of 3g cornering.<br />
<br />
<br />
<br />
== Links ==<br />
*[http://www.caparo-t1.com/ Oficial Caparo Website]<br />
*[http://www.autoblog.com/2006/02/07/formula-1-for-the-street-the-freestream-t1/ www.autoblog.com/2006/02/07/formula-1-for-the-street-the-freestream-t1/]<br />
*[http://www.carbodydesign.com/archive/2006/04/17-caparo-t1/ www.carbodydesign.com/archive/2006/04/17-caparo-t1/]<br />
[http://forum.zercustoms.com/viewtopic.php?t=48 2007 Caparo T1]</div>Zerilloshttps://wikicars.org/index.php?title=Mercedes-Benz_CLK-Class&diff=17195Mercedes-Benz CLK-Class2006-09-21T11:29:41Z<p>Zerillos: /* External links */</p>
<hr />
<div>[[Image:Mercedes-Benz-CLK-DTM-AMG-'.jpg|right|thumb|350px|2004 Mercedes Benz CLK DTM AMG]]<br />
[[Image:Blue clk55.JPG|thumb|right|250px|2002 Mercedes-Benz CLK55 AMG cabriolet]]<br />
[[image:clk55_designo.JPG|thumb|right|250px|2005 Mercedes-Benz CLK55 AMG cabriolet]]<br />
The '''Mercedes-Benz CLK-Class''' is a class of medium-sized luxury rear-wheel drive coupés and [[convertible]]s. Major models include the '''CLK320''', '''CLK500''', and '''CLK55 AMG'''. The CLK55 AMG's 270 kW (367 PS) V8 engine is the most powerful. Both generations of the CLK-Class utilize the Mercedes-Benz W208 chassis. The CLK's unique platform borrows from both the [[Mercedes-Benz C-Class|C-Class]] and [[Mercedes-Benz E-Class|E-Class]]. Inspiration for the CLK-Class came from the E-Class coupé and convertible produced from 1994&ndash;1995.<br />
<br />
<br />
==2003&ndash;present (W209)==<br />
<br />
The CLK coupe was redesigned for 2003, with the cabriolet following in 2004. The current generation of the CLK-Class is 2.4 inches (61 mm) longer, 0.7 inches (18 mm) wider and 1.1 inch (28 mm) higher than its predecessor.<br />
<br />
*The '''CLK320''' features a 3.2 L, 18-valve single overhead cam ([[Overhead Camshafts|SOHC]]) [[V6|V6]] engine and a 5-speed [[Automatic transmission|automatic]] transmission. The base price is US$46,000 for the coupe and US$53,600 for the cabriolet. The CLK320 was replaced by the CLK350 for 2006.<br />
* The '''CLK350''' features a 3.5 L, 24-valve duel overhead cam ([[Overhead Camshafts|DOHC]]) [[V6|V6]] engine and a 7-speed [[Automatic transmission|automatic]] transmission. The base price is US$45,750 for the coupe and US$53,700 for the cabriolet.<br />
*The '''CLK500''' features a 5.0 L, 24-valve [[Overhead Camshafts|SOHC]] V8 engine and a 7-speed [[Automatic transmission|automatic]] transmission. The base price is US$54,600 for the coupe and US$62,200 for the cabriolet.<br />
*The '''CLK55 AMG''' features a 5.5 L, 24-valve [[Overhead Camshafts|SOHC]] V8 engine and a 5-speed [[Automatic transmission|automatic]] transmission. The base price is US$69,900 for the coupe and US$82,000 for the cabriolet. The CLK55 AMG coupe was dropped in North America after the 2005 model year, though the cabriolet is still offered.<br />
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[[Image:clk55cabrio.JPG|thumb|left|150px|2004 Mercedes-Benz CLK55 AMG cabriolet]]<br />
Each model seats four and includes an all-leather interior with burl walnut trim. While the CLK320 and CLK500 come with 17 inch (432 mm) alloy wheels, the CLK55 AMG sports 18 inch (457 mm) wheels. The cabriolets have a remote-operated [[Automatic transmission|automatic]] soft-top and sensor-controlled roll bars. The models all come standard with a Tele Aid emergency assistance system, [[Automatic transmission|automatic]] dual-zone air conditioning, 10-way power front seats and rain-sensing windshield wipers. Seven-channel digital surround sound comes standard. A Keyless Go system, [[Navigation System|navigation system]], Parktronic system, and bi-xenon headlights are all available as options. All models come with four side airbags.<br />
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==1998&ndash;2002 (W208)==<br />
The first-generation CLK was introduced in the 1998 model year. Less expensive than the sporty [[Mercedes-Benz SL-Class|SL-Class]] convertibles, the first generation CLK cabriolet was the most successful convertible Mercedes-Benz ever offered; 41,520 were sold in the United States from 1999 to 2003, and more than 115,000 were sold throughout the world.<br />
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Models offered in the first generation were the '''CLK320''', '''CLK430''', and the '''CLK55 AMG'''. All were available in both coupe and convertible form.<br />
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The CLK320 coupe was introduced in the 1998 model year, powered by a 3.2 L [[V6|V6]] engine. The CLK320 cabriolet and the 4.3 L V8-powered CLK430 coupe appeared in 1999. A CLK430 cabriolet joined the lineup in 2000. The high-performance CLK55 AMG coupe was introduced in 2001, powered by a 5.4 L V8. The CLK55 AMG cabriolet became available in 2002, the last year of this body style.<br />
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==CLK GTR and CLK DTM==<br />
The [[Mercedes-Benz CLK-GTR]] was a V12 midengine race car developed for the 1997 [[FIA GT]] championships. It shared only lights and other exterior similarities with the normal CLK. Production of the required 25 road cars began in late 1998.<br />
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A special version of the CLK is the '''CLK DTM AMG''' [[sports car]], which looks similar to the full race car for the German [[Deutsche Tourenwagen Masters]] racing series which has to use a normally aspirated 4.0L V8, limited to less than 500 [[HP|hp]]. About 100 street cars were released for sale in Europe, using AMG's [[Supercharged Engine|supercharged]] 5.5L V8, now producing 428 kW (582PS) and 800 Nm (590ft.lbf). The front and rear track are widened by 2.9 and 4.2 inches (74 and 11 mm) respectively, and special tires and suspension modifications allow the car to pull 1.35 g (13 m/s²) of [[lateral acceleration]]. 0-100 km/h acceleration is just 3.9 seconds, and top speed is 320 km/h (199 mph). In Germany, the car cost 236,060 euro after taxes.<br />
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In addition to hard top '''CLK DTM AMG''', 100 convertible versions of CLK DTM were made for 2006 model year, titled Mercedes-Benz CLK DTM AMG Cabriolet. Compared to the coupe version, a speed limiter further reduces its top speed to 300 km/h (likely due to the top not able to withstand higher wind forces safely).<br />
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==External links==<br />
*[http://www.mbusa.com/models/class-overview.do?modelCode=clk_class_main Official US Website]<br />
*[http://www.seriouswheels.com/top-2006-Mercedes-Benz-CLK-DTM-AMG-Cabriolet.htm CLK DTM AMG cabriolet press release] (English)<br />
*[http://www.fantasycars.com/derek/cars/2004_mercedes_clk_dtm_amg.html 2004 Mercedes-Benz CLK DTM AMG specifications] (English)<br />
*[http://www.automobilemag.com/reviews/coupes/0501_mercedes_benz_clk_dtm/ 2004 Mercedes-Benz CLK DTM AMG review] (English)<br />
*[http://forum.zercustoms.com/viewtopic.php?t=49 2007 Mercedes-Benz CLK 63 AMG]<br />
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<br />
This page uses content from Wikipedia; see [http://en.wikipedia.org/wiki/Mercedes-Benz_CLK-Class Mercedes-Benz CLK-Class], which includes these [http://en.wikipedia.org/w/index.php?title=Mercedes-Benz_CLK-Class&action=history contributors].<br />
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[[Category:Mercedes-Benz vehicles|CLK-Class]]<br />
[[Category:Coupes]]<br />
[[Category:Convertibles]]<br />
[[Category:Luxury vehicles]]</div>Zerilloshttps://wikicars.org/index.php?title=Custom_auto&diff=17193Custom auto2006-09-21T07:23:51Z<p>Zerillos: /* Online Resources */</p>
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<div>== Hot Rod History ==<br />
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A lot has been written about the origins of the hot rod and the development of the culture that gave rise to them and then grew up around them. This is my own personal take on the subject, and I'm sure others with more detailed knowledge (including the many who were there) might well disagree with my thoughts. With that caveat, I place the defining origin point for hot rods and hot rod culture as the end of World War II. A number of factors came together at one time -- the period between the end of the war in 1945 and the begining of the 1950s -- and mainly in one place -- southern California -- to create a unique environment in which the hot rod and its culture were born.<br />
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At the end of the war, a legion of young men returned to America with a wad of demobilization cash in their pockets and a sense of freedom and excitement bred by their experiences in the war. With a period of peace and the steadily increasing prosperity of the country as a backdrop, these young men had a "can-do" attitude and a desire to express themselves in ways that their time in the military had stifled. And, all of a sudden, there were a lot of inexpensive used cars available. For five years Detroit had basically been in the business of supplying the military. Now all that production capacity was turned to creating a stream of new cars to satisfy the pent-up demand of a civilian population that had scrimped and saved throughout the Great Depression of the 1930s and the sacrifices of the war years. Men who'd stayed behind to work in America's offices and factories had a lot of savings and they were ready to ditch their aging cars from the 1920s and 1930s for gleaming new models offered by the Big Three (and the others who are now gone, like Wilys and Kaiser). Their trade-ins became the starting point of the hot rodders, and came to define the way they were built and how they looked.These factors dictated the core aesthetic of the classic American hot rod. It was the later Model Ts and the plentiful early-30s Fords and Chevys that became the raw material for the young men who created hot rodding and hot rod culture. Here's a picture of a '32 Ford Roadster, a contemporary car, but one built on the style of those first hot rods. The basic performance and engineering elements of the hotrod came together in these cars: More power, less weight and a look derived from these things leading to chopped tops, channeled bodies, pinched frames, dropped axles and, eventually wide tires. <br />
And why southern California? Again, a lot has been written about the question of why southern California became the seed-bed for so much cultural change in the second half of the twentieth century. Part of it was Hollywood, part simply that the western part of the country had reached a critical mass of prosperity and population sufficient to establish itself as a new center of culture distinct from the old center in the northeast. But a few factors made southern California the right place for the birth of hot rodding. One was the climate: with year-round perfect temperature and little rainfall, young men of little means could work outside on cars that had few creature comforts themselves. More important, Los Angeles was the first city truly shaped from its beginnings by the automobile: There were more roads, and new ones there. Finally, and perhaps most importantly, was "the lakes," the dry lake beds just east of L.A. that became a magnet for the chopped and stripped-down speed machines. Here the hot rodders found miles and miles of hard, glass-flat surface upon which to run their machines.<br />
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GOLDEN AGE <br />
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The 1950s were the Golden Age of hot rodding and, for a while, there was only hot rodding -- not the different strains of car-craziness that it gave birth to. In the beginning, there was no distinction among the cars that kids played with as a form of street-running self-expression, the drag racing car, the customized work of art; there was just the hot rod, the amateur automobile artform. But the seeds of hot-rodding's progeny were growing during that time.<br />
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The "lakes" were breeding a number of different kinds of cars aimed at faster and faster top speeds at the expense of driveability and, eventually even roadability. The famous "drop tank roadsters" exemplified these early forefathers of the machines that would some day exceed the speed of sound on the ground, built from war surplus military aircraft fuel tanks.<br />
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Meanwhile, the true "drag strip" was born. The National Hot Rod Association was formed in 1951 to impose some safety standards on "those speed-crazed kids" and the NHRA, now the governing body for drag racing in the the U.S., held its first sanctioned event in southern California in 1953.<br />
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Finally, the pure aesthetics of hot-rodding began to be expressed in the metalwork of exterior modifications to later, post-war cars. This gave rise to the "kustom" culture of cars that were increasingly works of pure visual art. Later, this gave rise to the show car world of the mid-1960s to the mid-1970s (detailed below.) <br />
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But for a time, it was all one thing -- just young people exploring a new form of American individuality through the ultimate American experience, the road.<br />
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HOT ROD CULTURE <br />
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During the 1950s and into the early 1960s, the southern California scene connected with hot rods gave birth to a whole host of related cultural phenomena. The stars of custom car building, like Ed Roth and George Barris, became celebrities in the hot rod scene and some, like Roth and Von Dutch became visual artists in a weird and adolescent genre that had a life of its own apart from the cars. More than half the middle-aged men (in 2003, when I'm writing this) in America probably had some kind of Rat Fink image in their room when they were a kid. Many may not have realized the connection to the greasy hot rodders of a decade before. For a look at where this visual art is today take a look at this gallery (warning, it's not for the faint of heart).Then there was the music. At first, hot-rodding was associated with rockabilly, the first form of true rock and roll. But, just as hot rod culture became a defninable space in the general lanscape of American life, a different connection developed. Here it's not possible to separate the connection with a broader southern California scene, known by the often-inapplicable term "surf music." Most folks probably think of the Beach Boys and titles like "Little Deuce Coupe" and "409," but there were many other musicians who were mining the hot rod experience for subject matter. Jan and Dean come to mind, and the Ventures (with their album covers adorned with "wild" T-buckets), and the incredible Dick Dale, whose music to me is the sound of hot rodding.<br />
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Hot rod culture sat at an intersection between the hipsters of the late 40s and 50s (think of Dean Moriarty's relationship with cars in Kerouac's On the Road, and "Big Daddy" Ed Roth's goatee), the lower-class aspirations of kids from the wrong side of the tracks in a country with rising economic expectations (think of the menace of Dennis Hopper's "Goon" in Rebel Without a Cause) and the general development of a "counterculture" of individuality and free expression. For a time, the hot rod became a central symbol of youth and creativity in America, and was as cool as anything around. But by the mid-1960s, the wave of the counterculture had moved on and, although many of the "show car" artists of the time incorporated things like peace symbols and images of long-haired guys in patched bell-bottoms in their work, the days when hot rod culture was part of the "crest of the wave" were over.<br />
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== Show Cars ==<br />
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By the early 1960s the various different lines of hot rod culture were well defined, had separated and then begun to interact in new ways. the two most important elements of this for me were the "show rod" phenomenon and muscle cars. The "Kings of Kustom" had been working for a while now, and their ideas were seeping out to a larger audience, while at the same time the milieu of the classic hot rod kids was mutating rapidly. Southern California, the memetic engine of mid-century America, had moved on, and "teen rebellion" was morphing into the full-blown and politicized counterculture. Greasers and hipsters gave way to hippies and yippies. A great portrait of this time can be found in Tom Wolfe's very first bit of journalism, The Kandy-Kolored Tangerine-Flake Streamline Baby, his 1965 portrait of the "kustom kar show" world.<br />
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The work of Tom Daniels exemplifies the era of the show rod perhaps better than any other. Daniels had a huge influence on the hot rod aesthetic of my generation through his work for the plastic model kit maker Monogram (later acquired by Revell). I recently discovered Tom Daniels' website, and the flood of memories unleashed by the images there was amazing. I'd insert some here, but Daniels has a blood-curdling warning about his ownership of the work there, so I'll suggest you go by his website, especially the page devoted to the box art for the kits he designed. Off the top of my head, I can well remember building the "Red Baron", the "T'rantula" (probably the two most influential on my own personal hotrod aesthetic), the "Pie Wagon," "Beer Wagon," "Garbage Truck," "Paddy Wagon" and "Sand Crab." Interestingly, note that all of these kits were issued in 1968 or 1969, when I was 11 and 12 years old. I think these designs came along at a time when my automotive aesthetic was being forged for a lifetime. To see many of Tom Daniels' kits built by great modelers (along with others mainly from that era of "outrageous show rods"), visit Show Rod Rally. Presumably Daniels' prohibition on use of images doesn't run to photos of the kits themselves, so here are the first two mentioned.<br />
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Interestingly, most of these cars never existed except as model kits; few were ever built as real, driveable automobiles. I suppose this highlights as much as anything else the fact that the hot rod's power is as much that of image and idea, rather than as transportation.<br />
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Here's a very good brief description of the show car phenomenon of the 1960s and early 1970s:The 1960s saw the pinnacle of one of America's most unusual native art forms. Flowing streamlined designs, radiant colors, and amazing craftsmanship blended together to develop a new concept - - Show Cars.<br />
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Show cars evolved from the custom car, which was basically a modified version of an existing vehicle. Early pioneers of auto customizing in the 1950's began changing and improving their wheels for speed, originality, and a cool look. During these times, cars were "chopped, tubbed, raked, and hopped-up." These basic customizing techniques continued to become more elaborate until custom cars were being designed from scratch or by heavily converting existing vehicles into unbelievable designs. True show cars were distinguished by being one-of-a-kind originals, built from the ground up. It seems a paradox that their engines were extremely powerful, yet they rarely touched the road. In other words, these cars were meant to be looked at, not driven. The men who created them were true artists, and their creations were true art. Show cars belong to the genre of sculpture, and for those of us who couldn't afford the originals, there were always the model kits.<br />
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Probably the most famous custom car designers are George Barris and Ed Roth. Barris was one of the pioneer customizes and has personalized automobiles for many celebrities. An avid model and toy collector himself, Barris started making hobby kits of his cars with Revell in 1957, the first being a 1956 Buick. He is better known for his special cars however, and when AMT made a model kit of his 1960 Ala Kart, a whole line of kits designed after Barris' award-winning custom cars began.<br />
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Ed "Big Daddy" Roth, reached cult status on auto show circuits and teen modeler circles with his outrageous cars and Rat Fink character. (More can be found on Roth in the Freaks, Geeks, and Oddballs chapter.)<br />
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In 1967, Monogram and car designer Tom Daniel started a partnership that would produce 60 kits and last nearly a decade. Daniel had previously worked for George Barris where he helped design the Munster Koach and Dragula. One of Daniel's designs, the Red Baron, proved to be so popular that Monogram released it in a larger 1/12 scale.<br />
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Other heavy contenders on the show car circuit included Daryl Starbird, Carl Casper, and Bill Cushenberry. By the end of the 1970's though, the show car craze declined in popularity. Even though many wild rods are still being produced today, they sure don't make 'em like they used to!<br />
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== Muscle Cars ==<br />
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A muscle car is a high-performance automobile. The term principally refers to American models produced between 1964 and 1971.<br />
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The term muscle car generally describes a mid-size car with a large, powerful engine (typically, although not universally, a V8 engine) and special trim, intended for maximum acceleration on the street or in drag racing competition. It is distinguished from sports cars, which were customarily and coincidentally considered smaller, two-seat cars, or GTs, two-seat or 2+2 cars intended for high-speed touring and possibly road racing. High-performance full-size or compact cars are arguably excluded from this category, as are the breed of compact sports coupes inspired by the Ford Mustang and typically known as pony cars, although few would dispute a big-block pony car's credentials as a muscle car.<br />
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An alternate definition is based on power-to-weight ratio, defining a muscle car as an automobile with (for example) fewer than 12 pounds per rated hp. Such definitions are inexact, thanks to a wide variation in curb weight depending on options and to the questionable nature of the SAE gross hp ratings in use before 1972, which were often deliberately overstated or underrated for various reasons.<br />
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Another alternate definition involves a car's original design intents. Muscle cars are factory produced automobiles that have a larger engine than was originally planned for in the design and production phase of the original car. Examples of this trend can be found throughout American, Japanese, and European cars of all designs. This includes many cars that typically are not labeled as muscle cars, such as the B13 (1991-1994) Nissan Sentra SE-R, and excludes other cars typically labeled as muscle cars, such as the Dodge Viper.<br />
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Although auto makers such as Chrysler had occasionally experimented with placing a high performance V-8 in a lighter mid-size platform, and full-size cars such as the Ford Galaxie and Chevrolet Impala offered high-performance models, Pontiac is usually credited for starting the muscle car trend with its 1964 Pontiac GTO, based on the rather more pedestrian Pontiac Tempest. For 1964 and 1965, the GTO was an option package that included Pontiac's 389 in³ (6.5 L) V8 engine, floor-shifted transmission with Hurst shift linkage, and special trim. In 1966, the Pontiac GTO was no longer an option, and became its own model. The project, spearheaded by Pontiac division president John De Lorean, was technically a violation of General Motors policy limiting its smaller cars to 330 in³ (5.4 L) displacement, but it proved far more popular than expected, and inspired a host of imitations, both at GM and its competitors.<br />
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It marked a general trend towards factory performance, which reflected the importance of the youth market. A key appeal of the muscle cars was that they offered the burgeoning American car culture an array of relatively affordable vehicles with strong street performance that could also be used for racing. The affordability aspect was quickly compromised by increases in size, optional equipment, and plushness, forcing the addition of more and more powerful engines just to keep pace with performance. A backlash against this cost and weight growth led in 1967 and 1968 to a secondary trend of "budget muscle" in the form of the Plymouth Road Runner, Dodge Super Bee, and other stripped, lower-cost variants.<br />
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Although the sales of true muscle cars were relatively modest by total Detroit standards, they had considerable value in publicity and bragging rights, serving to bring young buyers into showrooms. The fierce competition led to an escalation in power that peaked in 1970, with some models offering as much as 450 hp (and others likely producing as much actual power, whatever their rating).<br />
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Another related type of car is the car-based pickup. Examples of these are the Ford Ranchero, GMC Sprint, GMC Caballero, and one of the most famous examples, the Chevrolet El Camino.<br />
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== Pre-runners ==<br />
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Some of the terminology associated with prerunners & desert race vehicles is pretty far removed from the mainstream of off-roading. While this is not a complete listing of all the terms associated with these vehicles, we hope it will further your understanding of them, and of the sport of off-road racing in general.<br />
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'''Vertical Wheel Travel''' - Amount of wheel travel measured from the center of the axle at full droop to the center of the axle at full compression <br />
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'''Lever Ratio''' - Shocks & springs can be mounted in several locations, and at various angles. If a shock were to be mounted vertically atop the axle, it would be said to have a 1 to 1 lever ratio - i.e. 1 in. of vertical shock travel = 1 in. of vertical wheel travel. If the shock is mounted at a 45 deg. angle, it will move 1/2 in for every inch of wheel travel. As such, it would be said to have a 1.5 to 1 lever ratio. <br />
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'''Velocity Sensitive Shocks''' - Many prerunners & race vehicles use velocity sensitive shocks. Their monotube design is lightweight, affordable, and provides a significant "bang for the buck". VS shocks are rebuildable, & use a series of stacked flexible washers to determine their valving characteristics. Adjustments are made by disassembling the shock, and changing the stack of washers to a stiffer, or lighter configuration. VS shocks use up to 200psi of nitrogen gas to combat foaming at high temperatures & shaft speed. further cooling capacity often comes from remote reservoirs, though they are optional on most models. It is common to se several VS shocks mounted together, and valved lightly, reducing the workload per shock. <>Coilover Shocks - These shocks serve as a mounting point for a coil spring. Unlike "overload" shocks found in auto supply houses, "Coilovers" are extremely high performance units, used in 3 & 4 link suspension applications. The coil springs are removable from the shocks for replacement & tuning, and the shock is fully rebuildable / adjustable for compression & rebound dampening. Coilover shocks are mounted to the chassis via spherical rod ends, rather than bushings to minimize unwanted deflection, and provide maximum streingth to the load bearing assembly. Coilover Shocks most always come with a remote reservior to aid in fluid cooling.<br />
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'''Remote Reservoir''' - Found on 9 out of 10 race shocks, Remote reserviors provide the shock with increased fluid & gas capacity, allowing for increased cooling, less "shock fade", and longer maintenance intervals. These aluminum & steel canisters contain a piston which separates the hydraulic fluid from high pressure nitrogen gas. They are attached to the shock absorber by a custom length of braided steel hose, or high pressure hydraulic line, and can be attached anywhere on the vehicle.<br />
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'''Bypass Shock''' - Bypass shocks are the pinnacle of shock technology. The goal of a bypass shock is to provide light valving in the initial movement of the wheel (to keep the wheels in contact with the ground over smaller bumps), progressively stiffer valving throughout the midrange of travel, and finially very stiff valving at the uppermost reaches of a shocks stroke to resist bottoming. Using a series (usually 2-4) of "bypass tubes" welded to the shock body, valving becomes externally adjustable via metered "jets". The bypass tubes provide precise oil flow through the shock, minimizing cavatation due to heat or unequal pressure, and together with the metered "jets", make for near infinite compression / rebound dampening possibilities. The latest developments in bypass shock technology have led to the development of "internal bypass" shocks. While the general principle of bypass remains the same, internal bypass shocks locate the bypass tubes inside the shock body, making them suitable for use in a coilover configuration. The sheer size of bypass shocks is impressive, but they aren't built that way for their looks. Rather than ounces, the fluid capacity of Bypass shocks is better measured in quarts, translating directly into a cooler running, nearly fade-proof assembly. Shaft sizes begin in the 7/8 in. range. Bypass shocks are always mounted via spherical rod end, as the loads generated would quickly destroy rubber or ploy bushings. These are the shocks commonly seen on (but not limited to) the Trophy, Pro & Class 7 & 8 trucks of SCORE.<br />
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'''3 Link Suspension''' - the "link" in 3 link refers to the number of mounting points on the rear axle. Used with torsion bar, 1/4 elliptic leaf springs & coilover shock arrangements, the 3 link uses 3 "control arms" to locate the axle & position it as it moves throughout it's range of travel. The standard configuration for a 3 Link is one arm (per side) mounted slightly below the axle, with a forward attachment point at the frame or custom built crossmember. Centered above the axle is a 3rd mounting point, using a triangular shaped arm (usually built of tubular steel), which attaches forward on the frame, or crossmember. 3 Link suspensions have been built & tested with up to 38 inches of "Vertical" wheel travel, and provide tremendous amounts of wheel articulation. Many prerunners, and even some race trucks use bushings for the mounting of the forward sections of the control arms, but the rear (axle) mounting points are often spherical rod ends. The spherical rod ends are a stronger assembly, and are less binding, offering a free and greater range of movement. <br />
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'''4 Link Suspension''' - a 4 Link is identical to the 3 Link except for using two upper control arms rather than one. these upper arms are mounted from a near center position (each aside the differential) and angled outward to the frame or custom built crossmember. Like the 3 Link, The 4 Link is capable of incredible vertical wheel travel, but articulation is slightly less.<br />
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'''A-Arm Suspension''' - usually found on the front of non Ford vehicles, the A-Arm suspension uses an upper & lower "A" shaped arm & a coil or torsion bar springing. A-Arms are a simple & popular suspension, and can achieve respectable (aprox 13 in.) wheel travel when used with stock length arms. On mini / mid size trucks, wheel travel is limited by the shorter arms & can be in the 9-11 in. range. Long travel A-Arm suspensions require longer / redesigned arms, and can involve relocation of the engine / K frame to achieve sufficient clearance. Further mods include spherical rod ends, modified ball joints, and redesigned spindles. Depending on the configuration, travel in the 28in.range is achievable, but at far greater cost than other suspension designs.<br />
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'''Twin "I"Beam''' - TIB / TTB suspensions consist of 3 main parts. The I beam (which mounts the spindle / brake assembly), the radius arm (which runs parallel to the frame, attaching at the I Beam in front, and a crossmember in the rear), and the coil spring, or coilover shock. This front suspension has been in use on Ford Trucks since the 60's, and has been transplanted to just about every other vehicle in existence. The reason for it's popularity is simple. There's an old desert saying that says "12 in. of Ford travel is worth 15 in. of anything else". Secondly, the cost of a 15 in. TIB or TTB system is well under $2000, making it the best value per in. on the market today. The Twin I Beam (and it's 4wd counterpart the TTB-Twin Traction Beam) is a far stronger design than the traditional A-Arm, and is ridiculously easy to extract usable travel from. A stock F-150 approaches 10 in. of travel, & with a few simple mods, 15 in. of wheel travel is there for the taking. Extreme examples measuring in at 32 in. are not unheard of, but 26-30 in. is common in race vehicles. Variations on the TIB can be found on such diverse vehicles as Glamis bound sand buggies, Polaris & Yamaha snowmobiles, and even the Toyota Land Cruiser that Ivan Stewart uses to prerun the courses of the SCORE / Laughlin desert series! <br />
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'''1/4 Elliptic Suspension''' - 1/4 elliptic suspensions use a 3 or 4 link configuration, and replace the coilover springs with leafs. An ellipse is a full circle. 1/4 elliptic rear takes it's name from the shape & configuration of the leaf springs, which, not coincidentally, resemble the arch of 1/4 of a circle. Mounting the leafs can take many forms, with a roller or spherical rod end, being the 2 most common types. In the rear, A pivoting "clamp" holds the springs in place, while a NASCAR style "Weight Jack" allows the builder / tuner to adjust ride height. <br />
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'''Torsion Bar Suspension''' - can take many forms. Commonly, torsion bars are used in conjunction with A-Arms in front suspension applications, due to their simple design, ease of maintenance, and light weight. TB suspensions are occasionally found in custom rear suspension applications, controlling a 3 or 4 Link set up. Torsion bars are often used to supplement coil or leaf suspensions, acting as a "secondary suspension".<br />
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'''Secondary Suspension''' - Used most often on race trucks & "top shelf" prerunners, secondary suspension systems allow for very light primary springing (to allow the truck to effortlessly absorb smaller bumps & obstacles), and only come into play in the final inches of wheel travel. The 2 most common forms of secondary suspension are Pneumatic (air / nitrogen) & Torsion bar. <br />
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'''Pneumatic Bump Stop''' - Used in place of, or in conjunction with a poly bump stop, pneumatic bump stops function similarly to an air shock. High pressure nitrogen allows the stop to be tuned to a specific degree of resistance, and some suspension set ups, can act as a form of secondary suspension (by providing a dramatic but controlled increase in effective spring rate during the last few inches of travel).<br />
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'''Spherical Rod End''' - AKA: "Hiem Joints". SRE's are a high strength solution to extreme angle woes. Available in sizes from 1/8 in. to well over 1 in. SRE's have found use at the ends of control / radius arms, tie rods, A-Arms, and many other parts throughout both prerunners & race trucks. Recently, aftermarket lift kit manufacturers have begun incorporating SRE's into the Jeep TJ / XJ / ZJ model lines, as well as the Dodge Ram.<br />
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'''Parker Pumper''' - While Parker Pumper is a brand name, it has come to be as interchangeable as "Xerox" in the off road community. The pumper is an air filtration system consisting of a chassis mounted blower that ducts filtered air to a specially modified helmet, allowing the wearer breathably clean and cool air in the dusty desert environment. <br />
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'''Suspension Seats''' - Produced by several manufacturers, suspension seats utilize an nylon/canvas "base" to cradle the foam padded seating area. This "base" is in turn attached to a tubular steel seat frame by an elastic cord, creating a seating surface that is "suspended". Major advantages to suspension seating include smoother ride, reduced potential for back (spinal compression) injury, and improved vehicle control.<br />
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== Low riders ==<br />
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When the lights go up at today's huge lowrider shows, hundreds of cars gleaming with triple-dipped chrome and gold plating, elaborate candy and metalflake paint jobs, rolling on custom-spoked wire rims featuring the finest spinners money can buy, fans throughout Aztlan (Chicano slang for the American Southwest) and all America, to Japan and Europe, gasp with appreciation and envy. As lowriding has taken the world by storm, it has also taken the mainstream automotive industry by surprise--no one seems to know where the world's number one auto trend came from. Some automotive enthusiasts like to write the sport off as the new cruiser on the block, eyeing hoppers and their high performance hydraulics somewhat suspiciously. <br />
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Other custom car historians dig a little deeper, tapping out a few lines about the late '70s, the television show Chico and the Man, and the first few issues of Low Rider Magazine evidence enough that lowriders have enjoyed at least a decade or two on the streets. But, lowriding's roots reach far deeper into history than that, the result of two very different traditions, California car culture and Mexican cultura coming together in Southern California. Lowriding has always had a distinct Mexican flavor, hotter than hot rods and lower than customs. <br />
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Throughout many Mexican-American neighborhoods, called barrios, from East Los Angeles to El Paso, Texas, cruisers have been dropping Chevrolets to a sidewalk-scraping stance since the late 1930s. It was part of the "zoot suit" fashion, a trend popular among teenagers from every culture. Mexican-American zooters, cool from slicked back hair to highly polished shoes, called themselves pachucos. They cruised beautifully restored, older Chevys, decked out in their oversized zoot suits for a night on the town. Often just the back of the Chevy was temporarily lowered, using sandbags hidden in the trunk beneath strategically placed planks of wood, or permanently dropped all around, the springs shortened by cutting the top few coils or heated until they collapsed to a proper cruising height. They cruised through the streets, honoring a custom that may have been practiced since the heyday of the Aztlan Empire. <br />
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The paseo, still honored today in many small Mexican towns, is a tradition where young, unmarried villagers walking around the village's central plaza, young women in one direction, men in the other, blushing and making eye contact. According to legend, the cruise is merely an automotive extension of this ancient tradition, practiced in Southern California long before it was ever a part of the United States. <br />
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After World War II, America's economy was booming. Southern California' the '30s its comparatively strong economy during the Great Depression had attracted immigrants from the dust bowls of the Central United States and Northern Mexico--was ready to roll. Prior to the war, most "customizers" were interested in speed, not looks, making inexpensive modifications under the hood while removing heavy, "useless" extras like the fenders and roof. Early custom and lowriding (although the word would not come into use until the 1960s) enthusiasts, however, in particular the pachucos, were more interested in looks, class and style. <br />
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It was all on a Depression-era budget, but the seeds were being sown for modern custom trends. After World War II, the hard-driving economy fueled a new generation of automotive enthusiasts, these early styles began branching out, racers, now called hot rods, joined by lakesters, street rods, roadsters, customs, cruisers and finally, lowriders, each new style owing a debt to the cars that came before it. <br />
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By the late 1950s and early '60s, what we would now consider lowriders were finally hitting Whittier Boulevard in great numbers. Such fine rides wouldn't appear overnight, however. California car culture and Mexican-American cultura would both develop and grow, each enriching the larger American culture with every passing decade. <br />
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Pachucismo: Lowriding's Well-Dressed Roots California, along with Arizona, New Mexico and Texas, as well as parts of Colorado, Nevada and Wyoming, were part of Mexico until the 1830s, when Mexico ceded the huge territory to the U.S. Many Mexican-American and Spanish families remained on their ancestral lands, continuing to speak Spanish and retain a distinctly Mexican cultura. Later, from about 1910 to the mid '20s, a wave of new Mexican immigrants--approximately 10-percent of the Mexican population--fled the bloody Mexican Revolution and settled in many major urban centers of the Southwest, in particular, El Paso, Texas, and East Los Angeles. They came, like so many others to this nation of immigrants, seeking stability, peace, and a better life for their children. It was difficult, as it was for refugees from Eastern Europe or Ireland, but many managed to carve out a decent life for themselves in the land of opportunity. <br />
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Professor Ruben Mendoza points out that one of their means of surviving in the U.S. might be the basis of modern day car clubs. "After the Revolution, Mexicans were brought over to the United States to work in the mines, railroads and farms; many of these new workers were exploited, and without any type of job security or insurance, an illness or other calamity could destroy their lives. Many of these immigrants formed 'mutual aid societies,' or social clubs, where they would meet and socialize on a regular basis. The purpose of the group, however, was survival. <br />
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They would all contribute money, and if any of them got sick or in trouble, that could be used to help the ailing member out. That same type of organization. Within a single generation, the English-speaking children of these first immigrants were feeling more a part of American life. Part of the American dream of the '30s and '40s was owning a car, and when the family finally saved enough for that ride, it became almost a member of the family. Most of the cars cruising the barrios were second hand, and Chevrolets, less expensive and easier to repair, as well as more stylish compared to practical Fords, became the cars of choice. <br />
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The desire to be different was no less apparent in Mexican-American communities than anywhere else in the country, and they, too, customized their cars to look unique. Rather than the fast looking "California rake," these young pachucos would drop the back of the car for a sleek, mean look that turned everyone's head. "They were family cars, but we used to fix them up," remembers former pachuco and United Farm Workers co-founder Cesar Chavez. "We fixed up several. The one that we had for the longest period of time was a '40 Chevy. In those days you went the opposite [of the hot rodders]--low in the back. We lowered the rear springs, had fender skirts, two side pipes. It was mostly cosmetic stuff in those days. You had to have two spotlights and two antennas, and a big red stop light in the back. <br />
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Hubcaps, oh, they used to steal hubcaps. The ones that we had, had just one bar across, and big wide whitewalls. When we got out of the car, we had a screwdriver to take off the hubcaps and lock them in the trunk. When we got back we would put them back on." There were plenty of modifications for specific Chevys becoming popular in the barrios. The "alligator hood" looked great on models with hoods hinged down the center, like the '39 Chevy. Originally, the hood would open up like wings, but this was converted to open from the front, like an alligator's mouth. <br />
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For pachucos still customizing Fords, the bumper soon became a problem. Original Ford bumpers had a dip in the center that scraped the ground after the coils were cut or, by those with tougher bottoms, removed. The owner would either flip the bumper, remove it entirely, or switch it. "The most popular to switch was the '37 DeSoto bumper with the five narrow ribs that matched the grille and chrome horn covers on the front fenders," reminisces lowrider historian David Holland. "The '37 DeSoto was a stupid looking car, but it sure had bad bumpers. Also, the '41 Ford bumpers were popular." still exists today in disenfranchised communities, as neighborhood groups, gangs and car clubs." <br />
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Lowrider style has changed a great deal over the past 50 years--although you still have to take extra care of a car sporting a nice set of rims--but, as Cesar Chavez pointed out, Chicano cruisers have always customized their cars very differently from the speedier sets. "Lowriders do happen to alter a car in a way that makes it almost the precise opposite of a style long favored by Anglo car customizers," noted Calvin Trillin in the New Yorker. "The California rake, which has a jacked up rear instead of a lowered one, outlandishly wide tires instead of tires that seem much too small for the car, and a souped up motor instead of one that has been filely ignored." The "East L.A. rake" was part of a new style that was developing. <br />
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These cars not only looked clean, but they were also a way of showing defiance against the mainstream culture. The young pachucos cruising these beauties on Whittier Boulevard, the main strip in East Los Angeles, or on Boulevards throughout the Southwest, had also developed their own style of clothing and hair, which was stirring things up a bit. The zoot suit craze had been spreading across the country throughout the late '30s, popularized by movie stars like Clark Gable. Blacks in Harlem, New York, popularized the look, an enormously oversized jacket over baggy pants with pegged legs. Young Mexican-Americans called them drapes, and often dropped the fancy fedora altogether. There was some concern on the part of the mainstream about the refusal of these young people to assimilate. <br />
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Older, more conservative Mexican-Americans also worried about their children's new look. "I started wearing zoot suits when it became and issue," Cesar Chavez explained. "The Chicano community was divided about the dress. Some people just wouldn't wear them, because they thought everybody who did was no good. The girls also wore their trapos, even though people would say, 'you're no good.' You see, the people that wore them eran los mas pobres, guys like us who were migrant farm workers." <br />
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Patricia Alcala, who allowed the PBS documentary Low and Slow cover her daughter's lowrider quincianera, had a similar experience. "Back in the '40s, we couldn't wear tight skirts, dangly earrings, or speak Spanish. If you did, you were labeled 'bad.' " But, like so many young cruisers of their generation, Chavez and Alcala continued to wear the pachuco fashion and speak Spanish, at least when their teachers weren't around. The car, the clothes and the language were all badges of pride for a generation caught between cultures, struggling to find their own identity. <br />
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What frightened many Southern Californians, however, was not just the pachucos' rough and ready reputation. It was their ability to move through traditionally Anglo areas with ease. "Being strangers to an urban environment, the first generation tended to respect the boundaries of the Mexican communities," writes historian Carey McWilliams of the pachucos' first lows. "But, the second generation was lured far beyond these boundaries into the downtown shopping districts, to the beaches and, above all, to the glamour of Hollywood. It was this generation of Mexicans, the pachuco generation, that first came to the general notice and attention of the Anglo-American population." <br />
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The attention that the pachucos got, with their cars, clothes and street slang, called calo, was notorious. "We went to the movies--we were just waiting outside--and the guy wouldn't let us in with a pass," said Cesar Chavez. "The cops came and then stood us against a wall and searched us. They ripped our pants--can you imagine? In those days the one that I had was a sharkskin suit and it cost me $45, a lot of money in those days--we're talking about 1942 or '43." Cesar wasn't the only one. "I was just hanging out [on the corner of 5th Avenue and Glendale Avenue] with my homeboys in a zoot suit, when a city of Glendale placa [police car] drove up and called me over," Noni Maldonado told "El Danny" in an article for Barrio Breakthrough Magazine. "Our zoot suits, to us, were firme trajes, to go to dances and hang out with the pleve. We weren't into gangs or pachuco fighting. We just automatically got stereotyped because of our clothes and our hair style, but that was us!"<br />
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== Drift cars ==<br />
<br />
'''What Is Drifting?'''<br />
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Basically, drifting is getting your car sideways down a road. It doesn't sound very hard does it? Sounds a lot like power sliding huh? Well it isn't. It's much more complex. Instead of a drifter causing a drift and then countering to straighten out, he will instead over-counter so his car goes into another drift. That is the reason many drifters do it in the mountains, because there are many sharp turns strung together. So in essence a good drifter has the ability to take five or six opposing turns without having traction at any point in time.<br />
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'''How is it done?'''<br />
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There are two ways to start a drift. The first is the clutching technique. When approaching a turn the driver will push in the clutch and shift his car into second gear. Then rev the engine up to around 4000-5000 rpm and then slightly turn away from the turn and then cut back towards it hard while at the same time popping the clutch and causing the rear wheels to spin. At this point the drifter has a loss of traction and is beginning to slide around the curve. Now comes the hard part. You have to hold the drift until the next turn. To do this you must keep your foot on the accelerator while at the same time adjusting your car with the steering wheel so you don't spin out. It's not as easy as it sounds. Then as the drifter reaches the end of the turn and approaches the next turn which is in the opposite direction he must cut the wheel in that direction and in some cases, if the previous drift was to slow and they start to regain traction, they must pop the clutch again to get the wheels spinning. And that is how you drift a rear wheel drive car.<br />
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The second technique is used by a few drifters in rear wheel drives, but is the only way you can really drift a front wheel drive. You have to use the side brake. A front wheel drive can not whip its tail out because the tires are being driven in the front as opposed to the rear. So when approaching a turn you pull the side brake to cause traction loss. And the rest is pretty much the same except that it's much harder to take more than one turn with a front wheel drive.<br />
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'''What Cars Do They Use?'''<br />
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There are seven cars most commonly used for drifting. The first is the AE86 Levin / Trueno because of it's rear wheel drive lay-out and the fact that it's relatively inexpensive it is probably the most common drifting car. The second and third are the Silvia S13 and S14, which come in two different models: the turbocharged K's and the non-turbo Q's. Because of their high horse power and free-revving engines they are excellent drifting cars. The third is the 180SX, related mechanically to the Silvia, the only difference is in the body style and the fact that is lighter and has a better front/rear balance ratio. The fifth is the FC3S RX-7. The Cefiro is another excellent drifting car. It has a powerful RB20DET engine and good handling characteristics. The last is the Laurel which is also powered by the RB20DET. Another good drifting car is the Skyline GTS-T which you don't see very often. It has a rear wheel drive layout and boasts a 260hp engine.<br />
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'''Making a Car Drift'''<br />
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The first drifting technique a driver needs to master is actually a regular racing technique. Heel-and-toe shifting lets a race car driver downshift smoothly and quickly (to increase rpm) while simultaneously braking (to shift the car's weight forward). The goal of this shifting technique is to maintain equilibrium between engine speed and wheel speed so the drivetrain doesn't jolt while downshifting. To heel-and-toe downshift while your right foot is on the brake, you depress the clutch with your left foot, shift to neutral and release the clutch. Then, keeping the ball of your right foot on the brake, you move your right heel to the gas pedal and rev the engine until the rpm matches up with wheel speed (usually an increase of about 1,500 rpm per one-gear downshift). Once you reach the proper rpm, you get off the gas pedal, still applying the brake, push in the clutch again and downshift. Once a driver can execute proper race-style shifting, she's ready to master some drifting techniques.<br />
Drift racing offers a real difference over other motor sports. What do you think of it? <br />
Tell us here. <br />
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'''Clutch-based techniques'''<br />
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Clutch-kick drift - Approaching the turn, the driver holds in the clutch, increases rpm and downshifts. She then releases the clutch, causing a power surge that makes the back wheels lose traction. This is a basic drifting technique. <br />
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Shift-lock drift - Approaching the turn, the driver downshifts and drops the rpm to slow down the drivetrain. She then releases the clutch, causing the back wheels to immediately slow down and lock up so they lose traction. <br />
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'''Brake-based techniques'''<br />
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E-brake drift - The driver enters the turn and pulls the emergency brake to lock the back wheels. She steers into the turn, and the back end swings out into a drift. This is a basic drifting technique. <br />
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Braking drift - The driver enters the turn and applies the brakes to push the car's weight to the front wheels, causing the back wheels to rise and lose traction. She then uses a combination of braking and shifting to hold the drift without the back wheels locking up. <br />
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Long-slide drift - On a long straightaway approaching a turn, at high speed (up to 100 mph / 161 kph), the driver pulls the emergency brake to initiate a long drift and maintains it into the turn. <br />
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'''Other techniques'''<br />
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Power-over drift - The driver accelerates into and through the entire turn to make the back end swing out as the weight shifts on exit. This technique requires a lot of horsepower. <br />
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Feint drift - The driver steers the car to the outside of the turn on the approach, pushing the car's weight to outside wheels. She then quickly steers back into the turn. When the car's suspension kicks back, the weight shifts so quickly that the back end flicks out to initiate a drift. <br />
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Jump drift - Entering a turn, the driver bounces the inside rear tire over the inner curb to shift the car's weight to the outside wheels and induce traction loss, initiating a drift. <br />
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Dynamic drift (Kansei drift) - Entering a turn at high speed, the driver suddenly releases the gas pedal to shift the weight to the front wheels, initiating a drift as the rear tires lose traction. <br />
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Swaying drift - A swaying drift is a lot like a feint drift except that it begins on a long straightaway approach to a turn. Once the car starts drifting, the driver uses steering to maintain the drift in the form of a side-to-side swaying of the car's back end. <br />
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Dirt-drop drift - The driver drops the rear tires off the race course into the dirt. This technique helps initiate a drift, maintain speed to hold a drift through multiple turns or increase the drift angle (see the next section) during a single turn. <br />
For detailed explanations and instructions for each of the techniques mentioned here, check out Drift Session: Drift Techniques. <br />
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As you can see from the above techniques, drifting is not the most natural thing for a car to do. To get a car in good shape to drift and to keep it in good shape as a drifting car, there are some additions or modifications that a lot of drivers make. These can include adding horsepower and upgrading the engine's cooling system to handle the increased stress and power needs, tightening the suspension (MacPherson strut is a preferred type) to help with the weight-shifting drift techniques, and installing a limited-slip differential so the driver can control the car while drifting through more than one turn. A limited-slip differential lets the car transfer torque to whichever wheels have traction, whether that's one or all four. (See How Differentials Work to learn more about limited-slip.) The driver will usually disable any traction control and/or anti-lock-brake systems so the tires can more easily lose traction, as well as inflate the tires to about 10 psi above normal pressure to decrease their grip on the road. Since the rear tires on a drifting car can get burned up in just a handful of drifting runs, drivers typically put good tires on the front and cheap tires on the back. Tires are by far the biggest expense in the sport of drifting. <br />
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Unless you're buying a whole new car to drift, that is. When considering a good drifting car, you're basically looking for a rear-wheel drive, lightweight car that's relatively inexpensive (cars can get pretty beat up on the drifting circuit). Other qualities that make a nice drifter include a high front-to-rear weight ratio, good horsepower and a light flywheel so the engine revs easier. Some of the more popular drifting cars include the Toyota Corolla AE86 GTS, the Nissan Silvia S13 or S14, the Nissan 180SX, the Nissan Skyline GTS-T, the Nissan Sil-Eighty and the Mazda RX-7 (Japanese cars tend to be lighter in the rear than others). <br />
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You'll actually find a pretty wide range of cars at drifting events, including European and American models. Most pros will tell you that with the right level of skill, you can make any car a drifter, and in addition to the common drift cars, you'll see everything from Ford Mustangs to BMWs at competitions.<br />
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== Online Resources ==<br />
<br />
* [http://www.zercustoms.com Custom Auto]<br />
* [http://www.zercustoms.com/news/custom-car-news.php Custom Car News]<br />
* [http://www.zercustoms.com/car-show/index.php Custom Auto Photos]<br />
* [http://www.zercustoms.com Ride Show Off]<br />
* [http://www.zercustoms.com/directory/directory/ Custom Auto Directory]</div>Zerilloshttps://wikicars.org/index.php?title=Custom_auto&diff=17192Custom auto2006-09-21T07:21:07Z<p>Zerillos: /* Street Racing */</p>
<hr />
<div>== Hot Rod History ==<br />
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A lot has been written about the origins of the hot rod and the development of the culture that gave rise to them and then grew up around them. This is my own personal take on the subject, and I'm sure others with more detailed knowledge (including the many who were there) might well disagree with my thoughts. With that caveat, I place the defining origin point for hot rods and hot rod culture as the end of World War II. A number of factors came together at one time -- the period between the end of the war in 1945 and the begining of the 1950s -- and mainly in one place -- southern California -- to create a unique environment in which the hot rod and its culture were born.<br />
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At the end of the war, a legion of young men returned to America with a wad of demobilization cash in their pockets and a sense of freedom and excitement bred by their experiences in the war. With a period of peace and the steadily increasing prosperity of the country as a backdrop, these young men had a "can-do" attitude and a desire to express themselves in ways that their time in the military had stifled. And, all of a sudden, there were a lot of inexpensive used cars available. For five years Detroit had basically been in the business of supplying the military. Now all that production capacity was turned to creating a stream of new cars to satisfy the pent-up demand of a civilian population that had scrimped and saved throughout the Great Depression of the 1930s and the sacrifices of the war years. Men who'd stayed behind to work in America's offices and factories had a lot of savings and they were ready to ditch their aging cars from the 1920s and 1930s for gleaming new models offered by the Big Three (and the others who are now gone, like Wilys and Kaiser). Their trade-ins became the starting point of the hot rodders, and came to define the way they were built and how they looked.These factors dictated the core aesthetic of the classic American hot rod. It was the later Model Ts and the plentiful early-30s Fords and Chevys that became the raw material for the young men who created hot rodding and hot rod culture. Here's a picture of a '32 Ford Roadster, a contemporary car, but one built on the style of those first hot rods. The basic performance and engineering elements of the hotrod came together in these cars: More power, less weight and a look derived from these things leading to chopped tops, channeled bodies, pinched frames, dropped axles and, eventually wide tires. <br />
And why southern California? Again, a lot has been written about the question of why southern California became the seed-bed for so much cultural change in the second half of the twentieth century. Part of it was Hollywood, part simply that the western part of the country had reached a critical mass of prosperity and population sufficient to establish itself as a new center of culture distinct from the old center in the northeast. But a few factors made southern California the right place for the birth of hot rodding. One was the climate: with year-round perfect temperature and little rainfall, young men of little means could work outside on cars that had few creature comforts themselves. More important, Los Angeles was the first city truly shaped from its beginnings by the automobile: There were more roads, and new ones there. Finally, and perhaps most importantly, was "the lakes," the dry lake beds just east of L.A. that became a magnet for the chopped and stripped-down speed machines. Here the hot rodders found miles and miles of hard, glass-flat surface upon which to run their machines.<br />
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<br />
GOLDEN AGE <br />
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The 1950s were the Golden Age of hot rodding and, for a while, there was only hot rodding -- not the different strains of car-craziness that it gave birth to. In the beginning, there was no distinction among the cars that kids played with as a form of street-running self-expression, the drag racing car, the customized work of art; there was just the hot rod, the amateur automobile artform. But the seeds of hot-rodding's progeny were growing during that time.<br />
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The "lakes" were breeding a number of different kinds of cars aimed at faster and faster top speeds at the expense of driveability and, eventually even roadability. The famous "drop tank roadsters" exemplified these early forefathers of the machines that would some day exceed the speed of sound on the ground, built from war surplus military aircraft fuel tanks.<br />
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Meanwhile, the true "drag strip" was born. The National Hot Rod Association was formed in 1951 to impose some safety standards on "those speed-crazed kids" and the NHRA, now the governing body for drag racing in the the U.S., held its first sanctioned event in southern California in 1953.<br />
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Finally, the pure aesthetics of hot-rodding began to be expressed in the metalwork of exterior modifications to later, post-war cars. This gave rise to the "kustom" culture of cars that were increasingly works of pure visual art. Later, this gave rise to the show car world of the mid-1960s to the mid-1970s (detailed below.) <br />
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But for a time, it was all one thing -- just young people exploring a new form of American individuality through the ultimate American experience, the road.<br />
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HOT ROD CULTURE <br />
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During the 1950s and into the early 1960s, the southern California scene connected with hot rods gave birth to a whole host of related cultural phenomena. The stars of custom car building, like Ed Roth and George Barris, became celebrities in the hot rod scene and some, like Roth and Von Dutch became visual artists in a weird and adolescent genre that had a life of its own apart from the cars. More than half the middle-aged men (in 2003, when I'm writing this) in America probably had some kind of Rat Fink image in their room when they were a kid. Many may not have realized the connection to the greasy hot rodders of a decade before. For a look at where this visual art is today take a look at this gallery (warning, it's not for the faint of heart).Then there was the music. At first, hot-rodding was associated with rockabilly, the first form of true rock and roll. But, just as hot rod culture became a defninable space in the general lanscape of American life, a different connection developed. Here it's not possible to separate the connection with a broader southern California scene, known by the often-inapplicable term "surf music." Most folks probably think of the Beach Boys and titles like "Little Deuce Coupe" and "409," but there were many other musicians who were mining the hot rod experience for subject matter. Jan and Dean come to mind, and the Ventures (with their album covers adorned with "wild" T-buckets), and the incredible Dick Dale, whose music to me is the sound of hot rodding.<br />
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Hot rod culture sat at an intersection between the hipsters of the late 40s and 50s (think of Dean Moriarty's relationship with cars in Kerouac's On the Road, and "Big Daddy" Ed Roth's goatee), the lower-class aspirations of kids from the wrong side of the tracks in a country with rising economic expectations (think of the menace of Dennis Hopper's "Goon" in Rebel Without a Cause) and the general development of a "counterculture" of individuality and free expression. For a time, the hot rod became a central symbol of youth and creativity in America, and was as cool as anything around. But by the mid-1960s, the wave of the counterculture had moved on and, although many of the "show car" artists of the time incorporated things like peace symbols and images of long-haired guys in patched bell-bottoms in their work, the days when hot rod culture was part of the "crest of the wave" were over.<br />
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<br />
== Show Cars ==<br />
<br />
By the early 1960s the various different lines of hot rod culture were well defined, had separated and then begun to interact in new ways. the two most important elements of this for me were the "show rod" phenomenon and muscle cars. The "Kings of Kustom" had been working for a while now, and their ideas were seeping out to a larger audience, while at the same time the milieu of the classic hot rod kids was mutating rapidly. Southern California, the memetic engine of mid-century America, had moved on, and "teen rebellion" was morphing into the full-blown and politicized counterculture. Greasers and hipsters gave way to hippies and yippies. A great portrait of this time can be found in Tom Wolfe's very first bit of journalism, The Kandy-Kolored Tangerine-Flake Streamline Baby, his 1965 portrait of the "kustom kar show" world.<br />
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The work of Tom Daniels exemplifies the era of the show rod perhaps better than any other. Daniels had a huge influence on the hot rod aesthetic of my generation through his work for the plastic model kit maker Monogram (later acquired by Revell). I recently discovered Tom Daniels' website, and the flood of memories unleashed by the images there was amazing. I'd insert some here, but Daniels has a blood-curdling warning about his ownership of the work there, so I'll suggest you go by his website, especially the page devoted to the box art for the kits he designed. Off the top of my head, I can well remember building the "Red Baron", the "T'rantula" (probably the two most influential on my own personal hotrod aesthetic), the "Pie Wagon," "Beer Wagon," "Garbage Truck," "Paddy Wagon" and "Sand Crab." Interestingly, note that all of these kits were issued in 1968 or 1969, when I was 11 and 12 years old. I think these designs came along at a time when my automotive aesthetic was being forged for a lifetime. To see many of Tom Daniels' kits built by great modelers (along with others mainly from that era of "outrageous show rods"), visit Show Rod Rally. Presumably Daniels' prohibition on use of images doesn't run to photos of the kits themselves, so here are the first two mentioned.<br />
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Interestingly, most of these cars never existed except as model kits; few were ever built as real, driveable automobiles. I suppose this highlights as much as anything else the fact that the hot rod's power is as much that of image and idea, rather than as transportation.<br />
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Here's a very good brief description of the show car phenomenon of the 1960s and early 1970s:The 1960s saw the pinnacle of one of America's most unusual native art forms. Flowing streamlined designs, radiant colors, and amazing craftsmanship blended together to develop a new concept - - Show Cars.<br />
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Show cars evolved from the custom car, which was basically a modified version of an existing vehicle. Early pioneers of auto customizing in the 1950's began changing and improving their wheels for speed, originality, and a cool look. During these times, cars were "chopped, tubbed, raked, and hopped-up." These basic customizing techniques continued to become more elaborate until custom cars were being designed from scratch or by heavily converting existing vehicles into unbelievable designs. True show cars were distinguished by being one-of-a-kind originals, built from the ground up. It seems a paradox that their engines were extremely powerful, yet they rarely touched the road. In other words, these cars were meant to be looked at, not driven. The men who created them were true artists, and their creations were true art. Show cars belong to the genre of sculpture, and for those of us who couldn't afford the originals, there were always the model kits.<br />
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Probably the most famous custom car designers are George Barris and Ed Roth. Barris was one of the pioneer customizes and has personalized automobiles for many celebrities. An avid model and toy collector himself, Barris started making hobby kits of his cars with Revell in 1957, the first being a 1956 Buick. He is better known for his special cars however, and when AMT made a model kit of his 1960 Ala Kart, a whole line of kits designed after Barris' award-winning custom cars began.<br />
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Ed "Big Daddy" Roth, reached cult status on auto show circuits and teen modeler circles with his outrageous cars and Rat Fink character. (More can be found on Roth in the Freaks, Geeks, and Oddballs chapter.)<br />
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In 1967, Monogram and car designer Tom Daniel started a partnership that would produce 60 kits and last nearly a decade. Daniel had previously worked for George Barris where he helped design the Munster Koach and Dragula. One of Daniel's designs, the Red Baron, proved to be so popular that Monogram released it in a larger 1/12 scale.<br />
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Other heavy contenders on the show car circuit included Daryl Starbird, Carl Casper, and Bill Cushenberry. By the end of the 1970's though, the show car craze declined in popularity. Even though many wild rods are still being produced today, they sure don't make 'em like they used to!<br />
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== Muscle Cars ==<br />
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A muscle car is a high-performance automobile. The term principally refers to American models produced between 1964 and 1971.<br />
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The term muscle car generally describes a mid-size car with a large, powerful engine (typically, although not universally, a V8 engine) and special trim, intended for maximum acceleration on the street or in drag racing competition. It is distinguished from sports cars, which were customarily and coincidentally considered smaller, two-seat cars, or GTs, two-seat or 2+2 cars intended for high-speed touring and possibly road racing. High-performance full-size or compact cars are arguably excluded from this category, as are the breed of compact sports coupes inspired by the Ford Mustang and typically known as pony cars, although few would dispute a big-block pony car's credentials as a muscle car.<br />
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An alternate definition is based on power-to-weight ratio, defining a muscle car as an automobile with (for example) fewer than 12 pounds per rated hp. Such definitions are inexact, thanks to a wide variation in curb weight depending on options and to the questionable nature of the SAE gross hp ratings in use before 1972, which were often deliberately overstated or underrated for various reasons.<br />
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Another alternate definition involves a car's original design intents. Muscle cars are factory produced automobiles that have a larger engine than was originally planned for in the design and production phase of the original car. Examples of this trend can be found throughout American, Japanese, and European cars of all designs. This includes many cars that typically are not labeled as muscle cars, such as the B13 (1991-1994) Nissan Sentra SE-R, and excludes other cars typically labeled as muscle cars, such as the Dodge Viper.<br />
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Although auto makers such as Chrysler had occasionally experimented with placing a high performance V-8 in a lighter mid-size platform, and full-size cars such as the Ford Galaxie and Chevrolet Impala offered high-performance models, Pontiac is usually credited for starting the muscle car trend with its 1964 Pontiac GTO, based on the rather more pedestrian Pontiac Tempest. For 1964 and 1965, the GTO was an option package that included Pontiac's 389 in³ (6.5 L) V8 engine, floor-shifted transmission with Hurst shift linkage, and special trim. In 1966, the Pontiac GTO was no longer an option, and became its own model. The project, spearheaded by Pontiac division president John De Lorean, was technically a violation of General Motors policy limiting its smaller cars to 330 in³ (5.4 L) displacement, but it proved far more popular than expected, and inspired a host of imitations, both at GM and its competitors.<br />
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It marked a general trend towards factory performance, which reflected the importance of the youth market. A key appeal of the muscle cars was that they offered the burgeoning American car culture an array of relatively affordable vehicles with strong street performance that could also be used for racing. The affordability aspect was quickly compromised by increases in size, optional equipment, and plushness, forcing the addition of more and more powerful engines just to keep pace with performance. A backlash against this cost and weight growth led in 1967 and 1968 to a secondary trend of "budget muscle" in the form of the Plymouth Road Runner, Dodge Super Bee, and other stripped, lower-cost variants.<br />
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Although the sales of true muscle cars were relatively modest by total Detroit standards, they had considerable value in publicity and bragging rights, serving to bring young buyers into showrooms. The fierce competition led to an escalation in power that peaked in 1970, with some models offering as much as 450 hp (and others likely producing as much actual power, whatever their rating).<br />
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Another related type of car is the car-based pickup. Examples of these are the Ford Ranchero, GMC Sprint, GMC Caballero, and one of the most famous examples, the Chevrolet El Camino.<br />
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== Pre-runners ==<br />
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Some of the terminology associated with prerunners & desert race vehicles is pretty far removed from the mainstream of off-roading. While this is not a complete listing of all the terms associated with these vehicles, we hope it will further your understanding of them, and of the sport of off-road racing in general.<br />
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'''Vertical Wheel Travel''' - Amount of wheel travel measured from the center of the axle at full droop to the center of the axle at full compression <br />
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'''Lever Ratio''' - Shocks & springs can be mounted in several locations, and at various angles. If a shock were to be mounted vertically atop the axle, it would be said to have a 1 to 1 lever ratio - i.e. 1 in. of vertical shock travel = 1 in. of vertical wheel travel. If the shock is mounted at a 45 deg. angle, it will move 1/2 in for every inch of wheel travel. As such, it would be said to have a 1.5 to 1 lever ratio. <br />
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'''Velocity Sensitive Shocks''' - Many prerunners & race vehicles use velocity sensitive shocks. Their monotube design is lightweight, affordable, and provides a significant "bang for the buck". VS shocks are rebuildable, & use a series of stacked flexible washers to determine their valving characteristics. Adjustments are made by disassembling the shock, and changing the stack of washers to a stiffer, or lighter configuration. VS shocks use up to 200psi of nitrogen gas to combat foaming at high temperatures & shaft speed. further cooling capacity often comes from remote reservoirs, though they are optional on most models. It is common to se several VS shocks mounted together, and valved lightly, reducing the workload per shock. <>Coilover Shocks - These shocks serve as a mounting point for a coil spring. Unlike "overload" shocks found in auto supply houses, "Coilovers" are extremely high performance units, used in 3 & 4 link suspension applications. The coil springs are removable from the shocks for replacement & tuning, and the shock is fully rebuildable / adjustable for compression & rebound dampening. Coilover shocks are mounted to the chassis via spherical rod ends, rather than bushings to minimize unwanted deflection, and provide maximum streingth to the load bearing assembly. Coilover Shocks most always come with a remote reservior to aid in fluid cooling.<br />
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'''Remote Reservoir''' - Found on 9 out of 10 race shocks, Remote reserviors provide the shock with increased fluid & gas capacity, allowing for increased cooling, less "shock fade", and longer maintenance intervals. These aluminum & steel canisters contain a piston which separates the hydraulic fluid from high pressure nitrogen gas. They are attached to the shock absorber by a custom length of braided steel hose, or high pressure hydraulic line, and can be attached anywhere on the vehicle.<br />
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'''Bypass Shock''' - Bypass shocks are the pinnacle of shock technology. The goal of a bypass shock is to provide light valving in the initial movement of the wheel (to keep the wheels in contact with the ground over smaller bumps), progressively stiffer valving throughout the midrange of travel, and finially very stiff valving at the uppermost reaches of a shocks stroke to resist bottoming. Using a series (usually 2-4) of "bypass tubes" welded to the shock body, valving becomes externally adjustable via metered "jets". The bypass tubes provide precise oil flow through the shock, minimizing cavatation due to heat or unequal pressure, and together with the metered "jets", make for near infinite compression / rebound dampening possibilities. The latest developments in bypass shock technology have led to the development of "internal bypass" shocks. While the general principle of bypass remains the same, internal bypass shocks locate the bypass tubes inside the shock body, making them suitable for use in a coilover configuration. The sheer size of bypass shocks is impressive, but they aren't built that way for their looks. Rather than ounces, the fluid capacity of Bypass shocks is better measured in quarts, translating directly into a cooler running, nearly fade-proof assembly. Shaft sizes begin in the 7/8 in. range. Bypass shocks are always mounted via spherical rod end, as the loads generated would quickly destroy rubber or ploy bushings. These are the shocks commonly seen on (but not limited to) the Trophy, Pro & Class 7 & 8 trucks of SCORE.<br />
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'''3 Link Suspension''' - the "link" in 3 link refers to the number of mounting points on the rear axle. Used with torsion bar, 1/4 elliptic leaf springs & coilover shock arrangements, the 3 link uses 3 "control arms" to locate the axle & position it as it moves throughout it's range of travel. The standard configuration for a 3 Link is one arm (per side) mounted slightly below the axle, with a forward attachment point at the frame or custom built crossmember. Centered above the axle is a 3rd mounting point, using a triangular shaped arm (usually built of tubular steel), which attaches forward on the frame, or crossmember. 3 Link suspensions have been built & tested with up to 38 inches of "Vertical" wheel travel, and provide tremendous amounts of wheel articulation. Many prerunners, and even some race trucks use bushings for the mounting of the forward sections of the control arms, but the rear (axle) mounting points are often spherical rod ends. The spherical rod ends are a stronger assembly, and are less binding, offering a free and greater range of movement. <br />
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'''4 Link Suspension''' - a 4 Link is identical to the 3 Link except for using two upper control arms rather than one. these upper arms are mounted from a near center position (each aside the differential) and angled outward to the frame or custom built crossmember. Like the 3 Link, The 4 Link is capable of incredible vertical wheel travel, but articulation is slightly less.<br />
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'''A-Arm Suspension''' - usually found on the front of non Ford vehicles, the A-Arm suspension uses an upper & lower "A" shaped arm & a coil or torsion bar springing. A-Arms are a simple & popular suspension, and can achieve respectable (aprox 13 in.) wheel travel when used with stock length arms. On mini / mid size trucks, wheel travel is limited by the shorter arms & can be in the 9-11 in. range. Long travel A-Arm suspensions require longer / redesigned arms, and can involve relocation of the engine / K frame to achieve sufficient clearance. Further mods include spherical rod ends, modified ball joints, and redesigned spindles. Depending on the configuration, travel in the 28in.range is achievable, but at far greater cost than other suspension designs.<br />
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'''Twin "I"Beam''' - TIB / TTB suspensions consist of 3 main parts. The I beam (which mounts the spindle / brake assembly), the radius arm (which runs parallel to the frame, attaching at the I Beam in front, and a crossmember in the rear), and the coil spring, or coilover shock. This front suspension has been in use on Ford Trucks since the 60's, and has been transplanted to just about every other vehicle in existence. The reason for it's popularity is simple. There's an old desert saying that says "12 in. of Ford travel is worth 15 in. of anything else". Secondly, the cost of a 15 in. TIB or TTB system is well under $2000, making it the best value per in. on the market today. The Twin I Beam (and it's 4wd counterpart the TTB-Twin Traction Beam) is a far stronger design than the traditional A-Arm, and is ridiculously easy to extract usable travel from. A stock F-150 approaches 10 in. of travel, & with a few simple mods, 15 in. of wheel travel is there for the taking. Extreme examples measuring in at 32 in. are not unheard of, but 26-30 in. is common in race vehicles. Variations on the TIB can be found on such diverse vehicles as Glamis bound sand buggies, Polaris & Yamaha snowmobiles, and even the Toyota Land Cruiser that Ivan Stewart uses to prerun the courses of the SCORE / Laughlin desert series! <br />
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'''1/4 Elliptic Suspension''' - 1/4 elliptic suspensions use a 3 or 4 link configuration, and replace the coilover springs with leafs. An ellipse is a full circle. 1/4 elliptic rear takes it's name from the shape & configuration of the leaf springs, which, not coincidentally, resemble the arch of 1/4 of a circle. Mounting the leafs can take many forms, with a roller or spherical rod end, being the 2 most common types. In the rear, A pivoting "clamp" holds the springs in place, while a NASCAR style "Weight Jack" allows the builder / tuner to adjust ride height. <br />
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'''Torsion Bar Suspension''' - can take many forms. Commonly, torsion bars are used in conjunction with A-Arms in front suspension applications, due to their simple design, ease of maintenance, and light weight. TB suspensions are occasionally found in custom rear suspension applications, controlling a 3 or 4 Link set up. Torsion bars are often used to supplement coil or leaf suspensions, acting as a "secondary suspension".<br />
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'''Secondary Suspension''' - Used most often on race trucks & "top shelf" prerunners, secondary suspension systems allow for very light primary springing (to allow the truck to effortlessly absorb smaller bumps & obstacles), and only come into play in the final inches of wheel travel. The 2 most common forms of secondary suspension are Pneumatic (air / nitrogen) & Torsion bar. <br />
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'''Pneumatic Bump Stop''' - Used in place of, or in conjunction with a poly bump stop, pneumatic bump stops function similarly to an air shock. High pressure nitrogen allows the stop to be tuned to a specific degree of resistance, and some suspension set ups, can act as a form of secondary suspension (by providing a dramatic but controlled increase in effective spring rate during the last few inches of travel).<br />
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'''Spherical Rod End''' - AKA: "Hiem Joints". SRE's are a high strength solution to extreme angle woes. Available in sizes from 1/8 in. to well over 1 in. SRE's have found use at the ends of control / radius arms, tie rods, A-Arms, and many other parts throughout both prerunners & race trucks. Recently, aftermarket lift kit manufacturers have begun incorporating SRE's into the Jeep TJ / XJ / ZJ model lines, as well as the Dodge Ram.<br />
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'''Parker Pumper''' - While Parker Pumper is a brand name, it has come to be as interchangeable as "Xerox" in the off road community. The pumper is an air filtration system consisting of a chassis mounted blower that ducts filtered air to a specially modified helmet, allowing the wearer breathably clean and cool air in the dusty desert environment. <br />
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'''Suspension Seats''' - Produced by several manufacturers, suspension seats utilize an nylon/canvas "base" to cradle the foam padded seating area. This "base" is in turn attached to a tubular steel seat frame by an elastic cord, creating a seating surface that is "suspended". Major advantages to suspension seating include smoother ride, reduced potential for back (spinal compression) injury, and improved vehicle control.<br />
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== Low riders ==<br />
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When the lights go up at today's huge lowrider shows, hundreds of cars gleaming with triple-dipped chrome and gold plating, elaborate candy and metalflake paint jobs, rolling on custom-spoked wire rims featuring the finest spinners money can buy, fans throughout Aztlan (Chicano slang for the American Southwest) and all America, to Japan and Europe, gasp with appreciation and envy. As lowriding has taken the world by storm, it has also taken the mainstream automotive industry by surprise--no one seems to know where the world's number one auto trend came from. Some automotive enthusiasts like to write the sport off as the new cruiser on the block, eyeing hoppers and their high performance hydraulics somewhat suspiciously. <br />
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Other custom car historians dig a little deeper, tapping out a few lines about the late '70s, the television show Chico and the Man, and the first few issues of Low Rider Magazine evidence enough that lowriders have enjoyed at least a decade or two on the streets. But, lowriding's roots reach far deeper into history than that, the result of two very different traditions, California car culture and Mexican cultura coming together in Southern California. Lowriding has always had a distinct Mexican flavor, hotter than hot rods and lower than customs. <br />
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Throughout many Mexican-American neighborhoods, called barrios, from East Los Angeles to El Paso, Texas, cruisers have been dropping Chevrolets to a sidewalk-scraping stance since the late 1930s. It was part of the "zoot suit" fashion, a trend popular among teenagers from every culture. Mexican-American zooters, cool from slicked back hair to highly polished shoes, called themselves pachucos. They cruised beautifully restored, older Chevys, decked out in their oversized zoot suits for a night on the town. Often just the back of the Chevy was temporarily lowered, using sandbags hidden in the trunk beneath strategically placed planks of wood, or permanently dropped all around, the springs shortened by cutting the top few coils or heated until they collapsed to a proper cruising height. They cruised through the streets, honoring a custom that may have been practiced since the heyday of the Aztlan Empire. <br />
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The paseo, still honored today in many small Mexican towns, is a tradition where young, unmarried villagers walking around the village's central plaza, young women in one direction, men in the other, blushing and making eye contact. According to legend, the cruise is merely an automotive extension of this ancient tradition, practiced in Southern California long before it was ever a part of the United States. <br />
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After World War II, America's economy was booming. Southern California' the '30s its comparatively strong economy during the Great Depression had attracted immigrants from the dust bowls of the Central United States and Northern Mexico--was ready to roll. Prior to the war, most "customizers" were interested in speed, not looks, making inexpensive modifications under the hood while removing heavy, "useless" extras like the fenders and roof. Early custom and lowriding (although the word would not come into use until the 1960s) enthusiasts, however, in particular the pachucos, were more interested in looks, class and style. <br />
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It was all on a Depression-era budget, but the seeds were being sown for modern custom trends. After World War II, the hard-driving economy fueled a new generation of automotive enthusiasts, these early styles began branching out, racers, now called hot rods, joined by lakesters, street rods, roadsters, customs, cruisers and finally, lowriders, each new style owing a debt to the cars that came before it. <br />
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By the late 1950s and early '60s, what we would now consider lowriders were finally hitting Whittier Boulevard in great numbers. Such fine rides wouldn't appear overnight, however. California car culture and Mexican-American cultura would both develop and grow, each enriching the larger American culture with every passing decade. <br />
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Pachucismo: Lowriding's Well-Dressed Roots California, along with Arizona, New Mexico and Texas, as well as parts of Colorado, Nevada and Wyoming, were part of Mexico until the 1830s, when Mexico ceded the huge territory to the U.S. Many Mexican-American and Spanish families remained on their ancestral lands, continuing to speak Spanish and retain a distinctly Mexican cultura. Later, from about 1910 to the mid '20s, a wave of new Mexican immigrants--approximately 10-percent of the Mexican population--fled the bloody Mexican Revolution and settled in many major urban centers of the Southwest, in particular, El Paso, Texas, and East Los Angeles. They came, like so many others to this nation of immigrants, seeking stability, peace, and a better life for their children. It was difficult, as it was for refugees from Eastern Europe or Ireland, but many managed to carve out a decent life for themselves in the land of opportunity. <br />
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Professor Ruben Mendoza points out that one of their means of surviving in the U.S. might be the basis of modern day car clubs. "After the Revolution, Mexicans were brought over to the United States to work in the mines, railroads and farms; many of these new workers were exploited, and without any type of job security or insurance, an illness or other calamity could destroy their lives. Many of these immigrants formed 'mutual aid societies,' or social clubs, where they would meet and socialize on a regular basis. The purpose of the group, however, was survival. <br />
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They would all contribute money, and if any of them got sick or in trouble, that could be used to help the ailing member out. That same type of organization. Within a single generation, the English-speaking children of these first immigrants were feeling more a part of American life. Part of the American dream of the '30s and '40s was owning a car, and when the family finally saved enough for that ride, it became almost a member of the family. Most of the cars cruising the barrios were second hand, and Chevrolets, less expensive and easier to repair, as well as more stylish compared to practical Fords, became the cars of choice. <br />
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The desire to be different was no less apparent in Mexican-American communities than anywhere else in the country, and they, too, customized their cars to look unique. Rather than the fast looking "California rake," these young pachucos would drop the back of the car for a sleek, mean look that turned everyone's head. "They were family cars, but we used to fix them up," remembers former pachuco and United Farm Workers co-founder Cesar Chavez. "We fixed up several. The one that we had for the longest period of time was a '40 Chevy. In those days you went the opposite [of the hot rodders]--low in the back. We lowered the rear springs, had fender skirts, two side pipes. It was mostly cosmetic stuff in those days. You had to have two spotlights and two antennas, and a big red stop light in the back. <br />
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Hubcaps, oh, they used to steal hubcaps. The ones that we had, had just one bar across, and big wide whitewalls. When we got out of the car, we had a screwdriver to take off the hubcaps and lock them in the trunk. When we got back we would put them back on." There were plenty of modifications for specific Chevys becoming popular in the barrios. The "alligator hood" looked great on models with hoods hinged down the center, like the '39 Chevy. Originally, the hood would open up like wings, but this was converted to open from the front, like an alligator's mouth. <br />
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For pachucos still customizing Fords, the bumper soon became a problem. Original Ford bumpers had a dip in the center that scraped the ground after the coils were cut or, by those with tougher bottoms, removed. The owner would either flip the bumper, remove it entirely, or switch it. "The most popular to switch was the '37 DeSoto bumper with the five narrow ribs that matched the grille and chrome horn covers on the front fenders," reminisces lowrider historian David Holland. "The '37 DeSoto was a stupid looking car, but it sure had bad bumpers. Also, the '41 Ford bumpers were popular." still exists today in disenfranchised communities, as neighborhood groups, gangs and car clubs." <br />
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Lowrider style has changed a great deal over the past 50 years--although you still have to take extra care of a car sporting a nice set of rims--but, as Cesar Chavez pointed out, Chicano cruisers have always customized their cars very differently from the speedier sets. "Lowriders do happen to alter a car in a way that makes it almost the precise opposite of a style long favored by Anglo car customizers," noted Calvin Trillin in the New Yorker. "The California rake, which has a jacked up rear instead of a lowered one, outlandishly wide tires instead of tires that seem much too small for the car, and a souped up motor instead of one that has been filely ignored." The "East L.A. rake" was part of a new style that was developing. <br />
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These cars not only looked clean, but they were also a way of showing defiance against the mainstream culture. The young pachucos cruising these beauties on Whittier Boulevard, the main strip in East Los Angeles, or on Boulevards throughout the Southwest, had also developed their own style of clothing and hair, which was stirring things up a bit. The zoot suit craze had been spreading across the country throughout the late '30s, popularized by movie stars like Clark Gable. Blacks in Harlem, New York, popularized the look, an enormously oversized jacket over baggy pants with pegged legs. Young Mexican-Americans called them drapes, and often dropped the fancy fedora altogether. There was some concern on the part of the mainstream about the refusal of these young people to assimilate. <br />
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Older, more conservative Mexican-Americans also worried about their children's new look. "I started wearing zoot suits when it became and issue," Cesar Chavez explained. "The Chicano community was divided about the dress. Some people just wouldn't wear them, because they thought everybody who did was no good. The girls also wore their trapos, even though people would say, 'you're no good.' You see, the people that wore them eran los mas pobres, guys like us who were migrant farm workers." <br />
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Patricia Alcala, who allowed the PBS documentary Low and Slow cover her daughter's lowrider quincianera, had a similar experience. "Back in the '40s, we couldn't wear tight skirts, dangly earrings, or speak Spanish. If you did, you were labeled 'bad.' " But, like so many young cruisers of their generation, Chavez and Alcala continued to wear the pachuco fashion and speak Spanish, at least when their teachers weren't around. The car, the clothes and the language were all badges of pride for a generation caught between cultures, struggling to find their own identity. <br />
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What frightened many Southern Californians, however, was not just the pachucos' rough and ready reputation. It was their ability to move through traditionally Anglo areas with ease. "Being strangers to an urban environment, the first generation tended to respect the boundaries of the Mexican communities," writes historian Carey McWilliams of the pachucos' first lows. "But, the second generation was lured far beyond these boundaries into the downtown shopping districts, to the beaches and, above all, to the glamour of Hollywood. It was this generation of Mexicans, the pachuco generation, that first came to the general notice and attention of the Anglo-American population." <br />
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The attention that the pachucos got, with their cars, clothes and street slang, called calo, was notorious. "We went to the movies--we were just waiting outside--and the guy wouldn't let us in with a pass," said Cesar Chavez. "The cops came and then stood us against a wall and searched us. They ripped our pants--can you imagine? In those days the one that I had was a sharkskin suit and it cost me $45, a lot of money in those days--we're talking about 1942 or '43." Cesar wasn't the only one. "I was just hanging out [on the corner of 5th Avenue and Glendale Avenue] with my homeboys in a zoot suit, when a city of Glendale placa [police car] drove up and called me over," Noni Maldonado told "El Danny" in an article for Barrio Breakthrough Magazine. "Our zoot suits, to us, were firme trajes, to go to dances and hang out with the pleve. We weren't into gangs or pachuco fighting. We just automatically got stereotyped because of our clothes and our hair style, but that was us!"<br />
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== Drift cars ==<br />
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'''What Is Drifting?'''<br />
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Basically, drifting is getting your car sideways down a road. It doesn't sound very hard does it? Sounds a lot like power sliding huh? Well it isn't. It's much more complex. Instead of a drifter causing a drift and then countering to straighten out, he will instead over-counter so his car goes into another drift. That is the reason many drifters do it in the mountains, because there are many sharp turns strung together. So in essence a good drifter has the ability to take five or six opposing turns without having traction at any point in time.<br />
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'''How is it done?'''<br />
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There are two ways to start a drift. The first is the clutching technique. When approaching a turn the driver will push in the clutch and shift his car into second gear. Then rev the engine up to around 4000-5000 rpm and then slightly turn away from the turn and then cut back towards it hard while at the same time popping the clutch and causing the rear wheels to spin. At this point the drifter has a loss of traction and is beginning to slide around the curve. Now comes the hard part. You have to hold the drift until the next turn. To do this you must keep your foot on the accelerator while at the same time adjusting your car with the steering wheel so you don't spin out. It's not as easy as it sounds. Then as the drifter reaches the end of the turn and approaches the next turn which is in the opposite direction he must cut the wheel in that direction and in some cases, if the previous drift was to slow and they start to regain traction, they must pop the clutch again to get the wheels spinning. And that is how you drift a rear wheel drive car.<br />
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The second technique is used by a few drifters in rear wheel drives, but is the only way you can really drift a front wheel drive. You have to use the side brake. A front wheel drive can not whip its tail out because the tires are being driven in the front as opposed to the rear. So when approaching a turn you pull the side brake to cause traction loss. And the rest is pretty much the same except that it's much harder to take more than one turn with a front wheel drive.<br />
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'''What Cars Do They Use?'''<br />
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There are seven cars most commonly used for drifting. The first is the AE86 Levin / Trueno because of it's rear wheel drive lay-out and the fact that it's relatively inexpensive it is probably the most common drifting car. The second and third are the Silvia S13 and S14, which come in two different models: the turbocharged K's and the non-turbo Q's. Because of their high horse power and free-revving engines they are excellent drifting cars. The third is the 180SX, related mechanically to the Silvia, the only difference is in the body style and the fact that is lighter and has a better front/rear balance ratio. The fifth is the FC3S RX-7. The Cefiro is another excellent drifting car. It has a powerful RB20DET engine and good handling characteristics. The last is the Laurel which is also powered by the RB20DET. Another good drifting car is the Skyline GTS-T which you don't see very often. It has a rear wheel drive layout and boasts a 260hp engine.<br />
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'''Making a Car Drift'''<br />
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The first drifting technique a driver needs to master is actually a regular racing technique. Heel-and-toe shifting lets a race car driver downshift smoothly and quickly (to increase rpm) while simultaneously braking (to shift the car's weight forward). The goal of this shifting technique is to maintain equilibrium between engine speed and wheel speed so the drivetrain doesn't jolt while downshifting. To heel-and-toe downshift while your right foot is on the brake, you depress the clutch with your left foot, shift to neutral and release the clutch. Then, keeping the ball of your right foot on the brake, you move your right heel to the gas pedal and rev the engine until the rpm matches up with wheel speed (usually an increase of about 1,500 rpm per one-gear downshift). Once you reach the proper rpm, you get off the gas pedal, still applying the brake, push in the clutch again and downshift. Once a driver can execute proper race-style shifting, she's ready to master some drifting techniques.<br />
Drift racing offers a real difference over other motor sports. What do you think of it? <br />
Tell us here. <br />
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'''Clutch-based techniques'''<br />
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Clutch-kick drift - Approaching the turn, the driver holds in the clutch, increases rpm and downshifts. She then releases the clutch, causing a power surge that makes the back wheels lose traction. This is a basic drifting technique. <br />
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Shift-lock drift - Approaching the turn, the driver downshifts and drops the rpm to slow down the drivetrain. She then releases the clutch, causing the back wheels to immediately slow down and lock up so they lose traction. <br />
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'''Brake-based techniques'''<br />
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E-brake drift - The driver enters the turn and pulls the emergency brake to lock the back wheels. She steers into the turn, and the back end swings out into a drift. This is a basic drifting technique. <br />
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Braking drift - The driver enters the turn and applies the brakes to push the car's weight to the front wheels, causing the back wheels to rise and lose traction. She then uses a combination of braking and shifting to hold the drift without the back wheels locking up. <br />
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Long-slide drift - On a long straightaway approaching a turn, at high speed (up to 100 mph / 161 kph), the driver pulls the emergency brake to initiate a long drift and maintains it into the turn. <br />
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'''Other techniques'''<br />
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Power-over drift - The driver accelerates into and through the entire turn to make the back end swing out as the weight shifts on exit. This technique requires a lot of horsepower. <br />
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Feint drift - The driver steers the car to the outside of the turn on the approach, pushing the car's weight to outside wheels. She then quickly steers back into the turn. When the car's suspension kicks back, the weight shifts so quickly that the back end flicks out to initiate a drift. <br />
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Jump drift - Entering a turn, the driver bounces the inside rear tire over the inner curb to shift the car's weight to the outside wheels and induce traction loss, initiating a drift. <br />
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Dynamic drift (Kansei drift) - Entering a turn at high speed, the driver suddenly releases the gas pedal to shift the weight to the front wheels, initiating a drift as the rear tires lose traction. <br />
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Swaying drift - A swaying drift is a lot like a feint drift except that it begins on a long straightaway approach to a turn. Once the car starts drifting, the driver uses steering to maintain the drift in the form of a side-to-side swaying of the car's back end. <br />
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Dirt-drop drift - The driver drops the rear tires off the race course into the dirt. This technique helps initiate a drift, maintain speed to hold a drift through multiple turns or increase the drift angle (see the next section) during a single turn. <br />
For detailed explanations and instructions for each of the techniques mentioned here, check out Drift Session: Drift Techniques. <br />
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As you can see from the above techniques, drifting is not the most natural thing for a car to do. To get a car in good shape to drift and to keep it in good shape as a drifting car, there are some additions or modifications that a lot of drivers make. These can include adding horsepower and upgrading the engine's cooling system to handle the increased stress and power needs, tightening the suspension (MacPherson strut is a preferred type) to help with the weight-shifting drift techniques, and installing a limited-slip differential so the driver can control the car while drifting through more than one turn. A limited-slip differential lets the car transfer torque to whichever wheels have traction, whether that's one or all four. (See How Differentials Work to learn more about limited-slip.) The driver will usually disable any traction control and/or anti-lock-brake systems so the tires can more easily lose traction, as well as inflate the tires to about 10 psi above normal pressure to decrease their grip on the road. Since the rear tires on a drifting car can get burned up in just a handful of drifting runs, drivers typically put good tires on the front and cheap tires on the back. Tires are by far the biggest expense in the sport of drifting. <br />
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Unless you're buying a whole new car to drift, that is. When considering a good drifting car, you're basically looking for a rear-wheel drive, lightweight car that's relatively inexpensive (cars can get pretty beat up on the drifting circuit). Other qualities that make a nice drifter include a high front-to-rear weight ratio, good horsepower and a light flywheel so the engine revs easier. Some of the more popular drifting cars include the Toyota Corolla AE86 GTS, the Nissan Silvia S13 or S14, the Nissan 180SX, the Nissan Skyline GTS-T, the Nissan Sil-Eighty and the Mazda RX-7 (Japanese cars tend to be lighter in the rear than others). <br />
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You'll actually find a pretty wide range of cars at drifting events, including European and American models. Most pros will tell you that with the right level of skill, you can make any car a drifter, and in addition to the common drift cars, you'll see everything from Ford Mustangs to BMWs at competitions.<br />
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== Online Resources ==</div>Zerilloshttps://wikicars.org/index.php?title=Custom_auto&diff=17191Custom auto2006-09-21T07:20:04Z<p>Zerillos: /* Drift cars */</p>
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<div>== Hot Rod History ==<br />
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A lot has been written about the origins of the hot rod and the development of the culture that gave rise to them and then grew up around them. This is my own personal take on the subject, and I'm sure others with more detailed knowledge (including the many who were there) might well disagree with my thoughts. With that caveat, I place the defining origin point for hot rods and hot rod culture as the end of World War II. A number of factors came together at one time -- the period between the end of the war in 1945 and the begining of the 1950s -- and mainly in one place -- southern California -- to create a unique environment in which the hot rod and its culture were born.<br />
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At the end of the war, a legion of young men returned to America with a wad of demobilization cash in their pockets and a sense of freedom and excitement bred by their experiences in the war. With a period of peace and the steadily increasing prosperity of the country as a backdrop, these young men had a "can-do" attitude and a desire to express themselves in ways that their time in the military had stifled. And, all of a sudden, there were a lot of inexpensive used cars available. For five years Detroit had basically been in the business of supplying the military. Now all that production capacity was turned to creating a stream of new cars to satisfy the pent-up demand of a civilian population that had scrimped and saved throughout the Great Depression of the 1930s and the sacrifices of the war years. Men who'd stayed behind to work in America's offices and factories had a lot of savings and they were ready to ditch their aging cars from the 1920s and 1930s for gleaming new models offered by the Big Three (and the others who are now gone, like Wilys and Kaiser). Their trade-ins became the starting point of the hot rodders, and came to define the way they were built and how they looked.These factors dictated the core aesthetic of the classic American hot rod. It was the later Model Ts and the plentiful early-30s Fords and Chevys that became the raw material for the young men who created hot rodding and hot rod culture. Here's a picture of a '32 Ford Roadster, a contemporary car, but one built on the style of those first hot rods. The basic performance and engineering elements of the hotrod came together in these cars: More power, less weight and a look derived from these things leading to chopped tops, channeled bodies, pinched frames, dropped axles and, eventually wide tires. <br />
And why southern California? Again, a lot has been written about the question of why southern California became the seed-bed for so much cultural change in the second half of the twentieth century. Part of it was Hollywood, part simply that the western part of the country had reached a critical mass of prosperity and population sufficient to establish itself as a new center of culture distinct from the old center in the northeast. But a few factors made southern California the right place for the birth of hot rodding. One was the climate: with year-round perfect temperature and little rainfall, young men of little means could work outside on cars that had few creature comforts themselves. More important, Los Angeles was the first city truly shaped from its beginnings by the automobile: There were more roads, and new ones there. Finally, and perhaps most importantly, was "the lakes," the dry lake beds just east of L.A. that became a magnet for the chopped and stripped-down speed machines. Here the hot rodders found miles and miles of hard, glass-flat surface upon which to run their machines.<br />
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GOLDEN AGE <br />
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The 1950s were the Golden Age of hot rodding and, for a while, there was only hot rodding -- not the different strains of car-craziness that it gave birth to. In the beginning, there was no distinction among the cars that kids played with as a form of street-running self-expression, the drag racing car, the customized work of art; there was just the hot rod, the amateur automobile artform. But the seeds of hot-rodding's progeny were growing during that time.<br />
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The "lakes" were breeding a number of different kinds of cars aimed at faster and faster top speeds at the expense of driveability and, eventually even roadability. The famous "drop tank roadsters" exemplified these early forefathers of the machines that would some day exceed the speed of sound on the ground, built from war surplus military aircraft fuel tanks.<br />
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Meanwhile, the true "drag strip" was born. The National Hot Rod Association was formed in 1951 to impose some safety standards on "those speed-crazed kids" and the NHRA, now the governing body for drag racing in the the U.S., held its first sanctioned event in southern California in 1953.<br />
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Finally, the pure aesthetics of hot-rodding began to be expressed in the metalwork of exterior modifications to later, post-war cars. This gave rise to the "kustom" culture of cars that were increasingly works of pure visual art. Later, this gave rise to the show car world of the mid-1960s to the mid-1970s (detailed below.) <br />
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But for a time, it was all one thing -- just young people exploring a new form of American individuality through the ultimate American experience, the road.<br />
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HOT ROD CULTURE <br />
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During the 1950s and into the early 1960s, the southern California scene connected with hot rods gave birth to a whole host of related cultural phenomena. The stars of custom car building, like Ed Roth and George Barris, became celebrities in the hot rod scene and some, like Roth and Von Dutch became visual artists in a weird and adolescent genre that had a life of its own apart from the cars. More than half the middle-aged men (in 2003, when I'm writing this) in America probably had some kind of Rat Fink image in their room when they were a kid. Many may not have realized the connection to the greasy hot rodders of a decade before. For a look at where this visual art is today take a look at this gallery (warning, it's not for the faint of heart).Then there was the music. At first, hot-rodding was associated with rockabilly, the first form of true rock and roll. But, just as hot rod culture became a defninable space in the general lanscape of American life, a different connection developed. Here it's not possible to separate the connection with a broader southern California scene, known by the often-inapplicable term "surf music." Most folks probably think of the Beach Boys and titles like "Little Deuce Coupe" and "409," but there were many other musicians who were mining the hot rod experience for subject matter. Jan and Dean come to mind, and the Ventures (with their album covers adorned with "wild" T-buckets), and the incredible Dick Dale, whose music to me is the sound of hot rodding.<br />
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Hot rod culture sat at an intersection between the hipsters of the late 40s and 50s (think of Dean Moriarty's relationship with cars in Kerouac's On the Road, and "Big Daddy" Ed Roth's goatee), the lower-class aspirations of kids from the wrong side of the tracks in a country with rising economic expectations (think of the menace of Dennis Hopper's "Goon" in Rebel Without a Cause) and the general development of a "counterculture" of individuality and free expression. For a time, the hot rod became a central symbol of youth and creativity in America, and was as cool as anything around. But by the mid-1960s, the wave of the counterculture had moved on and, although many of the "show car" artists of the time incorporated things like peace symbols and images of long-haired guys in patched bell-bottoms in their work, the days when hot rod culture was part of the "crest of the wave" were over.<br />
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== Show Cars ==<br />
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By the early 1960s the various different lines of hot rod culture were well defined, had separated and then begun to interact in new ways. the two most important elements of this for me were the "show rod" phenomenon and muscle cars. The "Kings of Kustom" had been working for a while now, and their ideas were seeping out to a larger audience, while at the same time the milieu of the classic hot rod kids was mutating rapidly. Southern California, the memetic engine of mid-century America, had moved on, and "teen rebellion" was morphing into the full-blown and politicized counterculture. Greasers and hipsters gave way to hippies and yippies. A great portrait of this time can be found in Tom Wolfe's very first bit of journalism, The Kandy-Kolored Tangerine-Flake Streamline Baby, his 1965 portrait of the "kustom kar show" world.<br />
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The work of Tom Daniels exemplifies the era of the show rod perhaps better than any other. Daniels had a huge influence on the hot rod aesthetic of my generation through his work for the plastic model kit maker Monogram (later acquired by Revell). I recently discovered Tom Daniels' website, and the flood of memories unleashed by the images there was amazing. I'd insert some here, but Daniels has a blood-curdling warning about his ownership of the work there, so I'll suggest you go by his website, especially the page devoted to the box art for the kits he designed. Off the top of my head, I can well remember building the "Red Baron", the "T'rantula" (probably the two most influential on my own personal hotrod aesthetic), the "Pie Wagon," "Beer Wagon," "Garbage Truck," "Paddy Wagon" and "Sand Crab." Interestingly, note that all of these kits were issued in 1968 or 1969, when I was 11 and 12 years old. I think these designs came along at a time when my automotive aesthetic was being forged for a lifetime. To see many of Tom Daniels' kits built by great modelers (along with others mainly from that era of "outrageous show rods"), visit Show Rod Rally. Presumably Daniels' prohibition on use of images doesn't run to photos of the kits themselves, so here are the first two mentioned.<br />
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Interestingly, most of these cars never existed except as model kits; few were ever built as real, driveable automobiles. I suppose this highlights as much as anything else the fact that the hot rod's power is as much that of image and idea, rather than as transportation.<br />
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Here's a very good brief description of the show car phenomenon of the 1960s and early 1970s:The 1960s saw the pinnacle of one of America's most unusual native art forms. Flowing streamlined designs, radiant colors, and amazing craftsmanship blended together to develop a new concept - - Show Cars.<br />
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Show cars evolved from the custom car, which was basically a modified version of an existing vehicle. Early pioneers of auto customizing in the 1950's began changing and improving their wheels for speed, originality, and a cool look. During these times, cars were "chopped, tubbed, raked, and hopped-up." These basic customizing techniques continued to become more elaborate until custom cars were being designed from scratch or by heavily converting existing vehicles into unbelievable designs. True show cars were distinguished by being one-of-a-kind originals, built from the ground up. It seems a paradox that their engines were extremely powerful, yet they rarely touched the road. In other words, these cars were meant to be looked at, not driven. The men who created them were true artists, and their creations were true art. Show cars belong to the genre of sculpture, and for those of us who couldn't afford the originals, there were always the model kits.<br />
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Probably the most famous custom car designers are George Barris and Ed Roth. Barris was one of the pioneer customizes and has personalized automobiles for many celebrities. An avid model and toy collector himself, Barris started making hobby kits of his cars with Revell in 1957, the first being a 1956 Buick. He is better known for his special cars however, and when AMT made a model kit of his 1960 Ala Kart, a whole line of kits designed after Barris' award-winning custom cars began.<br />
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Ed "Big Daddy" Roth, reached cult status on auto show circuits and teen modeler circles with his outrageous cars and Rat Fink character. (More can be found on Roth in the Freaks, Geeks, and Oddballs chapter.)<br />
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In 1967, Monogram and car designer Tom Daniel started a partnership that would produce 60 kits and last nearly a decade. Daniel had previously worked for George Barris where he helped design the Munster Koach and Dragula. One of Daniel's designs, the Red Baron, proved to be so popular that Monogram released it in a larger 1/12 scale.<br />
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Other heavy contenders on the show car circuit included Daryl Starbird, Carl Casper, and Bill Cushenberry. By the end of the 1970's though, the show car craze declined in popularity. Even though many wild rods are still being produced today, they sure don't make 'em like they used to!<br />
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== Muscle Cars ==<br />
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A muscle car is a high-performance automobile. The term principally refers to American models produced between 1964 and 1971.<br />
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The term muscle car generally describes a mid-size car with a large, powerful engine (typically, although not universally, a V8 engine) and special trim, intended for maximum acceleration on the street or in drag racing competition. It is distinguished from sports cars, which were customarily and coincidentally considered smaller, two-seat cars, or GTs, two-seat or 2+2 cars intended for high-speed touring and possibly road racing. High-performance full-size or compact cars are arguably excluded from this category, as are the breed of compact sports coupes inspired by the Ford Mustang and typically known as pony cars, although few would dispute a big-block pony car's credentials as a muscle car.<br />
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An alternate definition is based on power-to-weight ratio, defining a muscle car as an automobile with (for example) fewer than 12 pounds per rated hp. Such definitions are inexact, thanks to a wide variation in curb weight depending on options and to the questionable nature of the SAE gross hp ratings in use before 1972, which were often deliberately overstated or underrated for various reasons.<br />
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Another alternate definition involves a car's original design intents. Muscle cars are factory produced automobiles that have a larger engine than was originally planned for in the design and production phase of the original car. Examples of this trend can be found throughout American, Japanese, and European cars of all designs. This includes many cars that typically are not labeled as muscle cars, such as the B13 (1991-1994) Nissan Sentra SE-R, and excludes other cars typically labeled as muscle cars, such as the Dodge Viper.<br />
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Although auto makers such as Chrysler had occasionally experimented with placing a high performance V-8 in a lighter mid-size platform, and full-size cars such as the Ford Galaxie and Chevrolet Impala offered high-performance models, Pontiac is usually credited for starting the muscle car trend with its 1964 Pontiac GTO, based on the rather more pedestrian Pontiac Tempest. For 1964 and 1965, the GTO was an option package that included Pontiac's 389 in³ (6.5 L) V8 engine, floor-shifted transmission with Hurst shift linkage, and special trim. In 1966, the Pontiac GTO was no longer an option, and became its own model. The project, spearheaded by Pontiac division president John De Lorean, was technically a violation of General Motors policy limiting its smaller cars to 330 in³ (5.4 L) displacement, but it proved far more popular than expected, and inspired a host of imitations, both at GM and its competitors.<br />
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It marked a general trend towards factory performance, which reflected the importance of the youth market. A key appeal of the muscle cars was that they offered the burgeoning American car culture an array of relatively affordable vehicles with strong street performance that could also be used for racing. The affordability aspect was quickly compromised by increases in size, optional equipment, and plushness, forcing the addition of more and more powerful engines just to keep pace with performance. A backlash against this cost and weight growth led in 1967 and 1968 to a secondary trend of "budget muscle" in the form of the Plymouth Road Runner, Dodge Super Bee, and other stripped, lower-cost variants.<br />
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Although the sales of true muscle cars were relatively modest by total Detroit standards, they had considerable value in publicity and bragging rights, serving to bring young buyers into showrooms. The fierce competition led to an escalation in power that peaked in 1970, with some models offering as much as 450 hp (and others likely producing as much actual power, whatever their rating).<br />
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Another related type of car is the car-based pickup. Examples of these are the Ford Ranchero, GMC Sprint, GMC Caballero, and one of the most famous examples, the Chevrolet El Camino.<br />
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== Pre-runners ==<br />
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Some of the terminology associated with prerunners & desert race vehicles is pretty far removed from the mainstream of off-roading. While this is not a complete listing of all the terms associated with these vehicles, we hope it will further your understanding of them, and of the sport of off-road racing in general.<br />
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'''Vertical Wheel Travel''' - Amount of wheel travel measured from the center of the axle at full droop to the center of the axle at full compression <br />
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'''Lever Ratio''' - Shocks & springs can be mounted in several locations, and at various angles. If a shock were to be mounted vertically atop the axle, it would be said to have a 1 to 1 lever ratio - i.e. 1 in. of vertical shock travel = 1 in. of vertical wheel travel. If the shock is mounted at a 45 deg. angle, it will move 1/2 in for every inch of wheel travel. As such, it would be said to have a 1.5 to 1 lever ratio. <br />
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'''Velocity Sensitive Shocks''' - Many prerunners & race vehicles use velocity sensitive shocks. Their monotube design is lightweight, affordable, and provides a significant "bang for the buck". VS shocks are rebuildable, & use a series of stacked flexible washers to determine their valving characteristics. Adjustments are made by disassembling the shock, and changing the stack of washers to a stiffer, or lighter configuration. VS shocks use up to 200psi of nitrogen gas to combat foaming at high temperatures & shaft speed. further cooling capacity often comes from remote reservoirs, though they are optional on most models. It is common to se several VS shocks mounted together, and valved lightly, reducing the workload per shock. <>Coilover Shocks - These shocks serve as a mounting point for a coil spring. Unlike "overload" shocks found in auto supply houses, "Coilovers" are extremely high performance units, used in 3 & 4 link suspension applications. The coil springs are removable from the shocks for replacement & tuning, and the shock is fully rebuildable / adjustable for compression & rebound dampening. Coilover shocks are mounted to the chassis via spherical rod ends, rather than bushings to minimize unwanted deflection, and provide maximum streingth to the load bearing assembly. Coilover Shocks most always come with a remote reservior to aid in fluid cooling.<br />
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'''Remote Reservoir''' - Found on 9 out of 10 race shocks, Remote reserviors provide the shock with increased fluid & gas capacity, allowing for increased cooling, less "shock fade", and longer maintenance intervals. These aluminum & steel canisters contain a piston which separates the hydraulic fluid from high pressure nitrogen gas. They are attached to the shock absorber by a custom length of braided steel hose, or high pressure hydraulic line, and can be attached anywhere on the vehicle.<br />
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'''Bypass Shock''' - Bypass shocks are the pinnacle of shock technology. The goal of a bypass shock is to provide light valving in the initial movement of the wheel (to keep the wheels in contact with the ground over smaller bumps), progressively stiffer valving throughout the midrange of travel, and finially very stiff valving at the uppermost reaches of a shocks stroke to resist bottoming. Using a series (usually 2-4) of "bypass tubes" welded to the shock body, valving becomes externally adjustable via metered "jets". The bypass tubes provide precise oil flow through the shock, minimizing cavatation due to heat or unequal pressure, and together with the metered "jets", make for near infinite compression / rebound dampening possibilities. The latest developments in bypass shock technology have led to the development of "internal bypass" shocks. While the general principle of bypass remains the same, internal bypass shocks locate the bypass tubes inside the shock body, making them suitable for use in a coilover configuration. The sheer size of bypass shocks is impressive, but they aren't built that way for their looks. Rather than ounces, the fluid capacity of Bypass shocks is better measured in quarts, translating directly into a cooler running, nearly fade-proof assembly. Shaft sizes begin in the 7/8 in. range. Bypass shocks are always mounted via spherical rod end, as the loads generated would quickly destroy rubber or ploy bushings. These are the shocks commonly seen on (but not limited to) the Trophy, Pro & Class 7 & 8 trucks of SCORE.<br />
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'''3 Link Suspension''' - the "link" in 3 link refers to the number of mounting points on the rear axle. Used with torsion bar, 1/4 elliptic leaf springs & coilover shock arrangements, the 3 link uses 3 "control arms" to locate the axle & position it as it moves throughout it's range of travel. The standard configuration for a 3 Link is one arm (per side) mounted slightly below the axle, with a forward attachment point at the frame or custom built crossmember. Centered above the axle is a 3rd mounting point, using a triangular shaped arm (usually built of tubular steel), which attaches forward on the frame, or crossmember. 3 Link suspensions have been built & tested with up to 38 inches of "Vertical" wheel travel, and provide tremendous amounts of wheel articulation. Many prerunners, and even some race trucks use bushings for the mounting of the forward sections of the control arms, but the rear (axle) mounting points are often spherical rod ends. The spherical rod ends are a stronger assembly, and are less binding, offering a free and greater range of movement. <br />
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'''4 Link Suspension''' - a 4 Link is identical to the 3 Link except for using two upper control arms rather than one. these upper arms are mounted from a near center position (each aside the differential) and angled outward to the frame or custom built crossmember. Like the 3 Link, The 4 Link is capable of incredible vertical wheel travel, but articulation is slightly less.<br />
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'''A-Arm Suspension''' - usually found on the front of non Ford vehicles, the A-Arm suspension uses an upper & lower "A" shaped arm & a coil or torsion bar springing. A-Arms are a simple & popular suspension, and can achieve respectable (aprox 13 in.) wheel travel when used with stock length arms. On mini / mid size trucks, wheel travel is limited by the shorter arms & can be in the 9-11 in. range. Long travel A-Arm suspensions require longer / redesigned arms, and can involve relocation of the engine / K frame to achieve sufficient clearance. Further mods include spherical rod ends, modified ball joints, and redesigned spindles. Depending on the configuration, travel in the 28in.range is achievable, but at far greater cost than other suspension designs.<br />
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'''Twin "I"Beam''' - TIB / TTB suspensions consist of 3 main parts. The I beam (which mounts the spindle / brake assembly), the radius arm (which runs parallel to the frame, attaching at the I Beam in front, and a crossmember in the rear), and the coil spring, or coilover shock. This front suspension has been in use on Ford Trucks since the 60's, and has been transplanted to just about every other vehicle in existence. The reason for it's popularity is simple. There's an old desert saying that says "12 in. of Ford travel is worth 15 in. of anything else". Secondly, the cost of a 15 in. TIB or TTB system is well under $2000, making it the best value per in. on the market today. The Twin I Beam (and it's 4wd counterpart the TTB-Twin Traction Beam) is a far stronger design than the traditional A-Arm, and is ridiculously easy to extract usable travel from. A stock F-150 approaches 10 in. of travel, & with a few simple mods, 15 in. of wheel travel is there for the taking. Extreme examples measuring in at 32 in. are not unheard of, but 26-30 in. is common in race vehicles. Variations on the TIB can be found on such diverse vehicles as Glamis bound sand buggies, Polaris & Yamaha snowmobiles, and even the Toyota Land Cruiser that Ivan Stewart uses to prerun the courses of the SCORE / Laughlin desert series! <br />
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'''1/4 Elliptic Suspension''' - 1/4 elliptic suspensions use a 3 or 4 link configuration, and replace the coilover springs with leafs. An ellipse is a full circle. 1/4 elliptic rear takes it's name from the shape & configuration of the leaf springs, which, not coincidentally, resemble the arch of 1/4 of a circle. Mounting the leafs can take many forms, with a roller or spherical rod end, being the 2 most common types. In the rear, A pivoting "clamp" holds the springs in place, while a NASCAR style "Weight Jack" allows the builder / tuner to adjust ride height. <br />
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'''Torsion Bar Suspension''' - can take many forms. Commonly, torsion bars are used in conjunction with A-Arms in front suspension applications, due to their simple design, ease of maintenance, and light weight. TB suspensions are occasionally found in custom rear suspension applications, controlling a 3 or 4 Link set up. Torsion bars are often used to supplement coil or leaf suspensions, acting as a "secondary suspension".<br />
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'''Secondary Suspension''' - Used most often on race trucks & "top shelf" prerunners, secondary suspension systems allow for very light primary springing (to allow the truck to effortlessly absorb smaller bumps & obstacles), and only come into play in the final inches of wheel travel. The 2 most common forms of secondary suspension are Pneumatic (air / nitrogen) & Torsion bar. <br />
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'''Pneumatic Bump Stop''' - Used in place of, or in conjunction with a poly bump stop, pneumatic bump stops function similarly to an air shock. High pressure nitrogen allows the stop to be tuned to a specific degree of resistance, and some suspension set ups, can act as a form of secondary suspension (by providing a dramatic but controlled increase in effective spring rate during the last few inches of travel).<br />
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'''Spherical Rod End''' - AKA: "Hiem Joints". SRE's are a high strength solution to extreme angle woes. Available in sizes from 1/8 in. to well over 1 in. SRE's have found use at the ends of control / radius arms, tie rods, A-Arms, and many other parts throughout both prerunners & race trucks. Recently, aftermarket lift kit manufacturers have begun incorporating SRE's into the Jeep TJ / XJ / ZJ model lines, as well as the Dodge Ram.<br />
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'''Parker Pumper''' - While Parker Pumper is a brand name, it has come to be as interchangeable as "Xerox" in the off road community. The pumper is an air filtration system consisting of a chassis mounted blower that ducts filtered air to a specially modified helmet, allowing the wearer breathably clean and cool air in the dusty desert environment. <br />
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'''Suspension Seats''' - Produced by several manufacturers, suspension seats utilize an nylon/canvas "base" to cradle the foam padded seating area. This "base" is in turn attached to a tubular steel seat frame by an elastic cord, creating a seating surface that is "suspended". Major advantages to suspension seating include smoother ride, reduced potential for back (spinal compression) injury, and improved vehicle control.<br />
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== Low riders ==<br />
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When the lights go up at today's huge lowrider shows, hundreds of cars gleaming with triple-dipped chrome and gold plating, elaborate candy and metalflake paint jobs, rolling on custom-spoked wire rims featuring the finest spinners money can buy, fans throughout Aztlan (Chicano slang for the American Southwest) and all America, to Japan and Europe, gasp with appreciation and envy. As lowriding has taken the world by storm, it has also taken the mainstream automotive industry by surprise--no one seems to know where the world's number one auto trend came from. Some automotive enthusiasts like to write the sport off as the new cruiser on the block, eyeing hoppers and their high performance hydraulics somewhat suspiciously. <br />
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Other custom car historians dig a little deeper, tapping out a few lines about the late '70s, the television show Chico and the Man, and the first few issues of Low Rider Magazine evidence enough that lowriders have enjoyed at least a decade or two on the streets. But, lowriding's roots reach far deeper into history than that, the result of two very different traditions, California car culture and Mexican cultura coming together in Southern California. Lowriding has always had a distinct Mexican flavor, hotter than hot rods and lower than customs. <br />
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Throughout many Mexican-American neighborhoods, called barrios, from East Los Angeles to El Paso, Texas, cruisers have been dropping Chevrolets to a sidewalk-scraping stance since the late 1930s. It was part of the "zoot suit" fashion, a trend popular among teenagers from every culture. Mexican-American zooters, cool from slicked back hair to highly polished shoes, called themselves pachucos. They cruised beautifully restored, older Chevys, decked out in their oversized zoot suits for a night on the town. Often just the back of the Chevy was temporarily lowered, using sandbags hidden in the trunk beneath strategically placed planks of wood, or permanently dropped all around, the springs shortened by cutting the top few coils or heated until they collapsed to a proper cruising height. They cruised through the streets, honoring a custom that may have been practiced since the heyday of the Aztlan Empire. <br />
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The paseo, still honored today in many small Mexican towns, is a tradition where young, unmarried villagers walking around the village's central plaza, young women in one direction, men in the other, blushing and making eye contact. According to legend, the cruise is merely an automotive extension of this ancient tradition, practiced in Southern California long before it was ever a part of the United States. <br />
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After World War II, America's economy was booming. Southern California' the '30s its comparatively strong economy during the Great Depression had attracted immigrants from the dust bowls of the Central United States and Northern Mexico--was ready to roll. Prior to the war, most "customizers" were interested in speed, not looks, making inexpensive modifications under the hood while removing heavy, "useless" extras like the fenders and roof. Early custom and lowriding (although the word would not come into use until the 1960s) enthusiasts, however, in particular the pachucos, were more interested in looks, class and style. <br />
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It was all on a Depression-era budget, but the seeds were being sown for modern custom trends. After World War II, the hard-driving economy fueled a new generation of automotive enthusiasts, these early styles began branching out, racers, now called hot rods, joined by lakesters, street rods, roadsters, customs, cruisers and finally, lowriders, each new style owing a debt to the cars that came before it. <br />
<br />
By the late 1950s and early '60s, what we would now consider lowriders were finally hitting Whittier Boulevard in great numbers. Such fine rides wouldn't appear overnight, however. California car culture and Mexican-American cultura would both develop and grow, each enriching the larger American culture with every passing decade. <br />
<br />
Pachucismo: Lowriding's Well-Dressed Roots California, along with Arizona, New Mexico and Texas, as well as parts of Colorado, Nevada and Wyoming, were part of Mexico until the 1830s, when Mexico ceded the huge territory to the U.S. Many Mexican-American and Spanish families remained on their ancestral lands, continuing to speak Spanish and retain a distinctly Mexican cultura. Later, from about 1910 to the mid '20s, a wave of new Mexican immigrants--approximately 10-percent of the Mexican population--fled the bloody Mexican Revolution and settled in many major urban centers of the Southwest, in particular, El Paso, Texas, and East Los Angeles. They came, like so many others to this nation of immigrants, seeking stability, peace, and a better life for their children. It was difficult, as it was for refugees from Eastern Europe or Ireland, but many managed to carve out a decent life for themselves in the land of opportunity. <br />
<br />
Professor Ruben Mendoza points out that one of their means of surviving in the U.S. might be the basis of modern day car clubs. "After the Revolution, Mexicans were brought over to the United States to work in the mines, railroads and farms; many of these new workers were exploited, and without any type of job security or insurance, an illness or other calamity could destroy their lives. Many of these immigrants formed 'mutual aid societies,' or social clubs, where they would meet and socialize on a regular basis. The purpose of the group, however, was survival. <br />
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They would all contribute money, and if any of them got sick or in trouble, that could be used to help the ailing member out. That same type of organization. Within a single generation, the English-speaking children of these first immigrants were feeling more a part of American life. Part of the American dream of the '30s and '40s was owning a car, and when the family finally saved enough for that ride, it became almost a member of the family. Most of the cars cruising the barrios were second hand, and Chevrolets, less expensive and easier to repair, as well as more stylish compared to practical Fords, became the cars of choice. <br />
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The desire to be different was no less apparent in Mexican-American communities than anywhere else in the country, and they, too, customized their cars to look unique. Rather than the fast looking "California rake," these young pachucos would drop the back of the car for a sleek, mean look that turned everyone's head. "They were family cars, but we used to fix them up," remembers former pachuco and United Farm Workers co-founder Cesar Chavez. "We fixed up several. The one that we had for the longest period of time was a '40 Chevy. In those days you went the opposite [of the hot rodders]--low in the back. We lowered the rear springs, had fender skirts, two side pipes. It was mostly cosmetic stuff in those days. You had to have two spotlights and two antennas, and a big red stop light in the back. <br />
<br />
Hubcaps, oh, they used to steal hubcaps. The ones that we had, had just one bar across, and big wide whitewalls. When we got out of the car, we had a screwdriver to take off the hubcaps and lock them in the trunk. When we got back we would put them back on." There were plenty of modifications for specific Chevys becoming popular in the barrios. The "alligator hood" looked great on models with hoods hinged down the center, like the '39 Chevy. Originally, the hood would open up like wings, but this was converted to open from the front, like an alligator's mouth. <br />
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For pachucos still customizing Fords, the bumper soon became a problem. Original Ford bumpers had a dip in the center that scraped the ground after the coils were cut or, by those with tougher bottoms, removed. The owner would either flip the bumper, remove it entirely, or switch it. "The most popular to switch was the '37 DeSoto bumper with the five narrow ribs that matched the grille and chrome horn covers on the front fenders," reminisces lowrider historian David Holland. "The '37 DeSoto was a stupid looking car, but it sure had bad bumpers. Also, the '41 Ford bumpers were popular." still exists today in disenfranchised communities, as neighborhood groups, gangs and car clubs." <br />
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Lowrider style has changed a great deal over the past 50 years--although you still have to take extra care of a car sporting a nice set of rims--but, as Cesar Chavez pointed out, Chicano cruisers have always customized their cars very differently from the speedier sets. "Lowriders do happen to alter a car in a way that makes it almost the precise opposite of a style long favored by Anglo car customizers," noted Calvin Trillin in the New Yorker. "The California rake, which has a jacked up rear instead of a lowered one, outlandishly wide tires instead of tires that seem much too small for the car, and a souped up motor instead of one that has been filely ignored." The "East L.A. rake" was part of a new style that was developing. <br />
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These cars not only looked clean, but they were also a way of showing defiance against the mainstream culture. The young pachucos cruising these beauties on Whittier Boulevard, the main strip in East Los Angeles, or on Boulevards throughout the Southwest, had also developed their own style of clothing and hair, which was stirring things up a bit. The zoot suit craze had been spreading across the country throughout the late '30s, popularized by movie stars like Clark Gable. Blacks in Harlem, New York, popularized the look, an enormously oversized jacket over baggy pants with pegged legs. Young Mexican-Americans called them drapes, and often dropped the fancy fedora altogether. There was some concern on the part of the mainstream about the refusal of these young people to assimilate. <br />
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Older, more conservative Mexican-Americans also worried about their children's new look. "I started wearing zoot suits when it became and issue," Cesar Chavez explained. "The Chicano community was divided about the dress. Some people just wouldn't wear them, because they thought everybody who did was no good. The girls also wore their trapos, even though people would say, 'you're no good.' You see, the people that wore them eran los mas pobres, guys like us who were migrant farm workers." <br />
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Patricia Alcala, who allowed the PBS documentary Low and Slow cover her daughter's lowrider quincianera, had a similar experience. "Back in the '40s, we couldn't wear tight skirts, dangly earrings, or speak Spanish. If you did, you were labeled 'bad.' " But, like so many young cruisers of their generation, Chavez and Alcala continued to wear the pachuco fashion and speak Spanish, at least when their teachers weren't around. The car, the clothes and the language were all badges of pride for a generation caught between cultures, struggling to find their own identity. <br />
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What frightened many Southern Californians, however, was not just the pachucos' rough and ready reputation. It was their ability to move through traditionally Anglo areas with ease. "Being strangers to an urban environment, the first generation tended to respect the boundaries of the Mexican communities," writes historian Carey McWilliams of the pachucos' first lows. "But, the second generation was lured far beyond these boundaries into the downtown shopping districts, to the beaches and, above all, to the glamour of Hollywood. It was this generation of Mexicans, the pachuco generation, that first came to the general notice and attention of the Anglo-American population." <br />
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The attention that the pachucos got, with their cars, clothes and street slang, called calo, was notorious. "We went to the movies--we were just waiting outside--and the guy wouldn't let us in with a pass," said Cesar Chavez. "The cops came and then stood us against a wall and searched us. They ripped our pants--can you imagine? In those days the one that I had was a sharkskin suit and it cost me $45, a lot of money in those days--we're talking about 1942 or '43." Cesar wasn't the only one. "I was just hanging out [on the corner of 5th Avenue and Glendale Avenue] with my homeboys in a zoot suit, when a city of Glendale placa [police car] drove up and called me over," Noni Maldonado told "El Danny" in an article for Barrio Breakthrough Magazine. "Our zoot suits, to us, were firme trajes, to go to dances and hang out with the pleve. We weren't into gangs or pachuco fighting. We just automatically got stereotyped because of our clothes and our hair style, but that was us!"<br />
<br />
== Drift cars ==<br />
<br />
'''What Is Drifting?'''<br />
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Basically, drifting is getting your car sideways down a road. It doesn't sound very hard does it? Sounds a lot like power sliding huh? Well it isn't. It's much more complex. Instead of a drifter causing a drift and then countering to straighten out, he will instead over-counter so his car goes into another drift. That is the reason many drifters do it in the mountains, because there are many sharp turns strung together. So in essence a good drifter has the ability to take five or six opposing turns without having traction at any point in time.<br />
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'''How is it done?'''<br />
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There are two ways to start a drift. The first is the clutching technique. When approaching a turn the driver will push in the clutch and shift his car into second gear. Then rev the engine up to around 4000-5000 rpm and then slightly turn away from the turn and then cut back towards it hard while at the same time popping the clutch and causing the rear wheels to spin. At this point the drifter has a loss of traction and is beginning to slide around the curve. Now comes the hard part. You have to hold the drift until the next turn. To do this you must keep your foot on the accelerator while at the same time adjusting your car with the steering wheel so you don't spin out. It's not as easy as it sounds. Then as the drifter reaches the end of the turn and approaches the next turn which is in the opposite direction he must cut the wheel in that direction and in some cases, if the previous drift was to slow and they start to regain traction, they must pop the clutch again to get the wheels spinning. And that is how you drift a rear wheel drive car.<br />
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<br />
The second technique is used by a few drifters in rear wheel drives, but is the only way you can really drift a front wheel drive. You have to use the side brake. A front wheel drive can not whip its tail out because the tires are being driven in the front as opposed to the rear. So when approaching a turn you pull the side brake to cause traction loss. And the rest is pretty much the same except that it's much harder to take more than one turn with a front wheel drive.<br />
<br />
'''What Cars Do They Use?'''<br />
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There are seven cars most commonly used for drifting. The first is the AE86 Levin / Trueno because of it's rear wheel drive lay-out and the fact that it's relatively inexpensive it is probably the most common drifting car. The second and third are the Silvia S13 and S14, which come in two different models: the turbocharged K's and the non-turbo Q's. Because of their high horse power and free-revving engines they are excellent drifting cars. The third is the 180SX, related mechanically to the Silvia, the only difference is in the body style and the fact that is lighter and has a better front/rear balance ratio. The fifth is the FC3S RX-7. The Cefiro is another excellent drifting car. It has a powerful RB20DET engine and good handling characteristics. The last is the Laurel which is also powered by the RB20DET. Another good drifting car is the Skyline GTS-T which you don't see very often. It has a rear wheel drive layout and boasts a 260hp engine.<br />
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'''Making a Car Drift'''<br />
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The first drifting technique a driver needs to master is actually a regular racing technique. Heel-and-toe shifting lets a race car driver downshift smoothly and quickly (to increase rpm) while simultaneously braking (to shift the car's weight forward). The goal of this shifting technique is to maintain equilibrium between engine speed and wheel speed so the drivetrain doesn't jolt while downshifting. To heel-and-toe downshift while your right foot is on the brake, you depress the clutch with your left foot, shift to neutral and release the clutch. Then, keeping the ball of your right foot on the brake, you move your right heel to the gas pedal and rev the engine until the rpm matches up with wheel speed (usually an increase of about 1,500 rpm per one-gear downshift). Once you reach the proper rpm, you get off the gas pedal, still applying the brake, push in the clutch again and downshift. Once a driver can execute proper race-style shifting, she's ready to master some drifting techniques.<br />
Drift racing offers a real difference over other motor sports. What do you think of it? <br />
Tell us here. <br />
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'''Clutch-based techniques'''<br />
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Clutch-kick drift - Approaching the turn, the driver holds in the clutch, increases rpm and downshifts. She then releases the clutch, causing a power surge that makes the back wheels lose traction. This is a basic drifting technique. <br />
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Shift-lock drift - Approaching the turn, the driver downshifts and drops the rpm to slow down the drivetrain. She then releases the clutch, causing the back wheels to immediately slow down and lock up so they lose traction. <br />
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'''Brake-based techniques'''<br />
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E-brake drift - The driver enters the turn and pulls the emergency brake to lock the back wheels. She steers into the turn, and the back end swings out into a drift. This is a basic drifting technique. <br />
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Braking drift - The driver enters the turn and applies the brakes to push the car's weight to the front wheels, causing the back wheels to rise and lose traction. She then uses a combination of braking and shifting to hold the drift without the back wheels locking up. <br />
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Long-slide drift - On a long straightaway approaching a turn, at high speed (up to 100 mph / 161 kph), the driver pulls the emergency brake to initiate a long drift and maintains it into the turn. <br />
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'''Other techniques'''<br />
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Power-over drift - The driver accelerates into and through the entire turn to make the back end swing out as the weight shifts on exit. This technique requires a lot of horsepower. <br />
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Feint drift - The driver steers the car to the outside of the turn on the approach, pushing the car's weight to outside wheels. She then quickly steers back into the turn. When the car's suspension kicks back, the weight shifts so quickly that the back end flicks out to initiate a drift. <br />
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Jump drift - Entering a turn, the driver bounces the inside rear tire over the inner curb to shift the car's weight to the outside wheels and induce traction loss, initiating a drift. <br />
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Dynamic drift (Kansei drift) - Entering a turn at high speed, the driver suddenly releases the gas pedal to shift the weight to the front wheels, initiating a drift as the rear tires lose traction. <br />
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Swaying drift - A swaying drift is a lot like a feint drift except that it begins on a long straightaway approach to a turn. Once the car starts drifting, the driver uses steering to maintain the drift in the form of a side-to-side swaying of the car's back end. <br />
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Dirt-drop drift - The driver drops the rear tires off the race course into the dirt. This technique helps initiate a drift, maintain speed to hold a drift through multiple turns or increase the drift angle (see the next section) during a single turn. <br />
For detailed explanations and instructions for each of the techniques mentioned here, check out Drift Session: Drift Techniques. <br />
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As you can see from the above techniques, drifting is not the most natural thing for a car to do. To get a car in good shape to drift and to keep it in good shape as a drifting car, there are some additions or modifications that a lot of drivers make. These can include adding horsepower and upgrading the engine's cooling system to handle the increased stress and power needs, tightening the suspension (MacPherson strut is a preferred type) to help with the weight-shifting drift techniques, and installing a limited-slip differential so the driver can control the car while drifting through more than one turn. A limited-slip differential lets the car transfer torque to whichever wheels have traction, whether that's one or all four. (See How Differentials Work to learn more about limited-slip.) The driver will usually disable any traction control and/or anti-lock-brake systems so the tires can more easily lose traction, as well as inflate the tires to about 10 psi above normal pressure to decrease their grip on the road. Since the rear tires on a drifting car can get burned up in just a handful of drifting runs, drivers typically put good tires on the front and cheap tires on the back. Tires are by far the biggest expense in the sport of drifting. <br />
<br />
Unless you're buying a whole new car to drift, that is. When considering a good drifting car, you're basically looking for a rear-wheel drive, lightweight car that's relatively inexpensive (cars can get pretty beat up on the drifting circuit). Other qualities that make a nice drifter include a high front-to-rear weight ratio, good horsepower and a light flywheel so the engine revs easier. Some of the more popular drifting cars include the Toyota Corolla AE86 GTS, the Nissan Silvia S13 or S14, the Nissan 180SX, the Nissan Skyline GTS-T, the Nissan Sil-Eighty and the Mazda RX-7 (Japanese cars tend to be lighter in the rear than others). <br />
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You'll actually find a pretty wide range of cars at drifting events, including European and American models. Most pros will tell you that with the right level of skill, you can make any car a drifter, and in addition to the common drift cars, you'll see everything from Ford Mustangs to BMWs at competitions.<br />
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== Street Racing ==<br />
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== Online Resources ==</div>Zerilloshttps://wikicars.org/index.php?title=Custom_auto&diff=17190Custom auto2006-09-21T07:19:37Z<p>Zerillos: /* Drift cars */</p>
<hr />
<div>== Hot Rod History ==<br />
<br />
A lot has been written about the origins of the hot rod and the development of the culture that gave rise to them and then grew up around them. This is my own personal take on the subject, and I'm sure others with more detailed knowledge (including the many who were there) might well disagree with my thoughts. With that caveat, I place the defining origin point for hot rods and hot rod culture as the end of World War II. A number of factors came together at one time -- the period between the end of the war in 1945 and the begining of the 1950s -- and mainly in one place -- southern California -- to create a unique environment in which the hot rod and its culture were born.<br />
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At the end of the war, a legion of young men returned to America with a wad of demobilization cash in their pockets and a sense of freedom and excitement bred by their experiences in the war. With a period of peace and the steadily increasing prosperity of the country as a backdrop, these young men had a "can-do" attitude and a desire to express themselves in ways that their time in the military had stifled. And, all of a sudden, there were a lot of inexpensive used cars available. For five years Detroit had basically been in the business of supplying the military. Now all that production capacity was turned to creating a stream of new cars to satisfy the pent-up demand of a civilian population that had scrimped and saved throughout the Great Depression of the 1930s and the sacrifices of the war years. Men who'd stayed behind to work in America's offices and factories had a lot of savings and they were ready to ditch their aging cars from the 1920s and 1930s for gleaming new models offered by the Big Three (and the others who are now gone, like Wilys and Kaiser). Their trade-ins became the starting point of the hot rodders, and came to define the way they were built and how they looked.These factors dictated the core aesthetic of the classic American hot rod. It was the later Model Ts and the plentiful early-30s Fords and Chevys that became the raw material for the young men who created hot rodding and hot rod culture. Here's a picture of a '32 Ford Roadster, a contemporary car, but one built on the style of those first hot rods. The basic performance and engineering elements of the hotrod came together in these cars: More power, less weight and a look derived from these things leading to chopped tops, channeled bodies, pinched frames, dropped axles and, eventually wide tires. <br />
And why southern California? Again, a lot has been written about the question of why southern California became the seed-bed for so much cultural change in the second half of the twentieth century. Part of it was Hollywood, part simply that the western part of the country had reached a critical mass of prosperity and population sufficient to establish itself as a new center of culture distinct from the old center in the northeast. But a few factors made southern California the right place for the birth of hot rodding. One was the climate: with year-round perfect temperature and little rainfall, young men of little means could work outside on cars that had few creature comforts themselves. More important, Los Angeles was the first city truly shaped from its beginnings by the automobile: There were more roads, and new ones there. Finally, and perhaps most importantly, was "the lakes," the dry lake beds just east of L.A. that became a magnet for the chopped and stripped-down speed machines. Here the hot rodders found miles and miles of hard, glass-flat surface upon which to run their machines.<br />
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<br />
GOLDEN AGE <br />
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<br />
The 1950s were the Golden Age of hot rodding and, for a while, there was only hot rodding -- not the different strains of car-craziness that it gave birth to. In the beginning, there was no distinction among the cars that kids played with as a form of street-running self-expression, the drag racing car, the customized work of art; there was just the hot rod, the amateur automobile artform. But the seeds of hot-rodding's progeny were growing during that time.<br />
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The "lakes" were breeding a number of different kinds of cars aimed at faster and faster top speeds at the expense of driveability and, eventually even roadability. The famous "drop tank roadsters" exemplified these early forefathers of the machines that would some day exceed the speed of sound on the ground, built from war surplus military aircraft fuel tanks.<br />
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Meanwhile, the true "drag strip" was born. The National Hot Rod Association was formed in 1951 to impose some safety standards on "those speed-crazed kids" and the NHRA, now the governing body for drag racing in the the U.S., held its first sanctioned event in southern California in 1953.<br />
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Finally, the pure aesthetics of hot-rodding began to be expressed in the metalwork of exterior modifications to later, post-war cars. This gave rise to the "kustom" culture of cars that were increasingly works of pure visual art. Later, this gave rise to the show car world of the mid-1960s to the mid-1970s (detailed below.) <br />
<br />
<br />
But for a time, it was all one thing -- just young people exploring a new form of American individuality through the ultimate American experience, the road.<br />
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<br />
HOT ROD CULTURE <br />
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<br />
During the 1950s and into the early 1960s, the southern California scene connected with hot rods gave birth to a whole host of related cultural phenomena. The stars of custom car building, like Ed Roth and George Barris, became celebrities in the hot rod scene and some, like Roth and Von Dutch became visual artists in a weird and adolescent genre that had a life of its own apart from the cars. More than half the middle-aged men (in 2003, when I'm writing this) in America probably had some kind of Rat Fink image in their room when they were a kid. Many may not have realized the connection to the greasy hot rodders of a decade before. For a look at where this visual art is today take a look at this gallery (warning, it's not for the faint of heart).Then there was the music. At first, hot-rodding was associated with rockabilly, the first form of true rock and roll. But, just as hot rod culture became a defninable space in the general lanscape of American life, a different connection developed. Here it's not possible to separate the connection with a broader southern California scene, known by the often-inapplicable term "surf music." Most folks probably think of the Beach Boys and titles like "Little Deuce Coupe" and "409," but there were many other musicians who were mining the hot rod experience for subject matter. Jan and Dean come to mind, and the Ventures (with their album covers adorned with "wild" T-buckets), and the incredible Dick Dale, whose music to me is the sound of hot rodding.<br />
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Hot rod culture sat at an intersection between the hipsters of the late 40s and 50s (think of Dean Moriarty's relationship with cars in Kerouac's On the Road, and "Big Daddy" Ed Roth's goatee), the lower-class aspirations of kids from the wrong side of the tracks in a country with rising economic expectations (think of the menace of Dennis Hopper's "Goon" in Rebel Without a Cause) and the general development of a "counterculture" of individuality and free expression. For a time, the hot rod became a central symbol of youth and creativity in America, and was as cool as anything around. But by the mid-1960s, the wave of the counterculture had moved on and, although many of the "show car" artists of the time incorporated things like peace symbols and images of long-haired guys in patched bell-bottoms in their work, the days when hot rod culture was part of the "crest of the wave" were over.<br />
<br />
<br />
== Show Cars ==<br />
<br />
By the early 1960s the various different lines of hot rod culture were well defined, had separated and then begun to interact in new ways. the two most important elements of this for me were the "show rod" phenomenon and muscle cars. The "Kings of Kustom" had been working for a while now, and their ideas were seeping out to a larger audience, while at the same time the milieu of the classic hot rod kids was mutating rapidly. Southern California, the memetic engine of mid-century America, had moved on, and "teen rebellion" was morphing into the full-blown and politicized counterculture. Greasers and hipsters gave way to hippies and yippies. A great portrait of this time can be found in Tom Wolfe's very first bit of journalism, The Kandy-Kolored Tangerine-Flake Streamline Baby, his 1965 portrait of the "kustom kar show" world.<br />
<br />
The work of Tom Daniels exemplifies the era of the show rod perhaps better than any other. Daniels had a huge influence on the hot rod aesthetic of my generation through his work for the plastic model kit maker Monogram (later acquired by Revell). I recently discovered Tom Daniels' website, and the flood of memories unleashed by the images there was amazing. I'd insert some here, but Daniels has a blood-curdling warning about his ownership of the work there, so I'll suggest you go by his website, especially the page devoted to the box art for the kits he designed. Off the top of my head, I can well remember building the "Red Baron", the "T'rantula" (probably the two most influential on my own personal hotrod aesthetic), the "Pie Wagon," "Beer Wagon," "Garbage Truck," "Paddy Wagon" and "Sand Crab." Interestingly, note that all of these kits were issued in 1968 or 1969, when I was 11 and 12 years old. I think these designs came along at a time when my automotive aesthetic was being forged for a lifetime. To see many of Tom Daniels' kits built by great modelers (along with others mainly from that era of "outrageous show rods"), visit Show Rod Rally. Presumably Daniels' prohibition on use of images doesn't run to photos of the kits themselves, so here are the first two mentioned.<br />
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Interestingly, most of these cars never existed except as model kits; few were ever built as real, driveable automobiles. I suppose this highlights as much as anything else the fact that the hot rod's power is as much that of image and idea, rather than as transportation.<br />
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Here's a very good brief description of the show car phenomenon of the 1960s and early 1970s:The 1960s saw the pinnacle of one of America's most unusual native art forms. Flowing streamlined designs, radiant colors, and amazing craftsmanship blended together to develop a new concept - - Show Cars.<br />
<br />
Show cars evolved from the custom car, which was basically a modified version of an existing vehicle. Early pioneers of auto customizing in the 1950's began changing and improving their wheels for speed, originality, and a cool look. During these times, cars were "chopped, tubbed, raked, and hopped-up." These basic customizing techniques continued to become more elaborate until custom cars were being designed from scratch or by heavily converting existing vehicles into unbelievable designs. True show cars were distinguished by being one-of-a-kind originals, built from the ground up. It seems a paradox that their engines were extremely powerful, yet they rarely touched the road. In other words, these cars were meant to be looked at, not driven. The men who created them were true artists, and their creations were true art. Show cars belong to the genre of sculpture, and for those of us who couldn't afford the originals, there were always the model kits.<br />
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Probably the most famous custom car designers are George Barris and Ed Roth. Barris was one of the pioneer customizes and has personalized automobiles for many celebrities. An avid model and toy collector himself, Barris started making hobby kits of his cars with Revell in 1957, the first being a 1956 Buick. He is better known for his special cars however, and when AMT made a model kit of his 1960 Ala Kart, a whole line of kits designed after Barris' award-winning custom cars began.<br />
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Ed "Big Daddy" Roth, reached cult status on auto show circuits and teen modeler circles with his outrageous cars and Rat Fink character. (More can be found on Roth in the Freaks, Geeks, and Oddballs chapter.)<br />
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In 1967, Monogram and car designer Tom Daniel started a partnership that would produce 60 kits and last nearly a decade. Daniel had previously worked for George Barris where he helped design the Munster Koach and Dragula. One of Daniel's designs, the Red Baron, proved to be so popular that Monogram released it in a larger 1/12 scale.<br />
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Other heavy contenders on the show car circuit included Daryl Starbird, Carl Casper, and Bill Cushenberry. By the end of the 1970's though, the show car craze declined in popularity. Even though many wild rods are still being produced today, they sure don't make 'em like they used to!<br />
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== Muscle Cars ==<br />
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A muscle car is a high-performance automobile. The term principally refers to American models produced between 1964 and 1971.<br />
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The term muscle car generally describes a mid-size car with a large, powerful engine (typically, although not universally, a V8 engine) and special trim, intended for maximum acceleration on the street or in drag racing competition. It is distinguished from sports cars, which were customarily and coincidentally considered smaller, two-seat cars, or GTs, two-seat or 2+2 cars intended for high-speed touring and possibly road racing. High-performance full-size or compact cars are arguably excluded from this category, as are the breed of compact sports coupes inspired by the Ford Mustang and typically known as pony cars, although few would dispute a big-block pony car's credentials as a muscle car.<br />
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An alternate definition is based on power-to-weight ratio, defining a muscle car as an automobile with (for example) fewer than 12 pounds per rated hp. Such definitions are inexact, thanks to a wide variation in curb weight depending on options and to the questionable nature of the SAE gross hp ratings in use before 1972, which were often deliberately overstated or underrated for various reasons.<br />
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Another alternate definition involves a car's original design intents. Muscle cars are factory produced automobiles that have a larger engine than was originally planned for in the design and production phase of the original car. Examples of this trend can be found throughout American, Japanese, and European cars of all designs. This includes many cars that typically are not labeled as muscle cars, such as the B13 (1991-1994) Nissan Sentra SE-R, and excludes other cars typically labeled as muscle cars, such as the Dodge Viper.<br />
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Although auto makers such as Chrysler had occasionally experimented with placing a high performance V-8 in a lighter mid-size platform, and full-size cars such as the Ford Galaxie and Chevrolet Impala offered high-performance models, Pontiac is usually credited for starting the muscle car trend with its 1964 Pontiac GTO, based on the rather more pedestrian Pontiac Tempest. For 1964 and 1965, the GTO was an option package that included Pontiac's 389 in³ (6.5 L) V8 engine, floor-shifted transmission with Hurst shift linkage, and special trim. In 1966, the Pontiac GTO was no longer an option, and became its own model. The project, spearheaded by Pontiac division president John De Lorean, was technically a violation of General Motors policy limiting its smaller cars to 330 in³ (5.4 L) displacement, but it proved far more popular than expected, and inspired a host of imitations, both at GM and its competitors.<br />
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It marked a general trend towards factory performance, which reflected the importance of the youth market. A key appeal of the muscle cars was that they offered the burgeoning American car culture an array of relatively affordable vehicles with strong street performance that could also be used for racing. The affordability aspect was quickly compromised by increases in size, optional equipment, and plushness, forcing the addition of more and more powerful engines just to keep pace with performance. A backlash against this cost and weight growth led in 1967 and 1968 to a secondary trend of "budget muscle" in the form of the Plymouth Road Runner, Dodge Super Bee, and other stripped, lower-cost variants.<br />
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Although the sales of true muscle cars were relatively modest by total Detroit standards, they had considerable value in publicity and bragging rights, serving to bring young buyers into showrooms. The fierce competition led to an escalation in power that peaked in 1970, with some models offering as much as 450 hp (and others likely producing as much actual power, whatever their rating).<br />
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Another related type of car is the car-based pickup. Examples of these are the Ford Ranchero, GMC Sprint, GMC Caballero, and one of the most famous examples, the Chevrolet El Camino.<br />
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== Pre-runners ==<br />
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Some of the terminology associated with prerunners & desert race vehicles is pretty far removed from the mainstream of off-roading. While this is not a complete listing of all the terms associated with these vehicles, we hope it will further your understanding of them, and of the sport of off-road racing in general.<br />
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'''Vertical Wheel Travel''' - Amount of wheel travel measured from the center of the axle at full droop to the center of the axle at full compression <br />
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'''Lever Ratio''' - Shocks & springs can be mounted in several locations, and at various angles. If a shock were to be mounted vertically atop the axle, it would be said to have a 1 to 1 lever ratio - i.e. 1 in. of vertical shock travel = 1 in. of vertical wheel travel. If the shock is mounted at a 45 deg. angle, it will move 1/2 in for every inch of wheel travel. As such, it would be said to have a 1.5 to 1 lever ratio. <br />
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'''Velocity Sensitive Shocks''' - Many prerunners & race vehicles use velocity sensitive shocks. Their monotube design is lightweight, affordable, and provides a significant "bang for the buck". VS shocks are rebuildable, & use a series of stacked flexible washers to determine their valving characteristics. Adjustments are made by disassembling the shock, and changing the stack of washers to a stiffer, or lighter configuration. VS shocks use up to 200psi of nitrogen gas to combat foaming at high temperatures & shaft speed. further cooling capacity often comes from remote reservoirs, though they are optional on most models. It is common to se several VS shocks mounted together, and valved lightly, reducing the workload per shock. <>Coilover Shocks - These shocks serve as a mounting point for a coil spring. Unlike "overload" shocks found in auto supply houses, "Coilovers" are extremely high performance units, used in 3 & 4 link suspension applications. The coil springs are removable from the shocks for replacement & tuning, and the shock is fully rebuildable / adjustable for compression & rebound dampening. Coilover shocks are mounted to the chassis via spherical rod ends, rather than bushings to minimize unwanted deflection, and provide maximum streingth to the load bearing assembly. Coilover Shocks most always come with a remote reservior to aid in fluid cooling.<br />
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'''Remote Reservoir''' - Found on 9 out of 10 race shocks, Remote reserviors provide the shock with increased fluid & gas capacity, allowing for increased cooling, less "shock fade", and longer maintenance intervals. These aluminum & steel canisters contain a piston which separates the hydraulic fluid from high pressure nitrogen gas. They are attached to the shock absorber by a custom length of braided steel hose, or high pressure hydraulic line, and can be attached anywhere on the vehicle.<br />
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'''Bypass Shock''' - Bypass shocks are the pinnacle of shock technology. The goal of a bypass shock is to provide light valving in the initial movement of the wheel (to keep the wheels in contact with the ground over smaller bumps), progressively stiffer valving throughout the midrange of travel, and finially very stiff valving at the uppermost reaches of a shocks stroke to resist bottoming. Using a series (usually 2-4) of "bypass tubes" welded to the shock body, valving becomes externally adjustable via metered "jets". The bypass tubes provide precise oil flow through the shock, minimizing cavatation due to heat or unequal pressure, and together with the metered "jets", make for near infinite compression / rebound dampening possibilities. The latest developments in bypass shock technology have led to the development of "internal bypass" shocks. While the general principle of bypass remains the same, internal bypass shocks locate the bypass tubes inside the shock body, making them suitable for use in a coilover configuration. The sheer size of bypass shocks is impressive, but they aren't built that way for their looks. Rather than ounces, the fluid capacity of Bypass shocks is better measured in quarts, translating directly into a cooler running, nearly fade-proof assembly. Shaft sizes begin in the 7/8 in. range. Bypass shocks are always mounted via spherical rod end, as the loads generated would quickly destroy rubber or ploy bushings. These are the shocks commonly seen on (but not limited to) the Trophy, Pro & Class 7 & 8 trucks of SCORE.<br />
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'''3 Link Suspension''' - the "link" in 3 link refers to the number of mounting points on the rear axle. Used with torsion bar, 1/4 elliptic leaf springs & coilover shock arrangements, the 3 link uses 3 "control arms" to locate the axle & position it as it moves throughout it's range of travel. The standard configuration for a 3 Link is one arm (per side) mounted slightly below the axle, with a forward attachment point at the frame or custom built crossmember. Centered above the axle is a 3rd mounting point, using a triangular shaped arm (usually built of tubular steel), which attaches forward on the frame, or crossmember. 3 Link suspensions have been built & tested with up to 38 inches of "Vertical" wheel travel, and provide tremendous amounts of wheel articulation. Many prerunners, and even some race trucks use bushings for the mounting of the forward sections of the control arms, but the rear (axle) mounting points are often spherical rod ends. The spherical rod ends are a stronger assembly, and are less binding, offering a free and greater range of movement. <br />
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'''4 Link Suspension''' - a 4 Link is identical to the 3 Link except for using two upper control arms rather than one. these upper arms are mounted from a near center position (each aside the differential) and angled outward to the frame or custom built crossmember. Like the 3 Link, The 4 Link is capable of incredible vertical wheel travel, but articulation is slightly less.<br />
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'''A-Arm Suspension''' - usually found on the front of non Ford vehicles, the A-Arm suspension uses an upper & lower "A" shaped arm & a coil or torsion bar springing. A-Arms are a simple & popular suspension, and can achieve respectable (aprox 13 in.) wheel travel when used with stock length arms. On mini / mid size trucks, wheel travel is limited by the shorter arms & can be in the 9-11 in. range. Long travel A-Arm suspensions require longer / redesigned arms, and can involve relocation of the engine / K frame to achieve sufficient clearance. Further mods include spherical rod ends, modified ball joints, and redesigned spindles. Depending on the configuration, travel in the 28in.range is achievable, but at far greater cost than other suspension designs.<br />
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'''Twin "I"Beam''' - TIB / TTB suspensions consist of 3 main parts. The I beam (which mounts the spindle / brake assembly), the radius arm (which runs parallel to the frame, attaching at the I Beam in front, and a crossmember in the rear), and the coil spring, or coilover shock. This front suspension has been in use on Ford Trucks since the 60's, and has been transplanted to just about every other vehicle in existence. The reason for it's popularity is simple. There's an old desert saying that says "12 in. of Ford travel is worth 15 in. of anything else". Secondly, the cost of a 15 in. TIB or TTB system is well under $2000, making it the best value per in. on the market today. The Twin I Beam (and it's 4wd counterpart the TTB-Twin Traction Beam) is a far stronger design than the traditional A-Arm, and is ridiculously easy to extract usable travel from. A stock F-150 approaches 10 in. of travel, & with a few simple mods, 15 in. of wheel travel is there for the taking. Extreme examples measuring in at 32 in. are not unheard of, but 26-30 in. is common in race vehicles. Variations on the TIB can be found on such diverse vehicles as Glamis bound sand buggies, Polaris & Yamaha snowmobiles, and even the Toyota Land Cruiser that Ivan Stewart uses to prerun the courses of the SCORE / Laughlin desert series! <br />
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'''1/4 Elliptic Suspension''' - 1/4 elliptic suspensions use a 3 or 4 link configuration, and replace the coilover springs with leafs. An ellipse is a full circle. 1/4 elliptic rear takes it's name from the shape & configuration of the leaf springs, which, not coincidentally, resemble the arch of 1/4 of a circle. Mounting the leafs can take many forms, with a roller or spherical rod end, being the 2 most common types. In the rear, A pivoting "clamp" holds the springs in place, while a NASCAR style "Weight Jack" allows the builder / tuner to adjust ride height. <br />
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'''Torsion Bar Suspension''' - can take many forms. Commonly, torsion bars are used in conjunction with A-Arms in front suspension applications, due to their simple design, ease of maintenance, and light weight. TB suspensions are occasionally found in custom rear suspension applications, controlling a 3 or 4 Link set up. Torsion bars are often used to supplement coil or leaf suspensions, acting as a "secondary suspension".<br />
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'''Secondary Suspension''' - Used most often on race trucks & "top shelf" prerunners, secondary suspension systems allow for very light primary springing (to allow the truck to effortlessly absorb smaller bumps & obstacles), and only come into play in the final inches of wheel travel. The 2 most common forms of secondary suspension are Pneumatic (air / nitrogen) & Torsion bar. <br />
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'''Pneumatic Bump Stop''' - Used in place of, or in conjunction with a poly bump stop, pneumatic bump stops function similarly to an air shock. High pressure nitrogen allows the stop to be tuned to a specific degree of resistance, and some suspension set ups, can act as a form of secondary suspension (by providing a dramatic but controlled increase in effective spring rate during the last few inches of travel).<br />
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'''Spherical Rod End''' - AKA: "Hiem Joints". SRE's are a high strength solution to extreme angle woes. Available in sizes from 1/8 in. to well over 1 in. SRE's have found use at the ends of control / radius arms, tie rods, A-Arms, and many other parts throughout both prerunners & race trucks. Recently, aftermarket lift kit manufacturers have begun incorporating SRE's into the Jeep TJ / XJ / ZJ model lines, as well as the Dodge Ram.<br />
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'''Parker Pumper''' - While Parker Pumper is a brand name, it has come to be as interchangeable as "Xerox" in the off road community. The pumper is an air filtration system consisting of a chassis mounted blower that ducts filtered air to a specially modified helmet, allowing the wearer breathably clean and cool air in the dusty desert environment. <br />
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'''Suspension Seats''' - Produced by several manufacturers, suspension seats utilize an nylon/canvas "base" to cradle the foam padded seating area. This "base" is in turn attached to a tubular steel seat frame by an elastic cord, creating a seating surface that is "suspended". Major advantages to suspension seating include smoother ride, reduced potential for back (spinal compression) injury, and improved vehicle control.<br />
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== Low riders ==<br />
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When the lights go up at today's huge lowrider shows, hundreds of cars gleaming with triple-dipped chrome and gold plating, elaborate candy and metalflake paint jobs, rolling on custom-spoked wire rims featuring the finest spinners money can buy, fans throughout Aztlan (Chicano slang for the American Southwest) and all America, to Japan and Europe, gasp with appreciation and envy. As lowriding has taken the world by storm, it has also taken the mainstream automotive industry by surprise--no one seems to know where the world's number one auto trend came from. Some automotive enthusiasts like to write the sport off as the new cruiser on the block, eyeing hoppers and their high performance hydraulics somewhat suspiciously. <br />
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Other custom car historians dig a little deeper, tapping out a few lines about the late '70s, the television show Chico and the Man, and the first few issues of Low Rider Magazine evidence enough that lowriders have enjoyed at least a decade or two on the streets. But, lowriding's roots reach far deeper into history than that, the result of two very different traditions, California car culture and Mexican cultura coming together in Southern California. Lowriding has always had a distinct Mexican flavor, hotter than hot rods and lower than customs. <br />
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Throughout many Mexican-American neighborhoods, called barrios, from East Los Angeles to El Paso, Texas, cruisers have been dropping Chevrolets to a sidewalk-scraping stance since the late 1930s. It was part of the "zoot suit" fashion, a trend popular among teenagers from every culture. Mexican-American zooters, cool from slicked back hair to highly polished shoes, called themselves pachucos. They cruised beautifully restored, older Chevys, decked out in their oversized zoot suits for a night on the town. Often just the back of the Chevy was temporarily lowered, using sandbags hidden in the trunk beneath strategically placed planks of wood, or permanently dropped all around, the springs shortened by cutting the top few coils or heated until they collapsed to a proper cruising height. They cruised through the streets, honoring a custom that may have been practiced since the heyday of the Aztlan Empire. <br />
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The paseo, still honored today in many small Mexican towns, is a tradition where young, unmarried villagers walking around the village's central plaza, young women in one direction, men in the other, blushing and making eye contact. According to legend, the cruise is merely an automotive extension of this ancient tradition, practiced in Southern California long before it was ever a part of the United States. <br />
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After World War II, America's economy was booming. Southern California' the '30s its comparatively strong economy during the Great Depression had attracted immigrants from the dust bowls of the Central United States and Northern Mexico--was ready to roll. Prior to the war, most "customizers" were interested in speed, not looks, making inexpensive modifications under the hood while removing heavy, "useless" extras like the fenders and roof. Early custom and lowriding (although the word would not come into use until the 1960s) enthusiasts, however, in particular the pachucos, were more interested in looks, class and style. <br />
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It was all on a Depression-era budget, but the seeds were being sown for modern custom trends. After World War II, the hard-driving economy fueled a new generation of automotive enthusiasts, these early styles began branching out, racers, now called hot rods, joined by lakesters, street rods, roadsters, customs, cruisers and finally, lowriders, each new style owing a debt to the cars that came before it. <br />
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By the late 1950s and early '60s, what we would now consider lowriders were finally hitting Whittier Boulevard in great numbers. Such fine rides wouldn't appear overnight, however. California car culture and Mexican-American cultura would both develop and grow, each enriching the larger American culture with every passing decade. <br />
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Pachucismo: Lowriding's Well-Dressed Roots California, along with Arizona, New Mexico and Texas, as well as parts of Colorado, Nevada and Wyoming, were part of Mexico until the 1830s, when Mexico ceded the huge territory to the U.S. Many Mexican-American and Spanish families remained on their ancestral lands, continuing to speak Spanish and retain a distinctly Mexican cultura. Later, from about 1910 to the mid '20s, a wave of new Mexican immigrants--approximately 10-percent of the Mexican population--fled the bloody Mexican Revolution and settled in many major urban centers of the Southwest, in particular, El Paso, Texas, and East Los Angeles. They came, like so many others to this nation of immigrants, seeking stability, peace, and a better life for their children. It was difficult, as it was for refugees from Eastern Europe or Ireland, but many managed to carve out a decent life for themselves in the land of opportunity. <br />
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Professor Ruben Mendoza points out that one of their means of surviving in the U.S. might be the basis of modern day car clubs. "After the Revolution, Mexicans were brought over to the United States to work in the mines, railroads and farms; many of these new workers were exploited, and without any type of job security or insurance, an illness or other calamity could destroy their lives. Many of these immigrants formed 'mutual aid societies,' or social clubs, where they would meet and socialize on a regular basis. The purpose of the group, however, was survival. <br />
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They would all contribute money, and if any of them got sick or in trouble, that could be used to help the ailing member out. That same type of organization. Within a single generation, the English-speaking children of these first immigrants were feeling more a part of American life. Part of the American dream of the '30s and '40s was owning a car, and when the family finally saved enough for that ride, it became almost a member of the family. Most of the cars cruising the barrios were second hand, and Chevrolets, less expensive and easier to repair, as well as more stylish compared to practical Fords, became the cars of choice. <br />
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The desire to be different was no less apparent in Mexican-American communities than anywhere else in the country, and they, too, customized their cars to look unique. Rather than the fast looking "California rake," these young pachucos would drop the back of the car for a sleek, mean look that turned everyone's head. "They were family cars, but we used to fix them up," remembers former pachuco and United Farm Workers co-founder Cesar Chavez. "We fixed up several. The one that we had for the longest period of time was a '40 Chevy. In those days you went the opposite [of the hot rodders]--low in the back. We lowered the rear springs, had fender skirts, two side pipes. It was mostly cosmetic stuff in those days. You had to have two spotlights and two antennas, and a big red stop light in the back. <br />
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Hubcaps, oh, they used to steal hubcaps. The ones that we had, had just one bar across, and big wide whitewalls. When we got out of the car, we had a screwdriver to take off the hubcaps and lock them in the trunk. When we got back we would put them back on." There were plenty of modifications for specific Chevys becoming popular in the barrios. The "alligator hood" looked great on models with hoods hinged down the center, like the '39 Chevy. Originally, the hood would open up like wings, but this was converted to open from the front, like an alligator's mouth. <br />
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For pachucos still customizing Fords, the bumper soon became a problem. Original Ford bumpers had a dip in the center that scraped the ground after the coils were cut or, by those with tougher bottoms, removed. The owner would either flip the bumper, remove it entirely, or switch it. "The most popular to switch was the '37 DeSoto bumper with the five narrow ribs that matched the grille and chrome horn covers on the front fenders," reminisces lowrider historian David Holland. "The '37 DeSoto was a stupid looking car, but it sure had bad bumpers. Also, the '41 Ford bumpers were popular." still exists today in disenfranchised communities, as neighborhood groups, gangs and car clubs." <br />
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Lowrider style has changed a great deal over the past 50 years--although you still have to take extra care of a car sporting a nice set of rims--but, as Cesar Chavez pointed out, Chicano cruisers have always customized their cars very differently from the speedier sets. "Lowriders do happen to alter a car in a way that makes it almost the precise opposite of a style long favored by Anglo car customizers," noted Calvin Trillin in the New Yorker. "The California rake, which has a jacked up rear instead of a lowered one, outlandishly wide tires instead of tires that seem much too small for the car, and a souped up motor instead of one that has been filely ignored." The "East L.A. rake" was part of a new style that was developing. <br />
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These cars not only looked clean, but they were also a way of showing defiance against the mainstream culture. The young pachucos cruising these beauties on Whittier Boulevard, the main strip in East Los Angeles, or on Boulevards throughout the Southwest, had also developed their own style of clothing and hair, which was stirring things up a bit. The zoot suit craze had been spreading across the country throughout the late '30s, popularized by movie stars like Clark Gable. Blacks in Harlem, New York, popularized the look, an enormously oversized jacket over baggy pants with pegged legs. Young Mexican-Americans called them drapes, and often dropped the fancy fedora altogether. There was some concern on the part of the mainstream about the refusal of these young people to assimilate. <br />
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Older, more conservative Mexican-Americans also worried about their children's new look. "I started wearing zoot suits when it became and issue," Cesar Chavez explained. "The Chicano community was divided about the dress. Some people just wouldn't wear them, because they thought everybody who did was no good. The girls also wore their trapos, even though people would say, 'you're no good.' You see, the people that wore them eran los mas pobres, guys like us who were migrant farm workers." <br />
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Patricia Alcala, who allowed the PBS documentary Low and Slow cover her daughter's lowrider quincianera, had a similar experience. "Back in the '40s, we couldn't wear tight skirts, dangly earrings, or speak Spanish. If you did, you were labeled 'bad.' " But, like so many young cruisers of their generation, Chavez and Alcala continued to wear the pachuco fashion and speak Spanish, at least when their teachers weren't around. The car, the clothes and the language were all badges of pride for a generation caught between cultures, struggling to find their own identity. <br />
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What frightened many Southern Californians, however, was not just the pachucos' rough and ready reputation. It was their ability to move through traditionally Anglo areas with ease. "Being strangers to an urban environment, the first generation tended to respect the boundaries of the Mexican communities," writes historian Carey McWilliams of the pachucos' first lows. "But, the second generation was lured far beyond these boundaries into the downtown shopping districts, to the beaches and, above all, to the glamour of Hollywood. It was this generation of Mexicans, the pachuco generation, that first came to the general notice and attention of the Anglo-American population." <br />
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The attention that the pachucos got, with their cars, clothes and street slang, called calo, was notorious. "We went to the movies--we were just waiting outside--and the guy wouldn't let us in with a pass," said Cesar Chavez. "The cops came and then stood us against a wall and searched us. They ripped our pants--can you imagine? In those days the one that I had was a sharkskin suit and it cost me $45, a lot of money in those days--we're talking about 1942 or '43." Cesar wasn't the only one. "I was just hanging out [on the corner of 5th Avenue and Glendale Avenue] with my homeboys in a zoot suit, when a city of Glendale placa [police car] drove up and called me over," Noni Maldonado told "El Danny" in an article for Barrio Breakthrough Magazine. "Our zoot suits, to us, were firme trajes, to go to dances and hang out with the pleve. We weren't into gangs or pachuco fighting. We just automatically got stereotyped because of our clothes and our hair style, but that was us!"<br />
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== Drift cars ==<br />
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'''What Is Drifting?'''<br />
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Basically, drifting is getting your car sideways down a road. It doesn't sound very hard does it? Sounds a lot like power sliding huh? Well it isn't. It's much more complex. Instead of a drifter causing a drift and then countering to straighten out, he will instead over-counter so his car goes into another drift. That is the reason many drifters do it in the mountains, because there are many sharp turns strung together. So in essence a good drifter has the ability to take five or six opposing turns without having traction at any point in time.<br />
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'''How is it done?'''<br />
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There are two ways to start a drift. The first is the clutching technique. When approaching a turn the driver will push in the clutch and shift his car into second gear. Then rev the engine up to around 4000-5000 rpm and then slightly turn away from the turn and then cut back towards it hard while at the same time popping the clutch and causing the rear wheels to spin. At this point the drifter has a loss of traction and is beginning to slide around the curve. Now comes the hard part. You have to hold the drift until the next turn. To do this you must keep your foot on the accelerator while at the same time adjusting your car with the steering wheel so you don't spin out. It's not as easy as it sounds. Then as the drifter reaches the end of the turn and approaches the next turn which is in the opposite direction he must cut the wheel in that direction and in some cases, if the previous drift was to slow and they start to regain traction, they must pop the clutch again to get the wheels spinning. And that is how you drift a rear wheel drive car.<br />
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The second technique is used by a few drifters in rear wheel drives, but is the only way you can really drift a front wheel drive. You have to use the side brake. A front wheel drive can not whip its tail out because the tires are being driven in the front as opposed to the rear. So when approaching a turn you pull the side brake to cause traction loss. And the rest is pretty much the same except that it's much harder to take more than one turn with a front wheel drive.<br />
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'''What Cars Do They Use?'''<br />
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There are seven cars most commonly used for drifting. The first is the AE86 Levin / Trueno because of it's rear wheel drive lay-out and the fact that it's relatively inexpensive it is probably the most common drifting car. The second and third are the Silvia S13 and S14, which come in two different models: the turbocharged K's and the non-turbo Q's. Because of their high horse power and free-revving engines they are excellent drifting cars. The third is the 180SX, related mechanically to the Silvia, the only difference is in the body style and the fact that is lighter and has a better front/rear balance ratio. The fifth is the FC3S RX-7. The Cefiro is another excellent drifting car. It has a powerful RB20DET engine and good handling characteristics. The last is the Laurel which is also powered by the RB20DET. Another good drifting car is the Skyline GTS-T which you don't see very often. It has a rear wheel drive layout and boasts a 260hp engine.<br />
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'''Making a Car Drift'''<br />
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The first drifting technique a driver needs to master is actually a regular racing technique. Heel-and-toe shifting lets a race car driver downshift smoothly and quickly (to increase rpm) while simultaneously braking (to shift the car's weight forward). The goal of this shifting technique is to maintain equilibrium between engine speed and wheel speed so the drivetrain doesn't jolt while downshifting. To heel-and-toe downshift while your right foot is on the brake, you depress the clutch with your left foot, shift to neutral and release the clutch. Then, keeping the ball of your right foot on the brake, you move your right heel to the gas pedal and rev the engine until the rpm matches up with wheel speed (usually an increase of about 1,500 rpm per one-gear downshift). Once you reach the proper rpm, you get off the gas pedal, still applying the brake, push in the clutch again and downshift. Once a driver can execute proper race-style shifting, she's ready to master some drifting techniques. <br />
Getting the Drift? <br />
Drift racing offers a real difference over other motor sports. What do you think of it? <br />
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'''Clutch-based techniques'''<br />
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Clutch-kick drift - Approaching the turn, the driver holds in the clutch, increases rpm and downshifts. She then releases the clutch, causing a power surge that makes the back wheels lose traction. This is a basic drifting technique. <br />
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Shift-lock drift - Approaching the turn, the driver downshifts and drops the rpm to slow down the drivetrain. She then releases the clutch, causing the back wheels to immediately slow down and lock up so they lose traction. <br />
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'''Brake-based techniques'''<br />
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E-brake drift - The driver enters the turn and pulls the emergency brake to lock the back wheels. She steers into the turn, and the back end swings out into a drift. This is a basic drifting technique. <br />
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Braking drift - The driver enters the turn and applies the brakes to push the car's weight to the front wheels, causing the back wheels to rise and lose traction. She then uses a combination of braking and shifting to hold the drift without the back wheels locking up. <br />
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Long-slide drift - On a long straightaway approaching a turn, at high speed (up to 100 mph / 161 kph), the driver pulls the emergency brake to initiate a long drift and maintains it into the turn. <br />
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'''Other techniques'''<br />
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Power-over drift - The driver accelerates into and through the entire turn to make the back end swing out as the weight shifts on exit. This technique requires a lot of horsepower. <br />
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Feint drift - The driver steers the car to the outside of the turn on the approach, pushing the car's weight to outside wheels. She then quickly steers back into the turn. When the car's suspension kicks back, the weight shifts so quickly that the back end flicks out to initiate a drift. <br />
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Jump drift - Entering a turn, the driver bounces the inside rear tire over the inner curb to shift the car's weight to the outside wheels and induce traction loss, initiating a drift. <br />
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Dynamic drift (Kansei drift) - Entering a turn at high speed, the driver suddenly releases the gas pedal to shift the weight to the front wheels, initiating a drift as the rear tires lose traction. <br />
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Swaying drift - A swaying drift is a lot like a feint drift except that it begins on a long straightaway approach to a turn. Once the car starts drifting, the driver uses steering to maintain the drift in the form of a side-to-side swaying of the car's back end. <br />
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Dirt-drop drift - The driver drops the rear tires off the race course into the dirt. This technique helps initiate a drift, maintain speed to hold a drift through multiple turns or increase the drift angle (see the next section) during a single turn. <br />
For detailed explanations and instructions for each of the techniques mentioned here, check out Drift Session: Drift Techniques. <br />
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As you can see from the above techniques, drifting is not the most natural thing for a car to do. To get a car in good shape to drift and to keep it in good shape as a drifting car, there are some additions or modifications that a lot of drivers make. These can include adding horsepower and upgrading the engine's cooling system to handle the increased stress and power needs, tightening the suspension (MacPherson strut is a preferred type) to help with the weight-shifting drift techniques, and installing a limited-slip differential so the driver can control the car while drifting through more than one turn. A limited-slip differential lets the car transfer torque to whichever wheels have traction, whether that's one or all four. (See How Differentials Work to learn more about limited-slip.) The driver will usually disable any traction control and/or anti-lock-brake systems so the tires can more easily lose traction, as well as inflate the tires to about 10 psi above normal pressure to decrease their grip on the road. Since the rear tires on a drifting car can get burned up in just a handful of drifting runs, drivers typically put good tires on the front and cheap tires on the back. Tires are by far the biggest expense in the sport of drifting. <br />
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Unless you're buying a whole new car to drift, that is. When considering a good drifting car, you're basically looking for a rear-wheel drive, lightweight car that's relatively inexpensive (cars can get pretty beat up on the drifting circuit). Other qualities that make a nice drifter include a high front-to-rear weight ratio, good horsepower and a light flywheel so the engine revs easier. Some of the more popular drifting cars include the Toyota Corolla AE86 GTS, the Nissan Silvia S13 or S14, the Nissan 180SX, the Nissan Skyline GTS-T, the Nissan Sil-Eighty and the Mazda RX-7 (Japanese cars tend to be lighter in the rear than others). <br />
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You'll actually find a pretty wide range of cars at drifting events, including European and American models. Most pros will tell you that with the right level of skill, you can make any car a drifter, and in addition to the common drift cars, you'll see everything from Ford Mustangs to BMWs at competitions.<br />
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== Street Racing ==<br />
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== Online Resources ==</div>Zerilloshttps://wikicars.org/index.php?title=Custom_auto&diff=17189Custom auto2006-09-21T07:17:05Z<p>Zerillos: /* Drift cars */</p>
<hr />
<div>== Hot Rod History ==<br />
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A lot has been written about the origins of the hot rod and the development of the culture that gave rise to them and then grew up around them. This is my own personal take on the subject, and I'm sure others with more detailed knowledge (including the many who were there) might well disagree with my thoughts. With that caveat, I place the defining origin point for hot rods and hot rod culture as the end of World War II. A number of factors came together at one time -- the period between the end of the war in 1945 and the begining of the 1950s -- and mainly in one place -- southern California -- to create a unique environment in which the hot rod and its culture were born.<br />
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At the end of the war, a legion of young men returned to America with a wad of demobilization cash in their pockets and a sense of freedom and excitement bred by their experiences in the war. With a period of peace and the steadily increasing prosperity of the country as a backdrop, these young men had a "can-do" attitude and a desire to express themselves in ways that their time in the military had stifled. And, all of a sudden, there were a lot of inexpensive used cars available. For five years Detroit had basically been in the business of supplying the military. Now all that production capacity was turned to creating a stream of new cars to satisfy the pent-up demand of a civilian population that had scrimped and saved throughout the Great Depression of the 1930s and the sacrifices of the war years. Men who'd stayed behind to work in America's offices and factories had a lot of savings and they were ready to ditch their aging cars from the 1920s and 1930s for gleaming new models offered by the Big Three (and the others who are now gone, like Wilys and Kaiser). Their trade-ins became the starting point of the hot rodders, and came to define the way they were built and how they looked.These factors dictated the core aesthetic of the classic American hot rod. It was the later Model Ts and the plentiful early-30s Fords and Chevys that became the raw material for the young men who created hot rodding and hot rod culture. Here's a picture of a '32 Ford Roadster, a contemporary car, but one built on the style of those first hot rods. The basic performance and engineering elements of the hotrod came together in these cars: More power, less weight and a look derived from these things leading to chopped tops, channeled bodies, pinched frames, dropped axles and, eventually wide tires. <br />
And why southern California? Again, a lot has been written about the question of why southern California became the seed-bed for so much cultural change in the second half of the twentieth century. Part of it was Hollywood, part simply that the western part of the country had reached a critical mass of prosperity and population sufficient to establish itself as a new center of culture distinct from the old center in the northeast. But a few factors made southern California the right place for the birth of hot rodding. One was the climate: with year-round perfect temperature and little rainfall, young men of little means could work outside on cars that had few creature comforts themselves. More important, Los Angeles was the first city truly shaped from its beginnings by the automobile: There were more roads, and new ones there. Finally, and perhaps most importantly, was "the lakes," the dry lake beds just east of L.A. that became a magnet for the chopped and stripped-down speed machines. Here the hot rodders found miles and miles of hard, glass-flat surface upon which to run their machines.<br />
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GOLDEN AGE <br />
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The 1950s were the Golden Age of hot rodding and, for a while, there was only hot rodding -- not the different strains of car-craziness that it gave birth to. In the beginning, there was no distinction among the cars that kids played with as a form of street-running self-expression, the drag racing car, the customized work of art; there was just the hot rod, the amateur automobile artform. But the seeds of hot-rodding's progeny were growing during that time.<br />
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The "lakes" were breeding a number of different kinds of cars aimed at faster and faster top speeds at the expense of driveability and, eventually even roadability. The famous "drop tank roadsters" exemplified these early forefathers of the machines that would some day exceed the speed of sound on the ground, built from war surplus military aircraft fuel tanks.<br />
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Meanwhile, the true "drag strip" was born. The National Hot Rod Association was formed in 1951 to impose some safety standards on "those speed-crazed kids" and the NHRA, now the governing body for drag racing in the the U.S., held its first sanctioned event in southern California in 1953.<br />
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Finally, the pure aesthetics of hot-rodding began to be expressed in the metalwork of exterior modifications to later, post-war cars. This gave rise to the "kustom" culture of cars that were increasingly works of pure visual art. Later, this gave rise to the show car world of the mid-1960s to the mid-1970s (detailed below.) <br />
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But for a time, it was all one thing -- just young people exploring a new form of American individuality through the ultimate American experience, the road.<br />
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HOT ROD CULTURE <br />
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During the 1950s and into the early 1960s, the southern California scene connected with hot rods gave birth to a whole host of related cultural phenomena. The stars of custom car building, like Ed Roth and George Barris, became celebrities in the hot rod scene and some, like Roth and Von Dutch became visual artists in a weird and adolescent genre that had a life of its own apart from the cars. More than half the middle-aged men (in 2003, when I'm writing this) in America probably had some kind of Rat Fink image in their room when they were a kid. Many may not have realized the connection to the greasy hot rodders of a decade before. For a look at where this visual art is today take a look at this gallery (warning, it's not for the faint of heart).Then there was the music. At first, hot-rodding was associated with rockabilly, the first form of true rock and roll. But, just as hot rod culture became a defninable space in the general lanscape of American life, a different connection developed. Here it's not possible to separate the connection with a broader southern California scene, known by the often-inapplicable term "surf music." Most folks probably think of the Beach Boys and titles like "Little Deuce Coupe" and "409," but there were many other musicians who were mining the hot rod experience for subject matter. Jan and Dean come to mind, and the Ventures (with their album covers adorned with "wild" T-buckets), and the incredible Dick Dale, whose music to me is the sound of hot rodding.<br />
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Hot rod culture sat at an intersection between the hipsters of the late 40s and 50s (think of Dean Moriarty's relationship with cars in Kerouac's On the Road, and "Big Daddy" Ed Roth's goatee), the lower-class aspirations of kids from the wrong side of the tracks in a country with rising economic expectations (think of the menace of Dennis Hopper's "Goon" in Rebel Without a Cause) and the general development of a "counterculture" of individuality and free expression. For a time, the hot rod became a central symbol of youth and creativity in America, and was as cool as anything around. But by the mid-1960s, the wave of the counterculture had moved on and, although many of the "show car" artists of the time incorporated things like peace symbols and images of long-haired guys in patched bell-bottoms in their work, the days when hot rod culture was part of the "crest of the wave" were over.<br />
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== Show Cars ==<br />
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By the early 1960s the various different lines of hot rod culture were well defined, had separated and then begun to interact in new ways. the two most important elements of this for me were the "show rod" phenomenon and muscle cars. The "Kings of Kustom" had been working for a while now, and their ideas were seeping out to a larger audience, while at the same time the milieu of the classic hot rod kids was mutating rapidly. Southern California, the memetic engine of mid-century America, had moved on, and "teen rebellion" was morphing into the full-blown and politicized counterculture. Greasers and hipsters gave way to hippies and yippies. A great portrait of this time can be found in Tom Wolfe's very first bit of journalism, The Kandy-Kolored Tangerine-Flake Streamline Baby, his 1965 portrait of the "kustom kar show" world.<br />
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The work of Tom Daniels exemplifies the era of the show rod perhaps better than any other. Daniels had a huge influence on the hot rod aesthetic of my generation through his work for the plastic model kit maker Monogram (later acquired by Revell). I recently discovered Tom Daniels' website, and the flood of memories unleashed by the images there was amazing. I'd insert some here, but Daniels has a blood-curdling warning about his ownership of the work there, so I'll suggest you go by his website, especially the page devoted to the box art for the kits he designed. Off the top of my head, I can well remember building the "Red Baron", the "T'rantula" (probably the two most influential on my own personal hotrod aesthetic), the "Pie Wagon," "Beer Wagon," "Garbage Truck," "Paddy Wagon" and "Sand Crab." Interestingly, note that all of these kits were issued in 1968 or 1969, when I was 11 and 12 years old. I think these designs came along at a time when my automotive aesthetic was being forged for a lifetime. To see many of Tom Daniels' kits built by great modelers (along with others mainly from that era of "outrageous show rods"), visit Show Rod Rally. Presumably Daniels' prohibition on use of images doesn't run to photos of the kits themselves, so here are the first two mentioned.<br />
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Interestingly, most of these cars never existed except as model kits; few were ever built as real, driveable automobiles. I suppose this highlights as much as anything else the fact that the hot rod's power is as much that of image and idea, rather than as transportation.<br />
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Here's a very good brief description of the show car phenomenon of the 1960s and early 1970s:The 1960s saw the pinnacle of one of America's most unusual native art forms. Flowing streamlined designs, radiant colors, and amazing craftsmanship blended together to develop a new concept - - Show Cars.<br />
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Show cars evolved from the custom car, which was basically a modified version of an existing vehicle. Early pioneers of auto customizing in the 1950's began changing and improving their wheels for speed, originality, and a cool look. During these times, cars were "chopped, tubbed, raked, and hopped-up." These basic customizing techniques continued to become more elaborate until custom cars were being designed from scratch or by heavily converting existing vehicles into unbelievable designs. True show cars were distinguished by being one-of-a-kind originals, built from the ground up. It seems a paradox that their engines were extremely powerful, yet they rarely touched the road. In other words, these cars were meant to be looked at, not driven. The men who created them were true artists, and their creations were true art. Show cars belong to the genre of sculpture, and for those of us who couldn't afford the originals, there were always the model kits.<br />
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Probably the most famous custom car designers are George Barris and Ed Roth. Barris was one of the pioneer customizes and has personalized automobiles for many celebrities. An avid model and toy collector himself, Barris started making hobby kits of his cars with Revell in 1957, the first being a 1956 Buick. He is better known for his special cars however, and when AMT made a model kit of his 1960 Ala Kart, a whole line of kits designed after Barris' award-winning custom cars began.<br />
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Ed "Big Daddy" Roth, reached cult status on auto show circuits and teen modeler circles with his outrageous cars and Rat Fink character. (More can be found on Roth in the Freaks, Geeks, and Oddballs chapter.)<br />
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In 1967, Monogram and car designer Tom Daniel started a partnership that would produce 60 kits and last nearly a decade. Daniel had previously worked for George Barris where he helped design the Munster Koach and Dragula. One of Daniel's designs, the Red Baron, proved to be so popular that Monogram released it in a larger 1/12 scale.<br />
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Other heavy contenders on the show car circuit included Daryl Starbird, Carl Casper, and Bill Cushenberry. By the end of the 1970's though, the show car craze declined in popularity. Even though many wild rods are still being produced today, they sure don't make 'em like they used to!<br />
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== Muscle Cars ==<br />
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A muscle car is a high-performance automobile. The term principally refers to American models produced between 1964 and 1971.<br />
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The term muscle car generally describes a mid-size car with a large, powerful engine (typically, although not universally, a V8 engine) and special trim, intended for maximum acceleration on the street or in drag racing competition. It is distinguished from sports cars, which were customarily and coincidentally considered smaller, two-seat cars, or GTs, two-seat or 2+2 cars intended for high-speed touring and possibly road racing. High-performance full-size or compact cars are arguably excluded from this category, as are the breed of compact sports coupes inspired by the Ford Mustang and typically known as pony cars, although few would dispute a big-block pony car's credentials as a muscle car.<br />
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An alternate definition is based on power-to-weight ratio, defining a muscle car as an automobile with (for example) fewer than 12 pounds per rated hp. Such definitions are inexact, thanks to a wide variation in curb weight depending on options and to the questionable nature of the SAE gross hp ratings in use before 1972, which were often deliberately overstated or underrated for various reasons.<br />
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Another alternate definition involves a car's original design intents. Muscle cars are factory produced automobiles that have a larger engine than was originally planned for in the design and production phase of the original car. Examples of this trend can be found throughout American, Japanese, and European cars of all designs. This includes many cars that typically are not labeled as muscle cars, such as the B13 (1991-1994) Nissan Sentra SE-R, and excludes other cars typically labeled as muscle cars, such as the Dodge Viper.<br />
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Although auto makers such as Chrysler had occasionally experimented with placing a high performance V-8 in a lighter mid-size platform, and full-size cars such as the Ford Galaxie and Chevrolet Impala offered high-performance models, Pontiac is usually credited for starting the muscle car trend with its 1964 Pontiac GTO, based on the rather more pedestrian Pontiac Tempest. For 1964 and 1965, the GTO was an option package that included Pontiac's 389 in³ (6.5 L) V8 engine, floor-shifted transmission with Hurst shift linkage, and special trim. In 1966, the Pontiac GTO was no longer an option, and became its own model. The project, spearheaded by Pontiac division president John De Lorean, was technically a violation of General Motors policy limiting its smaller cars to 330 in³ (5.4 L) displacement, but it proved far more popular than expected, and inspired a host of imitations, both at GM and its competitors.<br />
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It marked a general trend towards factory performance, which reflected the importance of the youth market. A key appeal of the muscle cars was that they offered the burgeoning American car culture an array of relatively affordable vehicles with strong street performance that could also be used for racing. The affordability aspect was quickly compromised by increases in size, optional equipment, and plushness, forcing the addition of more and more powerful engines just to keep pace with performance. A backlash against this cost and weight growth led in 1967 and 1968 to a secondary trend of "budget muscle" in the form of the Plymouth Road Runner, Dodge Super Bee, and other stripped, lower-cost variants.<br />
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Although the sales of true muscle cars were relatively modest by total Detroit standards, they had considerable value in publicity and bragging rights, serving to bring young buyers into showrooms. The fierce competition led to an escalation in power that peaked in 1970, with some models offering as much as 450 hp (and others likely producing as much actual power, whatever their rating).<br />
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Another related type of car is the car-based pickup. Examples of these are the Ford Ranchero, GMC Sprint, GMC Caballero, and one of the most famous examples, the Chevrolet El Camino.<br />
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== Pre-runners ==<br />
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Some of the terminology associated with prerunners & desert race vehicles is pretty far removed from the mainstream of off-roading. While this is not a complete listing of all the terms associated with these vehicles, we hope it will further your understanding of them, and of the sport of off-road racing in general.<br />
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'''Vertical Wheel Travel''' - Amount of wheel travel measured from the center of the axle at full droop to the center of the axle at full compression <br />
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'''Lever Ratio''' - Shocks & springs can be mounted in several locations, and at various angles. If a shock were to be mounted vertically atop the axle, it would be said to have a 1 to 1 lever ratio - i.e. 1 in. of vertical shock travel = 1 in. of vertical wheel travel. If the shock is mounted at a 45 deg. angle, it will move 1/2 in for every inch of wheel travel. As such, it would be said to have a 1.5 to 1 lever ratio. <br />
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'''Velocity Sensitive Shocks''' - Many prerunners & race vehicles use velocity sensitive shocks. Their monotube design is lightweight, affordable, and provides a significant "bang for the buck". VS shocks are rebuildable, & use a series of stacked flexible washers to determine their valving characteristics. Adjustments are made by disassembling the shock, and changing the stack of washers to a stiffer, or lighter configuration. VS shocks use up to 200psi of nitrogen gas to combat foaming at high temperatures & shaft speed. further cooling capacity often comes from remote reservoirs, though they are optional on most models. It is common to se several VS shocks mounted together, and valved lightly, reducing the workload per shock. <>Coilover Shocks - These shocks serve as a mounting point for a coil spring. Unlike "overload" shocks found in auto supply houses, "Coilovers" are extremely high performance units, used in 3 & 4 link suspension applications. The coil springs are removable from the shocks for replacement & tuning, and the shock is fully rebuildable / adjustable for compression & rebound dampening. Coilover shocks are mounted to the chassis via spherical rod ends, rather than bushings to minimize unwanted deflection, and provide maximum streingth to the load bearing assembly. Coilover Shocks most always come with a remote reservior to aid in fluid cooling.<br />
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'''Remote Reservoir''' - Found on 9 out of 10 race shocks, Remote reserviors provide the shock with increased fluid & gas capacity, allowing for increased cooling, less "shock fade", and longer maintenance intervals. These aluminum & steel canisters contain a piston which separates the hydraulic fluid from high pressure nitrogen gas. They are attached to the shock absorber by a custom length of braided steel hose, or high pressure hydraulic line, and can be attached anywhere on the vehicle.<br />
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'''Bypass Shock''' - Bypass shocks are the pinnacle of shock technology. The goal of a bypass shock is to provide light valving in the initial movement of the wheel (to keep the wheels in contact with the ground over smaller bumps), progressively stiffer valving throughout the midrange of travel, and finially very stiff valving at the uppermost reaches of a shocks stroke to resist bottoming. Using a series (usually 2-4) of "bypass tubes" welded to the shock body, valving becomes externally adjustable via metered "jets". The bypass tubes provide precise oil flow through the shock, minimizing cavatation due to heat or unequal pressure, and together with the metered "jets", make for near infinite compression / rebound dampening possibilities. The latest developments in bypass shock technology have led to the development of "internal bypass" shocks. While the general principle of bypass remains the same, internal bypass shocks locate the bypass tubes inside the shock body, making them suitable for use in a coilover configuration. The sheer size of bypass shocks is impressive, but they aren't built that way for their looks. Rather than ounces, the fluid capacity of Bypass shocks is better measured in quarts, translating directly into a cooler running, nearly fade-proof assembly. Shaft sizes begin in the 7/8 in. range. Bypass shocks are always mounted via spherical rod end, as the loads generated would quickly destroy rubber or ploy bushings. These are the shocks commonly seen on (but not limited to) the Trophy, Pro & Class 7 & 8 trucks of SCORE.<br />
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'''3 Link Suspension''' - the "link" in 3 link refers to the number of mounting points on the rear axle. Used with torsion bar, 1/4 elliptic leaf springs & coilover shock arrangements, the 3 link uses 3 "control arms" to locate the axle & position it as it moves throughout it's range of travel. The standard configuration for a 3 Link is one arm (per side) mounted slightly below the axle, with a forward attachment point at the frame or custom built crossmember. Centered above the axle is a 3rd mounting point, using a triangular shaped arm (usually built of tubular steel), which attaches forward on the frame, or crossmember. 3 Link suspensions have been built & tested with up to 38 inches of "Vertical" wheel travel, and provide tremendous amounts of wheel articulation. Many prerunners, and even some race trucks use bushings for the mounting of the forward sections of the control arms, but the rear (axle) mounting points are often spherical rod ends. The spherical rod ends are a stronger assembly, and are less binding, offering a free and greater range of movement. <br />
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'''4 Link Suspension''' - a 4 Link is identical to the 3 Link except for using two upper control arms rather than one. these upper arms are mounted from a near center position (each aside the differential) and angled outward to the frame or custom built crossmember. Like the 3 Link, The 4 Link is capable of incredible vertical wheel travel, but articulation is slightly less.<br />
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'''A-Arm Suspension''' - usually found on the front of non Ford vehicles, the A-Arm suspension uses an upper & lower "A" shaped arm & a coil or torsion bar springing. A-Arms are a simple & popular suspension, and can achieve respectable (aprox 13 in.) wheel travel when used with stock length arms. On mini / mid size trucks, wheel travel is limited by the shorter arms & can be in the 9-11 in. range. Long travel A-Arm suspensions require longer / redesigned arms, and can involve relocation of the engine / K frame to achieve sufficient clearance. Further mods include spherical rod ends, modified ball joints, and redesigned spindles. Depending on the configuration, travel in the 28in.range is achievable, but at far greater cost than other suspension designs.<br />
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'''Twin "I"Beam''' - TIB / TTB suspensions consist of 3 main parts. The I beam (which mounts the spindle / brake assembly), the radius arm (which runs parallel to the frame, attaching at the I Beam in front, and a crossmember in the rear), and the coil spring, or coilover shock. This front suspension has been in use on Ford Trucks since the 60's, and has been transplanted to just about every other vehicle in existence. The reason for it's popularity is simple. There's an old desert saying that says "12 in. of Ford travel is worth 15 in. of anything else". Secondly, the cost of a 15 in. TIB or TTB system is well under $2000, making it the best value per in. on the market today. The Twin I Beam (and it's 4wd counterpart the TTB-Twin Traction Beam) is a far stronger design than the traditional A-Arm, and is ridiculously easy to extract usable travel from. A stock F-150 approaches 10 in. of travel, & with a few simple mods, 15 in. of wheel travel is there for the taking. Extreme examples measuring in at 32 in. are not unheard of, but 26-30 in. is common in race vehicles. Variations on the TIB can be found on such diverse vehicles as Glamis bound sand buggies, Polaris & Yamaha snowmobiles, and even the Toyota Land Cruiser that Ivan Stewart uses to prerun the courses of the SCORE / Laughlin desert series! <br />
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'''1/4 Elliptic Suspension''' - 1/4 elliptic suspensions use a 3 or 4 link configuration, and replace the coilover springs with leafs. An ellipse is a full circle. 1/4 elliptic rear takes it's name from the shape & configuration of the leaf springs, which, not coincidentally, resemble the arch of 1/4 of a circle. Mounting the leafs can take many forms, with a roller or spherical rod end, being the 2 most common types. In the rear, A pivoting "clamp" holds the springs in place, while a NASCAR style "Weight Jack" allows the builder / tuner to adjust ride height. <br />
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'''Torsion Bar Suspension''' - can take many forms. Commonly, torsion bars are used in conjunction with A-Arms in front suspension applications, due to their simple design, ease of maintenance, and light weight. TB suspensions are occasionally found in custom rear suspension applications, controlling a 3 or 4 Link set up. Torsion bars are often used to supplement coil or leaf suspensions, acting as a "secondary suspension".<br />
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'''Secondary Suspension''' - Used most often on race trucks & "top shelf" prerunners, secondary suspension systems allow for very light primary springing (to allow the truck to effortlessly absorb smaller bumps & obstacles), and only come into play in the final inches of wheel travel. The 2 most common forms of secondary suspension are Pneumatic (air / nitrogen) & Torsion bar. <br />
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'''Pneumatic Bump Stop''' - Used in place of, or in conjunction with a poly bump stop, pneumatic bump stops function similarly to an air shock. High pressure nitrogen allows the stop to be tuned to a specific degree of resistance, and some suspension set ups, can act as a form of secondary suspension (by providing a dramatic but controlled increase in effective spring rate during the last few inches of travel).<br />
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'''Spherical Rod End''' - AKA: "Hiem Joints". SRE's are a high strength solution to extreme angle woes. Available in sizes from 1/8 in. to well over 1 in. SRE's have found use at the ends of control / radius arms, tie rods, A-Arms, and many other parts throughout both prerunners & race trucks. Recently, aftermarket lift kit manufacturers have begun incorporating SRE's into the Jeep TJ / XJ / ZJ model lines, as well as the Dodge Ram.<br />
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'''Parker Pumper''' - While Parker Pumper is a brand name, it has come to be as interchangeable as "Xerox" in the off road community. The pumper is an air filtration system consisting of a chassis mounted blower that ducts filtered air to a specially modified helmet, allowing the wearer breathably clean and cool air in the dusty desert environment. <br />
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'''Suspension Seats''' - Produced by several manufacturers, suspension seats utilize an nylon/canvas "base" to cradle the foam padded seating area. This "base" is in turn attached to a tubular steel seat frame by an elastic cord, creating a seating surface that is "suspended". Major advantages to suspension seating include smoother ride, reduced potential for back (spinal compression) injury, and improved vehicle control.<br />
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== Low riders ==<br />
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When the lights go up at today's huge lowrider shows, hundreds of cars gleaming with triple-dipped chrome and gold plating, elaborate candy and metalflake paint jobs, rolling on custom-spoked wire rims featuring the finest spinners money can buy, fans throughout Aztlan (Chicano slang for the American Southwest) and all America, to Japan and Europe, gasp with appreciation and envy. As lowriding has taken the world by storm, it has also taken the mainstream automotive industry by surprise--no one seems to know where the world's number one auto trend came from. Some automotive enthusiasts like to write the sport off as the new cruiser on the block, eyeing hoppers and their high performance hydraulics somewhat suspiciously. <br />
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Other custom car historians dig a little deeper, tapping out a few lines about the late '70s, the television show Chico and the Man, and the first few issues of Low Rider Magazine evidence enough that lowriders have enjoyed at least a decade or two on the streets. But, lowriding's roots reach far deeper into history than that, the result of two very different traditions, California car culture and Mexican cultura coming together in Southern California. Lowriding has always had a distinct Mexican flavor, hotter than hot rods and lower than customs. <br />
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Throughout many Mexican-American neighborhoods, called barrios, from East Los Angeles to El Paso, Texas, cruisers have been dropping Chevrolets to a sidewalk-scraping stance since the late 1930s. It was part of the "zoot suit" fashion, a trend popular among teenagers from every culture. Mexican-American zooters, cool from slicked back hair to highly polished shoes, called themselves pachucos. They cruised beautifully restored, older Chevys, decked out in their oversized zoot suits for a night on the town. Often just the back of the Chevy was temporarily lowered, using sandbags hidden in the trunk beneath strategically placed planks of wood, or permanently dropped all around, the springs shortened by cutting the top few coils or heated until they collapsed to a proper cruising height. They cruised through the streets, honoring a custom that may have been practiced since the heyday of the Aztlan Empire. <br />
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The paseo, still honored today in many small Mexican towns, is a tradition where young, unmarried villagers walking around the village's central plaza, young women in one direction, men in the other, blushing and making eye contact. According to legend, the cruise is merely an automotive extension of this ancient tradition, practiced in Southern California long before it was ever a part of the United States. <br />
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After World War II, America's economy was booming. Southern California' the '30s its comparatively strong economy during the Great Depression had attracted immigrants from the dust bowls of the Central United States and Northern Mexico--was ready to roll. Prior to the war, most "customizers" were interested in speed, not looks, making inexpensive modifications under the hood while removing heavy, "useless" extras like the fenders and roof. Early custom and lowriding (although the word would not come into use until the 1960s) enthusiasts, however, in particular the pachucos, were more interested in looks, class and style. <br />
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It was all on a Depression-era budget, but the seeds were being sown for modern custom trends. After World War II, the hard-driving economy fueled a new generation of automotive enthusiasts, these early styles began branching out, racers, now called hot rods, joined by lakesters, street rods, roadsters, customs, cruisers and finally, lowriders, each new style owing a debt to the cars that came before it. <br />
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By the late 1950s and early '60s, what we would now consider lowriders were finally hitting Whittier Boulevard in great numbers. Such fine rides wouldn't appear overnight, however. California car culture and Mexican-American cultura would both develop and grow, each enriching the larger American culture with every passing decade. <br />
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Pachucismo: Lowriding's Well-Dressed Roots California, along with Arizona, New Mexico and Texas, as well as parts of Colorado, Nevada and Wyoming, were part of Mexico until the 1830s, when Mexico ceded the huge territory to the U.S. Many Mexican-American and Spanish families remained on their ancestral lands, continuing to speak Spanish and retain a distinctly Mexican cultura. Later, from about 1910 to the mid '20s, a wave of new Mexican immigrants--approximately 10-percent of the Mexican population--fled the bloody Mexican Revolution and settled in many major urban centers of the Southwest, in particular, El Paso, Texas, and East Los Angeles. They came, like so many others to this nation of immigrants, seeking stability, peace, and a better life for their children. It was difficult, as it was for refugees from Eastern Europe or Ireland, but many managed to carve out a decent life for themselves in the land of opportunity. <br />
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Professor Ruben Mendoza points out that one of their means of surviving in the U.S. might be the basis of modern day car clubs. "After the Revolution, Mexicans were brought over to the United States to work in the mines, railroads and farms; many of these new workers were exploited, and without any type of job security or insurance, an illness or other calamity could destroy their lives. Many of these immigrants formed 'mutual aid societies,' or social clubs, where they would meet and socialize on a regular basis. The purpose of the group, however, was survival. <br />
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They would all contribute money, and if any of them got sick or in trouble, that could be used to help the ailing member out. That same type of organization. Within a single generation, the English-speaking children of these first immigrants were feeling more a part of American life. Part of the American dream of the '30s and '40s was owning a car, and when the family finally saved enough for that ride, it became almost a member of the family. Most of the cars cruising the barrios were second hand, and Chevrolets, less expensive and easier to repair, as well as more stylish compared to practical Fords, became the cars of choice. <br />
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The desire to be different was no less apparent in Mexican-American communities than anywhere else in the country, and they, too, customized their cars to look unique. Rather than the fast looking "California rake," these young pachucos would drop the back of the car for a sleek, mean look that turned everyone's head. "They were family cars, but we used to fix them up," remembers former pachuco and United Farm Workers co-founder Cesar Chavez. "We fixed up several. The one that we had for the longest period of time was a '40 Chevy. In those days you went the opposite [of the hot rodders]--low in the back. We lowered the rear springs, had fender skirts, two side pipes. It was mostly cosmetic stuff in those days. You had to have two spotlights and two antennas, and a big red stop light in the back. <br />
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Hubcaps, oh, they used to steal hubcaps. The ones that we had, had just one bar across, and big wide whitewalls. When we got out of the car, we had a screwdriver to take off the hubcaps and lock them in the trunk. When we got back we would put them back on." There were plenty of modifications for specific Chevys becoming popular in the barrios. The "alligator hood" looked great on models with hoods hinged down the center, like the '39 Chevy. Originally, the hood would open up like wings, but this was converted to open from the front, like an alligator's mouth. <br />
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For pachucos still customizing Fords, the bumper soon became a problem. Original Ford bumpers had a dip in the center that scraped the ground after the coils were cut or, by those with tougher bottoms, removed. The owner would either flip the bumper, remove it entirely, or switch it. "The most popular to switch was the '37 DeSoto bumper with the five narrow ribs that matched the grille and chrome horn covers on the front fenders," reminisces lowrider historian David Holland. "The '37 DeSoto was a stupid looking car, but it sure had bad bumpers. Also, the '41 Ford bumpers were popular." still exists today in disenfranchised communities, as neighborhood groups, gangs and car clubs." <br />
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Lowrider style has changed a great deal over the past 50 years--although you still have to take extra care of a car sporting a nice set of rims--but, as Cesar Chavez pointed out, Chicano cruisers have always customized their cars very differently from the speedier sets. "Lowriders do happen to alter a car in a way that makes it almost the precise opposite of a style long favored by Anglo car customizers," noted Calvin Trillin in the New Yorker. "The California rake, which has a jacked up rear instead of a lowered one, outlandishly wide tires instead of tires that seem much too small for the car, and a souped up motor instead of one that has been filely ignored." The "East L.A. rake" was part of a new style that was developing. <br />
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These cars not only looked clean, but they were also a way of showing defiance against the mainstream culture. The young pachucos cruising these beauties on Whittier Boulevard, the main strip in East Los Angeles, or on Boulevards throughout the Southwest, had also developed their own style of clothing and hair, which was stirring things up a bit. The zoot suit craze had been spreading across the country throughout the late '30s, popularized by movie stars like Clark Gable. Blacks in Harlem, New York, popularized the look, an enormously oversized jacket over baggy pants with pegged legs. Young Mexican-Americans called them drapes, and often dropped the fancy fedora altogether. There was some concern on the part of the mainstream about the refusal of these young people to assimilate. <br />
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Older, more conservative Mexican-Americans also worried about their children's new look. "I started wearing zoot suits when it became and issue," Cesar Chavez explained. "The Chicano community was divided about the dress. Some people just wouldn't wear them, because they thought everybody who did was no good. The girls also wore their trapos, even though people would say, 'you're no good.' You see, the people that wore them eran los mas pobres, guys like us who were migrant farm workers." <br />
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Patricia Alcala, who allowed the PBS documentary Low and Slow cover her daughter's lowrider quincianera, had a similar experience. "Back in the '40s, we couldn't wear tight skirts, dangly earrings, or speak Spanish. If you did, you were labeled 'bad.' " But, like so many young cruisers of their generation, Chavez and Alcala continued to wear the pachuco fashion and speak Spanish, at least when their teachers weren't around. The car, the clothes and the language were all badges of pride for a generation caught between cultures, struggling to find their own identity. <br />
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What frightened many Southern Californians, however, was not just the pachucos' rough and ready reputation. It was their ability to move through traditionally Anglo areas with ease. "Being strangers to an urban environment, the first generation tended to respect the boundaries of the Mexican communities," writes historian Carey McWilliams of the pachucos' first lows. "But, the second generation was lured far beyond these boundaries into the downtown shopping districts, to the beaches and, above all, to the glamour of Hollywood. It was this generation of Mexicans, the pachuco generation, that first came to the general notice and attention of the Anglo-American population." <br />
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The attention that the pachucos got, with their cars, clothes and street slang, called calo, was notorious. "We went to the movies--we were just waiting outside--and the guy wouldn't let us in with a pass," said Cesar Chavez. "The cops came and then stood us against a wall and searched us. They ripped our pants--can you imagine? In those days the one that I had was a sharkskin suit and it cost me $45, a lot of money in those days--we're talking about 1942 or '43." Cesar wasn't the only one. "I was just hanging out [on the corner of 5th Avenue and Glendale Avenue] with my homeboys in a zoot suit, when a city of Glendale placa [police car] drove up and called me over," Noni Maldonado told "El Danny" in an article for Barrio Breakthrough Magazine. "Our zoot suits, to us, were firme trajes, to go to dances and hang out with the pleve. We weren't into gangs or pachuco fighting. We just automatically got stereotyped because of our clothes and our hair style, but that was us!"<br />
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== Drift cars ==<br />
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'''What Is Drifting?'''<br />
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Basically, drifting is getting your car sideways down a road. It doesn't sound very hard does it? Sounds a lot like power sliding huh? Well it isn't. It's much more complex. Instead of a drifter causing a drift and then countering to straighten out, he will instead over-counter so his car goes into another drift. That is the reason many drifters do it in the mountains, because there are many sharp turns strung together. So in essence a good drifter has the ability to take five or six opposing turns without having traction at any point in time.<br />
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'''How is it done?'''<br />
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There are two ways to start a drift. The first is the clutching technique. When approaching a turn the driver will push in the clutch and shift his car into second gear. Then rev the engine up to around 4000-5000 rpm and then slightly turn away from the turn and then cut back towards it hard while at the same time popping the clutch and causing the rear wheels to spin. At this point the drifter has a loss of traction and is beginning to slide around the curve. Now comes the hard part. You have to hold the drift until the next turn. To do this you must keep your foot on the accelerator while at the same time adjusting your car with the steering wheel so you don't spin out. It's not as easy as it sounds. Then as the drifter reaches the end of the turn and approaches the next turn which is in the opposite direction he must cut the wheel in that direction and in some cases, if the previous drift was to slow and they start to regain traction, they must pop the clutch again to get the wheels spinning. And that is how you drift a rear wheel drive car.<br />
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The second technique is used by a few drifters in rear wheel drives, but is the only way you can really drift a front wheel drive. You have to use the side brake. A front wheel drive can not whip its tail out because the tires are being driven in the front as opposed to the rear. So when approaching a turn you pull the side brake to cause traction loss. And the rest is pretty much the same except that it's much harder to take more than one turn with a front wheel drive.<br />
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'''What Cars Do They Use?'''<br />
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There are seven cars most commonly used for drifting. The first is the AE86 Levin / Trueno because of it's rear wheel drive lay-out and the fact that it's relatively inexpensive it is probably the most common drifting car. The second and third are the Silvia S13 and S14, which come in two different models: the turbocharged K's and the non-turbo Q's. Because of their high horse power and free-revving engines they are excellent drifting cars. The third is the 180SX, related mechanically to the Silvia, the only difference is in the body style and the fact that is lighter and has a better front/rear balance ratio. The fifth is the FC3S RX-7. The Cefiro is another excellent drifting car. It has a powerful RB20DET engine and good handling characteristics. The last is the Laurel which is also powered by the RB20DET. Another good drifting car is the Skyline GTS-T which you don't see very often. It has a rear wheel drive layout and boasts a 260hp engine.<br />
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== Street Racing ==<br />
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== Online Resources ==</div>Zerilloshttps://wikicars.org/index.php?title=Custom_auto&diff=17188Custom auto2006-09-21T07:10:13Z<p>Zerillos: /* Race cars */</p>
<hr />
<div>== Hot Rod History ==<br />
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A lot has been written about the origins of the hot rod and the development of the culture that gave rise to them and then grew up around them. This is my own personal take on the subject, and I'm sure others with more detailed knowledge (including the many who were there) might well disagree with my thoughts. With that caveat, I place the defining origin point for hot rods and hot rod culture as the end of World War II. A number of factors came together at one time -- the period between the end of the war in 1945 and the begining of the 1950s -- and mainly in one place -- southern California -- to create a unique environment in which the hot rod and its culture were born.<br />
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At the end of the war, a legion of young men returned to America with a wad of demobilization cash in their pockets and a sense of freedom and excitement bred by their experiences in the war. With a period of peace and the steadily increasing prosperity of the country as a backdrop, these young men had a "can-do" attitude and a desire to express themselves in ways that their time in the military had stifled. And, all of a sudden, there were a lot of inexpensive used cars available. For five years Detroit had basically been in the business of supplying the military. Now all that production capacity was turned to creating a stream of new cars to satisfy the pent-up demand of a civilian population that had scrimped and saved throughout the Great Depression of the 1930s and the sacrifices of the war years. Men who'd stayed behind to work in America's offices and factories had a lot of savings and they were ready to ditch their aging cars from the 1920s and 1930s for gleaming new models offered by the Big Three (and the others who are now gone, like Wilys and Kaiser). Their trade-ins became the starting point of the hot rodders, and came to define the way they were built and how they looked.These factors dictated the core aesthetic of the classic American hot rod. It was the later Model Ts and the plentiful early-30s Fords and Chevys that became the raw material for the young men who created hot rodding and hot rod culture. Here's a picture of a '32 Ford Roadster, a contemporary car, but one built on the style of those first hot rods. The basic performance and engineering elements of the hotrod came together in these cars: More power, less weight and a look derived from these things leading to chopped tops, channeled bodies, pinched frames, dropped axles and, eventually wide tires. <br />
And why southern California? Again, a lot has been written about the question of why southern California became the seed-bed for so much cultural change in the second half of the twentieth century. Part of it was Hollywood, part simply that the western part of the country had reached a critical mass of prosperity and population sufficient to establish itself as a new center of culture distinct from the old center in the northeast. But a few factors made southern California the right place for the birth of hot rodding. One was the climate: with year-round perfect temperature and little rainfall, young men of little means could work outside on cars that had few creature comforts themselves. More important, Los Angeles was the first city truly shaped from its beginnings by the automobile: There were more roads, and new ones there. Finally, and perhaps most importantly, was "the lakes," the dry lake beds just east of L.A. that became a magnet for the chopped and stripped-down speed machines. Here the hot rodders found miles and miles of hard, glass-flat surface upon which to run their machines.<br />
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GOLDEN AGE <br />
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The 1950s were the Golden Age of hot rodding and, for a while, there was only hot rodding -- not the different strains of car-craziness that it gave birth to. In the beginning, there was no distinction among the cars that kids played with as a form of street-running self-expression, the drag racing car, the customized work of art; there was just the hot rod, the amateur automobile artform. But the seeds of hot-rodding's progeny were growing during that time.<br />
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The "lakes" were breeding a number of different kinds of cars aimed at faster and faster top speeds at the expense of driveability and, eventually even roadability. The famous "drop tank roadsters" exemplified these early forefathers of the machines that would some day exceed the speed of sound on the ground, built from war surplus military aircraft fuel tanks.<br />
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Meanwhile, the true "drag strip" was born. The National Hot Rod Association was formed in 1951 to impose some safety standards on "those speed-crazed kids" and the NHRA, now the governing body for drag racing in the the U.S., held its first sanctioned event in southern California in 1953.<br />
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Finally, the pure aesthetics of hot-rodding began to be expressed in the metalwork of exterior modifications to later, post-war cars. This gave rise to the "kustom" culture of cars that were increasingly works of pure visual art. Later, this gave rise to the show car world of the mid-1960s to the mid-1970s (detailed below.) <br />
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But for a time, it was all one thing -- just young people exploring a new form of American individuality through the ultimate American experience, the road.<br />
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HOT ROD CULTURE <br />
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During the 1950s and into the early 1960s, the southern California scene connected with hot rods gave birth to a whole host of related cultural phenomena. The stars of custom car building, like Ed Roth and George Barris, became celebrities in the hot rod scene and some, like Roth and Von Dutch became visual artists in a weird and adolescent genre that had a life of its own apart from the cars. More than half the middle-aged men (in 2003, when I'm writing this) in America probably had some kind of Rat Fink image in their room when they were a kid. Many may not have realized the connection to the greasy hot rodders of a decade before. For a look at where this visual art is today take a look at this gallery (warning, it's not for the faint of heart).Then there was the music. At first, hot-rodding was associated with rockabilly, the first form of true rock and roll. But, just as hot rod culture became a defninable space in the general lanscape of American life, a different connection developed. Here it's not possible to separate the connection with a broader southern California scene, known by the often-inapplicable term "surf music." Most folks probably think of the Beach Boys and titles like "Little Deuce Coupe" and "409," but there were many other musicians who were mining the hot rod experience for subject matter. Jan and Dean come to mind, and the Ventures (with their album covers adorned with "wild" T-buckets), and the incredible Dick Dale, whose music to me is the sound of hot rodding.<br />
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Hot rod culture sat at an intersection between the hipsters of the late 40s and 50s (think of Dean Moriarty's relationship with cars in Kerouac's On the Road, and "Big Daddy" Ed Roth's goatee), the lower-class aspirations of kids from the wrong side of the tracks in a country with rising economic expectations (think of the menace of Dennis Hopper's "Goon" in Rebel Without a Cause) and the general development of a "counterculture" of individuality and free expression. For a time, the hot rod became a central symbol of youth and creativity in America, and was as cool as anything around. But by the mid-1960s, the wave of the counterculture had moved on and, although many of the "show car" artists of the time incorporated things like peace symbols and images of long-haired guys in patched bell-bottoms in their work, the days when hot rod culture was part of the "crest of the wave" were over.<br />
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== Show Cars ==<br />
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By the early 1960s the various different lines of hot rod culture were well defined, had separated and then begun to interact in new ways. the two most important elements of this for me were the "show rod" phenomenon and muscle cars. The "Kings of Kustom" had been working for a while now, and their ideas were seeping out to a larger audience, while at the same time the milieu of the classic hot rod kids was mutating rapidly. Southern California, the memetic engine of mid-century America, had moved on, and "teen rebellion" was morphing into the full-blown and politicized counterculture. Greasers and hipsters gave way to hippies and yippies. A great portrait of this time can be found in Tom Wolfe's very first bit of journalism, The Kandy-Kolored Tangerine-Flake Streamline Baby, his 1965 portrait of the "kustom kar show" world.<br />
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The work of Tom Daniels exemplifies the era of the show rod perhaps better than any other. Daniels had a huge influence on the hot rod aesthetic of my generation through his work for the plastic model kit maker Monogram (later acquired by Revell). I recently discovered Tom Daniels' website, and the flood of memories unleashed by the images there was amazing. I'd insert some here, but Daniels has a blood-curdling warning about his ownership of the work there, so I'll suggest you go by his website, especially the page devoted to the box art for the kits he designed. Off the top of my head, I can well remember building the "Red Baron", the "T'rantula" (probably the two most influential on my own personal hotrod aesthetic), the "Pie Wagon," "Beer Wagon," "Garbage Truck," "Paddy Wagon" and "Sand Crab." Interestingly, note that all of these kits were issued in 1968 or 1969, when I was 11 and 12 years old. I think these designs came along at a time when my automotive aesthetic was being forged for a lifetime. To see many of Tom Daniels' kits built by great modelers (along with others mainly from that era of "outrageous show rods"), visit Show Rod Rally. Presumably Daniels' prohibition on use of images doesn't run to photos of the kits themselves, so here are the first two mentioned.<br />
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Interestingly, most of these cars never existed except as model kits; few were ever built as real, driveable automobiles. I suppose this highlights as much as anything else the fact that the hot rod's power is as much that of image and idea, rather than as transportation.<br />
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Here's a very good brief description of the show car phenomenon of the 1960s and early 1970s:The 1960s saw the pinnacle of one of America's most unusual native art forms. Flowing streamlined designs, radiant colors, and amazing craftsmanship blended together to develop a new concept - - Show Cars.<br />
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Show cars evolved from the custom car, which was basically a modified version of an existing vehicle. Early pioneers of auto customizing in the 1950's began changing and improving their wheels for speed, originality, and a cool look. During these times, cars were "chopped, tubbed, raked, and hopped-up." These basic customizing techniques continued to become more elaborate until custom cars were being designed from scratch or by heavily converting existing vehicles into unbelievable designs. True show cars were distinguished by being one-of-a-kind originals, built from the ground up. It seems a paradox that their engines were extremely powerful, yet they rarely touched the road. In other words, these cars were meant to be looked at, not driven. The men who created them were true artists, and their creations were true art. Show cars belong to the genre of sculpture, and for those of us who couldn't afford the originals, there were always the model kits.<br />
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Probably the most famous custom car designers are George Barris and Ed Roth. Barris was one of the pioneer customizes and has personalized automobiles for many celebrities. An avid model and toy collector himself, Barris started making hobby kits of his cars with Revell in 1957, the first being a 1956 Buick. He is better known for his special cars however, and when AMT made a model kit of his 1960 Ala Kart, a whole line of kits designed after Barris' award-winning custom cars began.<br />
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Ed "Big Daddy" Roth, reached cult status on auto show circuits and teen modeler circles with his outrageous cars and Rat Fink character. (More can be found on Roth in the Freaks, Geeks, and Oddballs chapter.)<br />
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In 1967, Monogram and car designer Tom Daniel started a partnership that would produce 60 kits and last nearly a decade. Daniel had previously worked for George Barris where he helped design the Munster Koach and Dragula. One of Daniel's designs, the Red Baron, proved to be so popular that Monogram released it in a larger 1/12 scale.<br />
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Other heavy contenders on the show car circuit included Daryl Starbird, Carl Casper, and Bill Cushenberry. By the end of the 1970's though, the show car craze declined in popularity. Even though many wild rods are still being produced today, they sure don't make 'em like they used to!<br />
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== Muscle Cars ==<br />
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A muscle car is a high-performance automobile. The term principally refers to American models produced between 1964 and 1971.<br />
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The term muscle car generally describes a mid-size car with a large, powerful engine (typically, although not universally, a V8 engine) and special trim, intended for maximum acceleration on the street or in drag racing competition. It is distinguished from sports cars, which were customarily and coincidentally considered smaller, two-seat cars, or GTs, two-seat or 2+2 cars intended for high-speed touring and possibly road racing. High-performance full-size or compact cars are arguably excluded from this category, as are the breed of compact sports coupes inspired by the Ford Mustang and typically known as pony cars, although few would dispute a big-block pony car's credentials as a muscle car.<br />
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An alternate definition is based on power-to-weight ratio, defining a muscle car as an automobile with (for example) fewer than 12 pounds per rated hp. Such definitions are inexact, thanks to a wide variation in curb weight depending on options and to the questionable nature of the SAE gross hp ratings in use before 1972, which were often deliberately overstated or underrated for various reasons.<br />
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Another alternate definition involves a car's original design intents. Muscle cars are factory produced automobiles that have a larger engine than was originally planned for in the design and production phase of the original car. Examples of this trend can be found throughout American, Japanese, and European cars of all designs. This includes many cars that typically are not labeled as muscle cars, such as the B13 (1991-1994) Nissan Sentra SE-R, and excludes other cars typically labeled as muscle cars, such as the Dodge Viper.<br />
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Although auto makers such as Chrysler had occasionally experimented with placing a high performance V-8 in a lighter mid-size platform, and full-size cars such as the Ford Galaxie and Chevrolet Impala offered high-performance models, Pontiac is usually credited for starting the muscle car trend with its 1964 Pontiac GTO, based on the rather more pedestrian Pontiac Tempest. For 1964 and 1965, the GTO was an option package that included Pontiac's 389 in³ (6.5 L) V8 engine, floor-shifted transmission with Hurst shift linkage, and special trim. In 1966, the Pontiac GTO was no longer an option, and became its own model. The project, spearheaded by Pontiac division president John De Lorean, was technically a violation of General Motors policy limiting its smaller cars to 330 in³ (5.4 L) displacement, but it proved far more popular than expected, and inspired a host of imitations, both at GM and its competitors.<br />
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It marked a general trend towards factory performance, which reflected the importance of the youth market. A key appeal of the muscle cars was that they offered the burgeoning American car culture an array of relatively affordable vehicles with strong street performance that could also be used for racing. The affordability aspect was quickly compromised by increases in size, optional equipment, and plushness, forcing the addition of more and more powerful engines just to keep pace with performance. A backlash against this cost and weight growth led in 1967 and 1968 to a secondary trend of "budget muscle" in the form of the Plymouth Road Runner, Dodge Super Bee, and other stripped, lower-cost variants.<br />
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Although the sales of true muscle cars were relatively modest by total Detroit standards, they had considerable value in publicity and bragging rights, serving to bring young buyers into showrooms. The fierce competition led to an escalation in power that peaked in 1970, with some models offering as much as 450 hp (and others likely producing as much actual power, whatever their rating).<br />
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Another related type of car is the car-based pickup. Examples of these are the Ford Ranchero, GMC Sprint, GMC Caballero, and one of the most famous examples, the Chevrolet El Camino.<br />
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== Pre-runners ==<br />
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Some of the terminology associated with prerunners & desert race vehicles is pretty far removed from the mainstream of off-roading. While this is not a complete listing of all the terms associated with these vehicles, we hope it will further your understanding of them, and of the sport of off-road racing in general.<br />
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'''Vertical Wheel Travel''' - Amount of wheel travel measured from the center of the axle at full droop to the center of the axle at full compression <br />
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'''Lever Ratio''' - Shocks & springs can be mounted in several locations, and at various angles. If a shock were to be mounted vertically atop the axle, it would be said to have a 1 to 1 lever ratio - i.e. 1 in. of vertical shock travel = 1 in. of vertical wheel travel. If the shock is mounted at a 45 deg. angle, it will move 1/2 in for every inch of wheel travel. As such, it would be said to have a 1.5 to 1 lever ratio. <br />
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'''Velocity Sensitive Shocks''' - Many prerunners & race vehicles use velocity sensitive shocks. Their monotube design is lightweight, affordable, and provides a significant "bang for the buck". VS shocks are rebuildable, & use a series of stacked flexible washers to determine their valving characteristics. Adjustments are made by disassembling the shock, and changing the stack of washers to a stiffer, or lighter configuration. VS shocks use up to 200psi of nitrogen gas to combat foaming at high temperatures & shaft speed. further cooling capacity often comes from remote reservoirs, though they are optional on most models. It is common to se several VS shocks mounted together, and valved lightly, reducing the workload per shock. <>Coilover Shocks - These shocks serve as a mounting point for a coil spring. Unlike "overload" shocks found in auto supply houses, "Coilovers" are extremely high performance units, used in 3 & 4 link suspension applications. The coil springs are removable from the shocks for replacement & tuning, and the shock is fully rebuildable / adjustable for compression & rebound dampening. Coilover shocks are mounted to the chassis via spherical rod ends, rather than bushings to minimize unwanted deflection, and provide maximum streingth to the load bearing assembly. Coilover Shocks most always come with a remote reservior to aid in fluid cooling.<br />
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'''Remote Reservoir''' - Found on 9 out of 10 race shocks, Remote reserviors provide the shock with increased fluid & gas capacity, allowing for increased cooling, less "shock fade", and longer maintenance intervals. These aluminum & steel canisters contain a piston which separates the hydraulic fluid from high pressure nitrogen gas. They are attached to the shock absorber by a custom length of braided steel hose, or high pressure hydraulic line, and can be attached anywhere on the vehicle.<br />
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'''Bypass Shock''' - Bypass shocks are the pinnacle of shock technology. The goal of a bypass shock is to provide light valving in the initial movement of the wheel (to keep the wheels in contact with the ground over smaller bumps), progressively stiffer valving throughout the midrange of travel, and finially very stiff valving at the uppermost reaches of a shocks stroke to resist bottoming. Using a series (usually 2-4) of "bypass tubes" welded to the shock body, valving becomes externally adjustable via metered "jets". The bypass tubes provide precise oil flow through the shock, minimizing cavatation due to heat or unequal pressure, and together with the metered "jets", make for near infinite compression / rebound dampening possibilities. The latest developments in bypass shock technology have led to the development of "internal bypass" shocks. While the general principle of bypass remains the same, internal bypass shocks locate the bypass tubes inside the shock body, making them suitable for use in a coilover configuration. The sheer size of bypass shocks is impressive, but they aren't built that way for their looks. Rather than ounces, the fluid capacity of Bypass shocks is better measured in quarts, translating directly into a cooler running, nearly fade-proof assembly. Shaft sizes begin in the 7/8 in. range. Bypass shocks are always mounted via spherical rod end, as the loads generated would quickly destroy rubber or ploy bushings. These are the shocks commonly seen on (but not limited to) the Trophy, Pro & Class 7 & 8 trucks of SCORE.<br />
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'''3 Link Suspension''' - the "link" in 3 link refers to the number of mounting points on the rear axle. Used with torsion bar, 1/4 elliptic leaf springs & coilover shock arrangements, the 3 link uses 3 "control arms" to locate the axle & position it as it moves throughout it's range of travel. The standard configuration for a 3 Link is one arm (per side) mounted slightly below the axle, with a forward attachment point at the frame or custom built crossmember. Centered above the axle is a 3rd mounting point, using a triangular shaped arm (usually built of tubular steel), which attaches forward on the frame, or crossmember. 3 Link suspensions have been built & tested with up to 38 inches of "Vertical" wheel travel, and provide tremendous amounts of wheel articulation. Many prerunners, and even some race trucks use bushings for the mounting of the forward sections of the control arms, but the rear (axle) mounting points are often spherical rod ends. The spherical rod ends are a stronger assembly, and are less binding, offering a free and greater range of movement. <br />
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'''4 Link Suspension''' - a 4 Link is identical to the 3 Link except for using two upper control arms rather than one. these upper arms are mounted from a near center position (each aside the differential) and angled outward to the frame or custom built crossmember. Like the 3 Link, The 4 Link is capable of incredible vertical wheel travel, but articulation is slightly less.<br />
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'''A-Arm Suspension''' - usually found on the front of non Ford vehicles, the A-Arm suspension uses an upper & lower "A" shaped arm & a coil or torsion bar springing. A-Arms are a simple & popular suspension, and can achieve respectable (aprox 13 in.) wheel travel when used with stock length arms. On mini / mid size trucks, wheel travel is limited by the shorter arms & can be in the 9-11 in. range. Long travel A-Arm suspensions require longer / redesigned arms, and can involve relocation of the engine / K frame to achieve sufficient clearance. Further mods include spherical rod ends, modified ball joints, and redesigned spindles. Depending on the configuration, travel in the 28in.range is achievable, but at far greater cost than other suspension designs.<br />
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'''Twin "I"Beam''' - TIB / TTB suspensions consist of 3 main parts. The I beam (which mounts the spindle / brake assembly), the radius arm (which runs parallel to the frame, attaching at the I Beam in front, and a crossmember in the rear), and the coil spring, or coilover shock. This front suspension has been in use on Ford Trucks since the 60's, and has been transplanted to just about every other vehicle in existence. The reason for it's popularity is simple. There's an old desert saying that says "12 in. of Ford travel is worth 15 in. of anything else". Secondly, the cost of a 15 in. TIB or TTB system is well under $2000, making it the best value per in. on the market today. The Twin I Beam (and it's 4wd counterpart the TTB-Twin Traction Beam) is a far stronger design than the traditional A-Arm, and is ridiculously easy to extract usable travel from. A stock F-150 approaches 10 in. of travel, & with a few simple mods, 15 in. of wheel travel is there for the taking. Extreme examples measuring in at 32 in. are not unheard of, but 26-30 in. is common in race vehicles. Variations on the TIB can be found on such diverse vehicles as Glamis bound sand buggies, Polaris & Yamaha snowmobiles, and even the Toyota Land Cruiser that Ivan Stewart uses to prerun the courses of the SCORE / Laughlin desert series! <br />
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'''1/4 Elliptic Suspension''' - 1/4 elliptic suspensions use a 3 or 4 link configuration, and replace the coilover springs with leafs. An ellipse is a full circle. 1/4 elliptic rear takes it's name from the shape & configuration of the leaf springs, which, not coincidentally, resemble the arch of 1/4 of a circle. Mounting the leafs can take many forms, with a roller or spherical rod end, being the 2 most common types. In the rear, A pivoting "clamp" holds the springs in place, while a NASCAR style "Weight Jack" allows the builder / tuner to adjust ride height. <br />
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'''Torsion Bar Suspension''' - can take many forms. Commonly, torsion bars are used in conjunction with A-Arms in front suspension applications, due to their simple design, ease of maintenance, and light weight. TB suspensions are occasionally found in custom rear suspension applications, controlling a 3 or 4 Link set up. Torsion bars are often used to supplement coil or leaf suspensions, acting as a "secondary suspension".<br />
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'''Secondary Suspension''' - Used most often on race trucks & "top shelf" prerunners, secondary suspension systems allow for very light primary springing (to allow the truck to effortlessly absorb smaller bumps & obstacles), and only come into play in the final inches of wheel travel. The 2 most common forms of secondary suspension are Pneumatic (air / nitrogen) & Torsion bar. <br />
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'''Pneumatic Bump Stop''' - Used in place of, or in conjunction with a poly bump stop, pneumatic bump stops function similarly to an air shock. High pressure nitrogen allows the stop to be tuned to a specific degree of resistance, and some suspension set ups, can act as a form of secondary suspension (by providing a dramatic but controlled increase in effective spring rate during the last few inches of travel).<br />
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'''Spherical Rod End''' - AKA: "Hiem Joints". SRE's are a high strength solution to extreme angle woes. Available in sizes from 1/8 in. to well over 1 in. SRE's have found use at the ends of control / radius arms, tie rods, A-Arms, and many other parts throughout both prerunners & race trucks. Recently, aftermarket lift kit manufacturers have begun incorporating SRE's into the Jeep TJ / XJ / ZJ model lines, as well as the Dodge Ram.<br />
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'''Parker Pumper''' - While Parker Pumper is a brand name, it has come to be as interchangeable as "Xerox" in the off road community. The pumper is an air filtration system consisting of a chassis mounted blower that ducts filtered air to a specially modified helmet, allowing the wearer breathably clean and cool air in the dusty desert environment. <br />
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'''Suspension Seats''' - Produced by several manufacturers, suspension seats utilize an nylon/canvas "base" to cradle the foam padded seating area. This "base" is in turn attached to a tubular steel seat frame by an elastic cord, creating a seating surface that is "suspended". Major advantages to suspension seating include smoother ride, reduced potential for back (spinal compression) injury, and improved vehicle control.<br />
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== Low riders ==<br />
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When the lights go up at today's huge lowrider shows, hundreds of cars gleaming with triple-dipped chrome and gold plating, elaborate candy and metalflake paint jobs, rolling on custom-spoked wire rims featuring the finest spinners money can buy, fans throughout Aztlan (Chicano slang for the American Southwest) and all America, to Japan and Europe, gasp with appreciation and envy. As lowriding has taken the world by storm, it has also taken the mainstream automotive industry by surprise--no one seems to know where the world's number one auto trend came from. Some automotive enthusiasts like to write the sport off as the new cruiser on the block, eyeing hoppers and their high performance hydraulics somewhat suspiciously. <br />
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Other custom car historians dig a little deeper, tapping out a few lines about the late '70s, the television show Chico and the Man, and the first few issues of Low Rider Magazine evidence enough that lowriders have enjoyed at least a decade or two on the streets. But, lowriding's roots reach far deeper into history than that, the result of two very different traditions, California car culture and Mexican cultura coming together in Southern California. Lowriding has always had a distinct Mexican flavor, hotter than hot rods and lower than customs. <br />
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Throughout many Mexican-American neighborhoods, called barrios, from East Los Angeles to El Paso, Texas, cruisers have been dropping Chevrolets to a sidewalk-scraping stance since the late 1930s. It was part of the "zoot suit" fashion, a trend popular among teenagers from every culture. Mexican-American zooters, cool from slicked back hair to highly polished shoes, called themselves pachucos. They cruised beautifully restored, older Chevys, decked out in their oversized zoot suits for a night on the town. Often just the back of the Chevy was temporarily lowered, using sandbags hidden in the trunk beneath strategically placed planks of wood, or permanently dropped all around, the springs shortened by cutting the top few coils or heated until they collapsed to a proper cruising height. They cruised through the streets, honoring a custom that may have been practiced since the heyday of the Aztlan Empire. <br />
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The paseo, still honored today in many small Mexican towns, is a tradition where young, unmarried villagers walking around the village's central plaza, young women in one direction, men in the other, blushing and making eye contact. According to legend, the cruise is merely an automotive extension of this ancient tradition, practiced in Southern California long before it was ever a part of the United States. <br />
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After World War II, America's economy was booming. Southern California' the '30s its comparatively strong economy during the Great Depression had attracted immigrants from the dust bowls of the Central United States and Northern Mexico--was ready to roll. Prior to the war, most "customizers" were interested in speed, not looks, making inexpensive modifications under the hood while removing heavy, "useless" extras like the fenders and roof. Early custom and lowriding (although the word would not come into use until the 1960s) enthusiasts, however, in particular the pachucos, were more interested in looks, class and style. <br />
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It was all on a Depression-era budget, but the seeds were being sown for modern custom trends. After World War II, the hard-driving economy fueled a new generation of automotive enthusiasts, these early styles began branching out, racers, now called hot rods, joined by lakesters, street rods, roadsters, customs, cruisers and finally, lowriders, each new style owing a debt to the cars that came before it. <br />
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By the late 1950s and early '60s, what we would now consider lowriders were finally hitting Whittier Boulevard in great numbers. Such fine rides wouldn't appear overnight, however. California car culture and Mexican-American cultura would both develop and grow, each enriching the larger American culture with every passing decade. <br />
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Pachucismo: Lowriding's Well-Dressed Roots California, along with Arizona, New Mexico and Texas, as well as parts of Colorado, Nevada and Wyoming, were part of Mexico until the 1830s, when Mexico ceded the huge territory to the U.S. Many Mexican-American and Spanish families remained on their ancestral lands, continuing to speak Spanish and retain a distinctly Mexican cultura. Later, from about 1910 to the mid '20s, a wave of new Mexican immigrants--approximately 10-percent of the Mexican population--fled the bloody Mexican Revolution and settled in many major urban centers of the Southwest, in particular, El Paso, Texas, and East Los Angeles. They came, like so many others to this nation of immigrants, seeking stability, peace, and a better life for their children. It was difficult, as it was for refugees from Eastern Europe or Ireland, but many managed to carve out a decent life for themselves in the land of opportunity. <br />
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Professor Ruben Mendoza points out that one of their means of surviving in the U.S. might be the basis of modern day car clubs. "After the Revolution, Mexicans were brought over to the United States to work in the mines, railroads and farms; many of these new workers were exploited, and without any type of job security or insurance, an illness or other calamity could destroy their lives. Many of these immigrants formed 'mutual aid societies,' or social clubs, where they would meet and socialize on a regular basis. The purpose of the group, however, was survival. <br />
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They would all contribute money, and if any of them got sick or in trouble, that could be used to help the ailing member out. That same type of organization. Within a single generation, the English-speaking children of these first immigrants were feeling more a part of American life. Part of the American dream of the '30s and '40s was owning a car, and when the family finally saved enough for that ride, it became almost a member of the family. Most of the cars cruising the barrios were second hand, and Chevrolets, less expensive and easier to repair, as well as more stylish compared to practical Fords, became the cars of choice. <br />
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The desire to be different was no less apparent in Mexican-American communities than anywhere else in the country, and they, too, customized their cars to look unique. Rather than the fast looking "California rake," these young pachucos would drop the back of the car for a sleek, mean look that turned everyone's head. "They were family cars, but we used to fix them up," remembers former pachuco and United Farm Workers co-founder Cesar Chavez. "We fixed up several. The one that we had for the longest period of time was a '40 Chevy. In those days you went the opposite [of the hot rodders]--low in the back. We lowered the rear springs, had fender skirts, two side pipes. It was mostly cosmetic stuff in those days. You had to have two spotlights and two antennas, and a big red stop light in the back. <br />
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Hubcaps, oh, they used to steal hubcaps. The ones that we had, had just one bar across, and big wide whitewalls. When we got out of the car, we had a screwdriver to take off the hubcaps and lock them in the trunk. When we got back we would put them back on." There were plenty of modifications for specific Chevys becoming popular in the barrios. The "alligator hood" looked great on models with hoods hinged down the center, like the '39 Chevy. Originally, the hood would open up like wings, but this was converted to open from the front, like an alligator's mouth. <br />
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For pachucos still customizing Fords, the bumper soon became a problem. Original Ford bumpers had a dip in the center that scraped the ground after the coils were cut or, by those with tougher bottoms, removed. The owner would either flip the bumper, remove it entirely, or switch it. "The most popular to switch was the '37 DeSoto bumper with the five narrow ribs that matched the grille and chrome horn covers on the front fenders," reminisces lowrider historian David Holland. "The '37 DeSoto was a stupid looking car, but it sure had bad bumpers. Also, the '41 Ford bumpers were popular." still exists today in disenfranchised communities, as neighborhood groups, gangs and car clubs." <br />
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Lowrider style has changed a great deal over the past 50 years--although you still have to take extra care of a car sporting a nice set of rims--but, as Cesar Chavez pointed out, Chicano cruisers have always customized their cars very differently from the speedier sets. "Lowriders do happen to alter a car in a way that makes it almost the precise opposite of a style long favored by Anglo car customizers," noted Calvin Trillin in the New Yorker. "The California rake, which has a jacked up rear instead of a lowered one, outlandishly wide tires instead of tires that seem much too small for the car, and a souped up motor instead of one that has been filely ignored." The "East L.A. rake" was part of a new style that was developing. <br />
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These cars not only looked clean, but they were also a way of showing defiance against the mainstream culture. The young pachucos cruising these beauties on Whittier Boulevard, the main strip in East Los Angeles, or on Boulevards throughout the Southwest, had also developed their own style of clothing and hair, which was stirring things up a bit. The zoot suit craze had been spreading across the country throughout the late '30s, popularized by movie stars like Clark Gable. Blacks in Harlem, New York, popularized the look, an enormously oversized jacket over baggy pants with pegged legs. Young Mexican-Americans called them drapes, and often dropped the fancy fedora altogether. There was some concern on the part of the mainstream about the refusal of these young people to assimilate. <br />
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Older, more conservative Mexican-Americans also worried about their children's new look. "I started wearing zoot suits when it became and issue," Cesar Chavez explained. "The Chicano community was divided about the dress. Some people just wouldn't wear them, because they thought everybody who did was no good. The girls also wore their trapos, even though people would say, 'you're no good.' You see, the people that wore them eran los mas pobres, guys like us who were migrant farm workers." <br />
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Patricia Alcala, who allowed the PBS documentary Low and Slow cover her daughter's lowrider quincianera, had a similar experience. "Back in the '40s, we couldn't wear tight skirts, dangly earrings, or speak Spanish. If you did, you were labeled 'bad.' " But, like so many young cruisers of their generation, Chavez and Alcala continued to wear the pachuco fashion and speak Spanish, at least when their teachers weren't around. The car, the clothes and the language were all badges of pride for a generation caught between cultures, struggling to find their own identity. <br />
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What frightened many Southern Californians, however, was not just the pachucos' rough and ready reputation. It was their ability to move through traditionally Anglo areas with ease. "Being strangers to an urban environment, the first generation tended to respect the boundaries of the Mexican communities," writes historian Carey McWilliams of the pachucos' first lows. "But, the second generation was lured far beyond these boundaries into the downtown shopping districts, to the beaches and, above all, to the glamour of Hollywood. It was this generation of Mexicans, the pachuco generation, that first came to the general notice and attention of the Anglo-American population." <br />
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The attention that the pachucos got, with their cars, clothes and street slang, called calo, was notorious. "We went to the movies--we were just waiting outside--and the guy wouldn't let us in with a pass," said Cesar Chavez. "The cops came and then stood us against a wall and searched us. They ripped our pants--can you imagine? In those days the one that I had was a sharkskin suit and it cost me $45, a lot of money in those days--we're talking about 1942 or '43." Cesar wasn't the only one. "I was just hanging out [on the corner of 5th Avenue and Glendale Avenue] with my homeboys in a zoot suit, when a city of Glendale placa [police car] drove up and called me over," Noni Maldonado told "El Danny" in an article for Barrio Breakthrough Magazine. "Our zoot suits, to us, were firme trajes, to go to dances and hang out with the pleve. We weren't into gangs or pachuco fighting. We just automatically got stereotyped because of our clothes and our hair style, but that was us!"<br />
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== Drift cars ==<br />
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== Street Racing ==<br />
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== Online Resources ==</div>Zerilloshttps://wikicars.org/index.php?title=Custom_auto&diff=17187Custom auto2006-09-21T07:08:44Z<p>Zerillos: /* Low riders */</p>
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<div>== Hot Rod History ==<br />
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A lot has been written about the origins of the hot rod and the development of the culture that gave rise to them and then grew up around them. This is my own personal take on the subject, and I'm sure others with more detailed knowledge (including the many who were there) might well disagree with my thoughts. With that caveat, I place the defining origin point for hot rods and hot rod culture as the end of World War II. A number of factors came together at one time -- the period between the end of the war in 1945 and the begining of the 1950s -- and mainly in one place -- southern California -- to create a unique environment in which the hot rod and its culture were born.<br />
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At the end of the war, a legion of young men returned to America with a wad of demobilization cash in their pockets and a sense of freedom and excitement bred by their experiences in the war. With a period of peace and the steadily increasing prosperity of the country as a backdrop, these young men had a "can-do" attitude and a desire to express themselves in ways that their time in the military had stifled. And, all of a sudden, there were a lot of inexpensive used cars available. For five years Detroit had basically been in the business of supplying the military. Now all that production capacity was turned to creating a stream of new cars to satisfy the pent-up demand of a civilian population that had scrimped and saved throughout the Great Depression of the 1930s and the sacrifices of the war years. Men who'd stayed behind to work in America's offices and factories had a lot of savings and they were ready to ditch their aging cars from the 1920s and 1930s for gleaming new models offered by the Big Three (and the others who are now gone, like Wilys and Kaiser). Their trade-ins became the starting point of the hot rodders, and came to define the way they were built and how they looked.These factors dictated the core aesthetic of the classic American hot rod. It was the later Model Ts and the plentiful early-30s Fords and Chevys that became the raw material for the young men who created hot rodding and hot rod culture. Here's a picture of a '32 Ford Roadster, a contemporary car, but one built on the style of those first hot rods. The basic performance and engineering elements of the hotrod came together in these cars: More power, less weight and a look derived from these things leading to chopped tops, channeled bodies, pinched frames, dropped axles and, eventually wide tires. <br />
And why southern California? Again, a lot has been written about the question of why southern California became the seed-bed for so much cultural change in the second half of the twentieth century. Part of it was Hollywood, part simply that the western part of the country had reached a critical mass of prosperity and population sufficient to establish itself as a new center of culture distinct from the old center in the northeast. But a few factors made southern California the right place for the birth of hot rodding. One was the climate: with year-round perfect temperature and little rainfall, young men of little means could work outside on cars that had few creature comforts themselves. More important, Los Angeles was the first city truly shaped from its beginnings by the automobile: There were more roads, and new ones there. Finally, and perhaps most importantly, was "the lakes," the dry lake beds just east of L.A. that became a magnet for the chopped and stripped-down speed machines. Here the hot rodders found miles and miles of hard, glass-flat surface upon which to run their machines.<br />
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GOLDEN AGE <br />
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The 1950s were the Golden Age of hot rodding and, for a while, there was only hot rodding -- not the different strains of car-craziness that it gave birth to. In the beginning, there was no distinction among the cars that kids played with as a form of street-running self-expression, the drag racing car, the customized work of art; there was just the hot rod, the amateur automobile artform. But the seeds of hot-rodding's progeny were growing during that time.<br />
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The "lakes" were breeding a number of different kinds of cars aimed at faster and faster top speeds at the expense of driveability and, eventually even roadability. The famous "drop tank roadsters" exemplified these early forefathers of the machines that would some day exceed the speed of sound on the ground, built from war surplus military aircraft fuel tanks.<br />
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Meanwhile, the true "drag strip" was born. The National Hot Rod Association was formed in 1951 to impose some safety standards on "those speed-crazed kids" and the NHRA, now the governing body for drag racing in the the U.S., held its first sanctioned event in southern California in 1953.<br />
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Finally, the pure aesthetics of hot-rodding began to be expressed in the metalwork of exterior modifications to later, post-war cars. This gave rise to the "kustom" culture of cars that were increasingly works of pure visual art. Later, this gave rise to the show car world of the mid-1960s to the mid-1970s (detailed below.) <br />
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But for a time, it was all one thing -- just young people exploring a new form of American individuality through the ultimate American experience, the road.<br />
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HOT ROD CULTURE <br />
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During the 1950s and into the early 1960s, the southern California scene connected with hot rods gave birth to a whole host of related cultural phenomena. The stars of custom car building, like Ed Roth and George Barris, became celebrities in the hot rod scene and some, like Roth and Von Dutch became visual artists in a weird and adolescent genre that had a life of its own apart from the cars. More than half the middle-aged men (in 2003, when I'm writing this) in America probably had some kind of Rat Fink image in their room when they were a kid. Many may not have realized the connection to the greasy hot rodders of a decade before. For a look at where this visual art is today take a look at this gallery (warning, it's not for the faint of heart).Then there was the music. At first, hot-rodding was associated with rockabilly, the first form of true rock and roll. But, just as hot rod culture became a defninable space in the general lanscape of American life, a different connection developed. Here it's not possible to separate the connection with a broader southern California scene, known by the often-inapplicable term "surf music." Most folks probably think of the Beach Boys and titles like "Little Deuce Coupe" and "409," but there were many other musicians who were mining the hot rod experience for subject matter. Jan and Dean come to mind, and the Ventures (with their album covers adorned with "wild" T-buckets), and the incredible Dick Dale, whose music to me is the sound of hot rodding.<br />
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Hot rod culture sat at an intersection between the hipsters of the late 40s and 50s (think of Dean Moriarty's relationship with cars in Kerouac's On the Road, and "Big Daddy" Ed Roth's goatee), the lower-class aspirations of kids from the wrong side of the tracks in a country with rising economic expectations (think of the menace of Dennis Hopper's "Goon" in Rebel Without a Cause) and the general development of a "counterculture" of individuality and free expression. For a time, the hot rod became a central symbol of youth and creativity in America, and was as cool as anything around. But by the mid-1960s, the wave of the counterculture had moved on and, although many of the "show car" artists of the time incorporated things like peace symbols and images of long-haired guys in patched bell-bottoms in their work, the days when hot rod culture was part of the "crest of the wave" were over.<br />
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== Show Cars ==<br />
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By the early 1960s the various different lines of hot rod culture were well defined, had separated and then begun to interact in new ways. the two most important elements of this for me were the "show rod" phenomenon and muscle cars. The "Kings of Kustom" had been working for a while now, and their ideas were seeping out to a larger audience, while at the same time the milieu of the classic hot rod kids was mutating rapidly. Southern California, the memetic engine of mid-century America, had moved on, and "teen rebellion" was morphing into the full-blown and politicized counterculture. Greasers and hipsters gave way to hippies and yippies. A great portrait of this time can be found in Tom Wolfe's very first bit of journalism, The Kandy-Kolored Tangerine-Flake Streamline Baby, his 1965 portrait of the "kustom kar show" world.<br />
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The work of Tom Daniels exemplifies the era of the show rod perhaps better than any other. Daniels had a huge influence on the hot rod aesthetic of my generation through his work for the plastic model kit maker Monogram (later acquired by Revell). I recently discovered Tom Daniels' website, and the flood of memories unleashed by the images there was amazing. I'd insert some here, but Daniels has a blood-curdling warning about his ownership of the work there, so I'll suggest you go by his website, especially the page devoted to the box art for the kits he designed. Off the top of my head, I can well remember building the "Red Baron", the "T'rantula" (probably the two most influential on my own personal hotrod aesthetic), the "Pie Wagon," "Beer Wagon," "Garbage Truck," "Paddy Wagon" and "Sand Crab." Interestingly, note that all of these kits were issued in 1968 or 1969, when I was 11 and 12 years old. I think these designs came along at a time when my automotive aesthetic was being forged for a lifetime. To see many of Tom Daniels' kits built by great modelers (along with others mainly from that era of "outrageous show rods"), visit Show Rod Rally. Presumably Daniels' prohibition on use of images doesn't run to photos of the kits themselves, so here are the first two mentioned.<br />
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Interestingly, most of these cars never existed except as model kits; few were ever built as real, driveable automobiles. I suppose this highlights as much as anything else the fact that the hot rod's power is as much that of image and idea, rather than as transportation.<br />
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Here's a very good brief description of the show car phenomenon of the 1960s and early 1970s:The 1960s saw the pinnacle of one of America's most unusual native art forms. Flowing streamlined designs, radiant colors, and amazing craftsmanship blended together to develop a new concept - - Show Cars.<br />
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Show cars evolved from the custom car, which was basically a modified version of an existing vehicle. Early pioneers of auto customizing in the 1950's began changing and improving their wheels for speed, originality, and a cool look. During these times, cars were "chopped, tubbed, raked, and hopped-up." These basic customizing techniques continued to become more elaborate until custom cars were being designed from scratch or by heavily converting existing vehicles into unbelievable designs. True show cars were distinguished by being one-of-a-kind originals, built from the ground up. It seems a paradox that their engines were extremely powerful, yet they rarely touched the road. In other words, these cars were meant to be looked at, not driven. The men who created them were true artists, and their creations were true art. Show cars belong to the genre of sculpture, and for those of us who couldn't afford the originals, there were always the model kits.<br />
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Probably the most famous custom car designers are George Barris and Ed Roth. Barris was one of the pioneer customizes and has personalized automobiles for many celebrities. An avid model and toy collector himself, Barris started making hobby kits of his cars with Revell in 1957, the first being a 1956 Buick. He is better known for his special cars however, and when AMT made a model kit of his 1960 Ala Kart, a whole line of kits designed after Barris' award-winning custom cars began.<br />
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Ed "Big Daddy" Roth, reached cult status on auto show circuits and teen modeler circles with his outrageous cars and Rat Fink character. (More can be found on Roth in the Freaks, Geeks, and Oddballs chapter.)<br />
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In 1967, Monogram and car designer Tom Daniel started a partnership that would produce 60 kits and last nearly a decade. Daniel had previously worked for George Barris where he helped design the Munster Koach and Dragula. One of Daniel's designs, the Red Baron, proved to be so popular that Monogram released it in a larger 1/12 scale.<br />
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Other heavy contenders on the show car circuit included Daryl Starbird, Carl Casper, and Bill Cushenberry. By the end of the 1970's though, the show car craze declined in popularity. Even though many wild rods are still being produced today, they sure don't make 'em like they used to!<br />
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== Muscle Cars ==<br />
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A muscle car is a high-performance automobile. The term principally refers to American models produced between 1964 and 1971.<br />
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The term muscle car generally describes a mid-size car with a large, powerful engine (typically, although not universally, a V8 engine) and special trim, intended for maximum acceleration on the street or in drag racing competition. It is distinguished from sports cars, which were customarily and coincidentally considered smaller, two-seat cars, or GTs, two-seat or 2+2 cars intended for high-speed touring and possibly road racing. High-performance full-size or compact cars are arguably excluded from this category, as are the breed of compact sports coupes inspired by the Ford Mustang and typically known as pony cars, although few would dispute a big-block pony car's credentials as a muscle car.<br />
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An alternate definition is based on power-to-weight ratio, defining a muscle car as an automobile with (for example) fewer than 12 pounds per rated hp. Such definitions are inexact, thanks to a wide variation in curb weight depending on options and to the questionable nature of the SAE gross hp ratings in use before 1972, which were often deliberately overstated or underrated for various reasons.<br />
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Another alternate definition involves a car's original design intents. Muscle cars are factory produced automobiles that have a larger engine than was originally planned for in the design and production phase of the original car. Examples of this trend can be found throughout American, Japanese, and European cars of all designs. This includes many cars that typically are not labeled as muscle cars, such as the B13 (1991-1994) Nissan Sentra SE-R, and excludes other cars typically labeled as muscle cars, such as the Dodge Viper.<br />
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Although auto makers such as Chrysler had occasionally experimented with placing a high performance V-8 in a lighter mid-size platform, and full-size cars such as the Ford Galaxie and Chevrolet Impala offered high-performance models, Pontiac is usually credited for starting the muscle car trend with its 1964 Pontiac GTO, based on the rather more pedestrian Pontiac Tempest. For 1964 and 1965, the GTO was an option package that included Pontiac's 389 in³ (6.5 L) V8 engine, floor-shifted transmission with Hurst shift linkage, and special trim. In 1966, the Pontiac GTO was no longer an option, and became its own model. The project, spearheaded by Pontiac division president John De Lorean, was technically a violation of General Motors policy limiting its smaller cars to 330 in³ (5.4 L) displacement, but it proved far more popular than expected, and inspired a host of imitations, both at GM and its competitors.<br />
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It marked a general trend towards factory performance, which reflected the importance of the youth market. A key appeal of the muscle cars was that they offered the burgeoning American car culture an array of relatively affordable vehicles with strong street performance that could also be used for racing. The affordability aspect was quickly compromised by increases in size, optional equipment, and plushness, forcing the addition of more and more powerful engines just to keep pace with performance. A backlash against this cost and weight growth led in 1967 and 1968 to a secondary trend of "budget muscle" in the form of the Plymouth Road Runner, Dodge Super Bee, and other stripped, lower-cost variants.<br />
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Although the sales of true muscle cars were relatively modest by total Detroit standards, they had considerable value in publicity and bragging rights, serving to bring young buyers into showrooms. The fierce competition led to an escalation in power that peaked in 1970, with some models offering as much as 450 hp (and others likely producing as much actual power, whatever their rating).<br />
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Another related type of car is the car-based pickup. Examples of these are the Ford Ranchero, GMC Sprint, GMC Caballero, and one of the most famous examples, the Chevrolet El Camino.<br />
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== Pre-runners ==<br />
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Some of the terminology associated with prerunners & desert race vehicles is pretty far removed from the mainstream of off-roading. While this is not a complete listing of all the terms associated with these vehicles, we hope it will further your understanding of them, and of the sport of off-road racing in general.<br />
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'''Vertical Wheel Travel''' - Amount of wheel travel measured from the center of the axle at full droop to the center of the axle at full compression <br />
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'''Lever Ratio''' - Shocks & springs can be mounted in several locations, and at various angles. If a shock were to be mounted vertically atop the axle, it would be said to have a 1 to 1 lever ratio - i.e. 1 in. of vertical shock travel = 1 in. of vertical wheel travel. If the shock is mounted at a 45 deg. angle, it will move 1/2 in for every inch of wheel travel. As such, it would be said to have a 1.5 to 1 lever ratio. <br />
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'''Velocity Sensitive Shocks''' - Many prerunners & race vehicles use velocity sensitive shocks. Their monotube design is lightweight, affordable, and provides a significant "bang for the buck". VS shocks are rebuildable, & use a series of stacked flexible washers to determine their valving characteristics. Adjustments are made by disassembling the shock, and changing the stack of washers to a stiffer, or lighter configuration. VS shocks use up to 200psi of nitrogen gas to combat foaming at high temperatures & shaft speed. further cooling capacity often comes from remote reservoirs, though they are optional on most models. It is common to se several VS shocks mounted together, and valved lightly, reducing the workload per shock. <>Coilover Shocks - These shocks serve as a mounting point for a coil spring. Unlike "overload" shocks found in auto supply houses, "Coilovers" are extremely high performance units, used in 3 & 4 link suspension applications. The coil springs are removable from the shocks for replacement & tuning, and the shock is fully rebuildable / adjustable for compression & rebound dampening. Coilover shocks are mounted to the chassis via spherical rod ends, rather than bushings to minimize unwanted deflection, and provide maximum streingth to the load bearing assembly. Coilover Shocks most always come with a remote reservior to aid in fluid cooling.<br />
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'''Remote Reservoir''' - Found on 9 out of 10 race shocks, Remote reserviors provide the shock with increased fluid & gas capacity, allowing for increased cooling, less "shock fade", and longer maintenance intervals. These aluminum & steel canisters contain a piston which separates the hydraulic fluid from high pressure nitrogen gas. They are attached to the shock absorber by a custom length of braided steel hose, or high pressure hydraulic line, and can be attached anywhere on the vehicle.<br />
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'''Bypass Shock''' - Bypass shocks are the pinnacle of shock technology. The goal of a bypass shock is to provide light valving in the initial movement of the wheel (to keep the wheels in contact with the ground over smaller bumps), progressively stiffer valving throughout the midrange of travel, and finially very stiff valving at the uppermost reaches of a shocks stroke to resist bottoming. Using a series (usually 2-4) of "bypass tubes" welded to the shock body, valving becomes externally adjustable via metered "jets". The bypass tubes provide precise oil flow through the shock, minimizing cavatation due to heat or unequal pressure, and together with the metered "jets", make for near infinite compression / rebound dampening possibilities. The latest developments in bypass shock technology have led to the development of "internal bypass" shocks. While the general principle of bypass remains the same, internal bypass shocks locate the bypass tubes inside the shock body, making them suitable for use in a coilover configuration. The sheer size of bypass shocks is impressive, but they aren't built that way for their looks. Rather than ounces, the fluid capacity of Bypass shocks is better measured in quarts, translating directly into a cooler running, nearly fade-proof assembly. Shaft sizes begin in the 7/8 in. range. Bypass shocks are always mounted via spherical rod end, as the loads generated would quickly destroy rubber or ploy bushings. These are the shocks commonly seen on (but not limited to) the Trophy, Pro & Class 7 & 8 trucks of SCORE.<br />
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'''3 Link Suspension''' - the "link" in 3 link refers to the number of mounting points on the rear axle. Used with torsion bar, 1/4 elliptic leaf springs & coilover shock arrangements, the 3 link uses 3 "control arms" to locate the axle & position it as it moves throughout it's range of travel. The standard configuration for a 3 Link is one arm (per side) mounted slightly below the axle, with a forward attachment point at the frame or custom built crossmember. Centered above the axle is a 3rd mounting point, using a triangular shaped arm (usually built of tubular steel), which attaches forward on the frame, or crossmember. 3 Link suspensions have been built & tested with up to 38 inches of "Vertical" wheel travel, and provide tremendous amounts of wheel articulation. Many prerunners, and even some race trucks use bushings for the mounting of the forward sections of the control arms, but the rear (axle) mounting points are often spherical rod ends. The spherical rod ends are a stronger assembly, and are less binding, offering a free and greater range of movement. <br />
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'''4 Link Suspension''' - a 4 Link is identical to the 3 Link except for using two upper control arms rather than one. these upper arms are mounted from a near center position (each aside the differential) and angled outward to the frame or custom built crossmember. Like the 3 Link, The 4 Link is capable of incredible vertical wheel travel, but articulation is slightly less.<br />
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'''A-Arm Suspension''' - usually found on the front of non Ford vehicles, the A-Arm suspension uses an upper & lower "A" shaped arm & a coil or torsion bar springing. A-Arms are a simple & popular suspension, and can achieve respectable (aprox 13 in.) wheel travel when used with stock length arms. On mini / mid size trucks, wheel travel is limited by the shorter arms & can be in the 9-11 in. range. Long travel A-Arm suspensions require longer / redesigned arms, and can involve relocation of the engine / K frame to achieve sufficient clearance. Further mods include spherical rod ends, modified ball joints, and redesigned spindles. Depending on the configuration, travel in the 28in.range is achievable, but at far greater cost than other suspension designs.<br />
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'''Twin "I"Beam''' - TIB / TTB suspensions consist of 3 main parts. The I beam (which mounts the spindle / brake assembly), the radius arm (which runs parallel to the frame, attaching at the I Beam in front, and a crossmember in the rear), and the coil spring, or coilover shock. This front suspension has been in use on Ford Trucks since the 60's, and has been transplanted to just about every other vehicle in existence. The reason for it's popularity is simple. There's an old desert saying that says "12 in. of Ford travel is worth 15 in. of anything else". Secondly, the cost of a 15 in. TIB or TTB system is well under $2000, making it the best value per in. on the market today. The Twin I Beam (and it's 4wd counterpart the TTB-Twin Traction Beam) is a far stronger design than the traditional A-Arm, and is ridiculously easy to extract usable travel from. A stock F-150 approaches 10 in. of travel, & with a few simple mods, 15 in. of wheel travel is there for the taking. Extreme examples measuring in at 32 in. are not unheard of, but 26-30 in. is common in race vehicles. Variations on the TIB can be found on such diverse vehicles as Glamis bound sand buggies, Polaris & Yamaha snowmobiles, and even the Toyota Land Cruiser that Ivan Stewart uses to prerun the courses of the SCORE / Laughlin desert series! <br />
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'''1/4 Elliptic Suspension''' - 1/4 elliptic suspensions use a 3 or 4 link configuration, and replace the coilover springs with leafs. An ellipse is a full circle. 1/4 elliptic rear takes it's name from the shape & configuration of the leaf springs, which, not coincidentally, resemble the arch of 1/4 of a circle. Mounting the leafs can take many forms, with a roller or spherical rod end, being the 2 most common types. In the rear, A pivoting "clamp" holds the springs in place, while a NASCAR style "Weight Jack" allows the builder / tuner to adjust ride height. <br />
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'''Torsion Bar Suspension''' - can take many forms. Commonly, torsion bars are used in conjunction with A-Arms in front suspension applications, due to their simple design, ease of maintenance, and light weight. TB suspensions are occasionally found in custom rear suspension applications, controlling a 3 or 4 Link set up. Torsion bars are often used to supplement coil or leaf suspensions, acting as a "secondary suspension".<br />
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'''Secondary Suspension''' - Used most often on race trucks & "top shelf" prerunners, secondary suspension systems allow for very light primary springing (to allow the truck to effortlessly absorb smaller bumps & obstacles), and only come into play in the final inches of wheel travel. The 2 most common forms of secondary suspension are Pneumatic (air / nitrogen) & Torsion bar. <br />
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'''Pneumatic Bump Stop''' - Used in place of, or in conjunction with a poly bump stop, pneumatic bump stops function similarly to an air shock. High pressure nitrogen allows the stop to be tuned to a specific degree of resistance, and some suspension set ups, can act as a form of secondary suspension (by providing a dramatic but controlled increase in effective spring rate during the last few inches of travel).<br />
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'''Spherical Rod End''' - AKA: "Hiem Joints". SRE's are a high strength solution to extreme angle woes. Available in sizes from 1/8 in. to well over 1 in. SRE's have found use at the ends of control / radius arms, tie rods, A-Arms, and many other parts throughout both prerunners & race trucks. Recently, aftermarket lift kit manufacturers have begun incorporating SRE's into the Jeep TJ / XJ / ZJ model lines, as well as the Dodge Ram.<br />
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'''Parker Pumper''' - While Parker Pumper is a brand name, it has come to be as interchangeable as "Xerox" in the off road community. The pumper is an air filtration system consisting of a chassis mounted blower that ducts filtered air to a specially modified helmet, allowing the wearer breathably clean and cool air in the dusty desert environment. <br />
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'''Suspension Seats''' - Produced by several manufacturers, suspension seats utilize an nylon/canvas "base" to cradle the foam padded seating area. This "base" is in turn attached to a tubular steel seat frame by an elastic cord, creating a seating surface that is "suspended". Major advantages to suspension seating include smoother ride, reduced potential for back (spinal compression) injury, and improved vehicle control.<br />
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== Low riders ==<br />
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When the lights go up at today's huge lowrider shows, hundreds of cars gleaming with triple-dipped chrome and gold plating, elaborate candy and metalflake paint jobs, rolling on custom-spoked wire rims featuring the finest spinners money can buy, fans throughout Aztlan (Chicano slang for the American Southwest) and all America, to Japan and Europe, gasp with appreciation and envy. As lowriding has taken the world by storm, it has also taken the mainstream automotive industry by surprise--no one seems to know where the world's number one auto trend came from. Some automotive enthusiasts like to write the sport off as the new cruiser on the block, eyeing hoppers and their high performance hydraulics somewhat suspiciously. <br />
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Other custom car historians dig a little deeper, tapping out a few lines about the late '70s, the television show Chico and the Man, and the first few issues of Low Rider Magazine evidence enough that lowriders have enjoyed at least a decade or two on the streets. But, lowriding's roots reach far deeper into history than that, the result of two very different traditions, California car culture and Mexican cultura coming together in Southern California. Lowriding has always had a distinct Mexican flavor, hotter than hot rods and lower than customs. <br />
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Throughout many Mexican-American neighborhoods, called barrios, from East Los Angeles to El Paso, Texas, cruisers have been dropping Chevrolets to a sidewalk-scraping stance since the late 1930s. It was part of the "zoot suit" fashion, a trend popular among teenagers from every culture. Mexican-American zooters, cool from slicked back hair to highly polished shoes, called themselves pachucos. They cruised beautifully restored, older Chevys, decked out in their oversized zoot suits for a night on the town. Often just the back of the Chevy was temporarily lowered, using sandbags hidden in the trunk beneath strategically placed planks of wood, or permanently dropped all around, the springs shortened by cutting the top few coils or heated until they collapsed to a proper cruising height. They cruised through the streets, honoring a custom that may have been practiced since the heyday of the Aztlan Empire. <br />
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The paseo, still honored today in many small Mexican towns, is a tradition where young, unmarried villagers walking around the village's central plaza, young women in one direction, men in the other, blushing and making eye contact. According to legend, the cruise is merely an automotive extension of this ancient tradition, practiced in Southern California long before it was ever a part of the United States. <br />
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After World War II, America's economy was booming. Southern California' the '30s its comparatively strong economy during the Great Depression had attracted immigrants from the dust bowls of the Central United States and Northern Mexico--was ready to roll. Prior to the war, most "customizers" were interested in speed, not looks, making inexpensive modifications under the hood while removing heavy, "useless" extras like the fenders and roof. Early custom and lowriding (although the word would not come into use until the 1960s) enthusiasts, however, in particular the pachucos, were more interested in looks, class and style. <br />
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It was all on a Depression-era budget, but the seeds were being sown for modern custom trends. After World War II, the hard-driving economy fueled a new generation of automotive enthusiasts, these early styles began branching out, racers, now called hot rods, joined by lakesters, street rods, roadsters, customs, cruisers and finally, lowriders, each new style owing a debt to the cars that came before it. <br />
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By the late 1950s and early '60s, what we would now consider lowriders were finally hitting Whittier Boulevard in great numbers. Such fine rides wouldn't appear overnight, however. California car culture and Mexican-American cultura would both develop and grow, each enriching the larger American culture with every passing decade. <br />
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Pachucismo: Lowriding's Well-Dressed Roots California, along with Arizona, New Mexico and Texas, as well as parts of Colorado, Nevada and Wyoming, were part of Mexico until the 1830s, when Mexico ceded the huge territory to the U.S. Many Mexican-American and Spanish families remained on their ancestral lands, continuing to speak Spanish and retain a distinctly Mexican cultura. Later, from about 1910 to the mid '20s, a wave of new Mexican immigrants--approximately 10-percent of the Mexican population--fled the bloody Mexican Revolution and settled in many major urban centers of the Southwest, in particular, El Paso, Texas, and East Los Angeles. They came, like so many others to this nation of immigrants, seeking stability, peace, and a better life for their children. It was difficult, as it was for refugees from Eastern Europe or Ireland, but many managed to carve out a decent life for themselves in the land of opportunity. <br />
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Professor Ruben Mendoza points out that one of their means of surviving in the U.S. might be the basis of modern day car clubs. "After the Revolution, Mexicans were brought over to the United States to work in the mines, railroads and farms; many of these new workers were exploited, and without any type of job security or insurance, an illness or other calamity could destroy their lives. Many of these immigrants formed 'mutual aid societies,' or social clubs, where they would meet and socialize on a regular basis. The purpose of the group, however, was survival. <br />
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They would all contribute money, and if any of them got sick or in trouble, that could be used to help the ailing member out. That same type of organization. Within a single generation, the English-speaking children of these first immigrants were feeling more a part of American life. Part of the American dream of the '30s and '40s was owning a car, and when the family finally saved enough for that ride, it became almost a member of the family. Most of the cars cruising the barrios were second hand, and Chevrolets, less expensive and easier to repair, as well as more stylish compared to practical Fords, became the cars of choice. <br />
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The desire to be different was no less apparent in Mexican-American communities than anywhere else in the country, and they, too, customized their cars to look unique. Rather than the fast looking "California rake," these young pachucos would drop the back of the car for a sleek, mean look that turned everyone's head. "They were family cars, but we used to fix them up," remembers former pachuco and United Farm Workers co-founder Cesar Chavez. "We fixed up several. The one that we had for the longest period of time was a '40 Chevy. In those days you went the opposite [of the hot rodders]--low in the back. We lowered the rear springs, had fender skirts, two side pipes. It was mostly cosmetic stuff in those days. You had to have two spotlights and two antennas, and a big red stop light in the back. <br />
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Hubcaps, oh, they used to steal hubcaps. The ones that we had, had just one bar across, and big wide whitewalls. When we got out of the car, we had a screwdriver to take off the hubcaps and lock them in the trunk. When we got back we would put them back on." There were plenty of modifications for specific Chevys becoming popular in the barrios. The "alligator hood" looked great on models with hoods hinged down the center, like the '39 Chevy. Originally, the hood would open up like wings, but this was converted to open from the front, like an alligator's mouth. <br />
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For pachucos still customizing Fords, the bumper soon became a problem. Original Ford bumpers had a dip in the center that scraped the ground after the coils were cut or, by those with tougher bottoms, removed. The owner would either flip the bumper, remove it entirely, or switch it. "The most popular to switch was the '37 DeSoto bumper with the five narrow ribs that matched the grille and chrome horn covers on the front fenders," reminisces lowrider historian David Holland. "The '37 DeSoto was a stupid looking car, but it sure had bad bumpers. Also, the '41 Ford bumpers were popular." still exists today in disenfranchised communities, as neighborhood groups, gangs and car clubs." <br />
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Lowrider style has changed a great deal over the past 50 years--although you still have to take extra care of a car sporting a nice set of rims--but, as Cesar Chavez pointed out, Chicano cruisers have always customized their cars very differently from the speedier sets. "Lowriders do happen to alter a car in a way that makes it almost the precise opposite of a style long favored by Anglo car customizers," noted Calvin Trillin in the New Yorker. "The California rake, which has a jacked up rear instead of a lowered one, outlandishly wide tires instead of tires that seem much too small for the car, and a souped up motor instead of one that has been filely ignored." The "East L.A. rake" was part of a new style that was developing. <br />
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These cars not only looked clean, but they were also a way of showing defiance against the mainstream culture. The young pachucos cruising these beauties on Whittier Boulevard, the main strip in East Los Angeles, or on Boulevards throughout the Southwest, had also developed their own style of clothing and hair, which was stirring things up a bit. The zoot suit craze had been spreading across the country throughout the late '30s, popularized by movie stars like Clark Gable. Blacks in Harlem, New York, popularized the look, an enormously oversized jacket over baggy pants with pegged legs. Young Mexican-Americans called them drapes, and often dropped the fancy fedora altogether. There was some concern on the part of the mainstream about the refusal of these young people to assimilate. <br />
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Older, more conservative Mexican-Americans also worried about their children's new look. "I started wearing zoot suits when it became and issue," Cesar Chavez explained. "The Chicano community was divided about the dress. Some people just wouldn't wear them, because they thought everybody who did was no good. The girls also wore their trapos, even though people would say, 'you're no good.' You see, the people that wore them eran los mas pobres, guys like us who were migrant farm workers." <br />
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Patricia Alcala, who allowed the PBS documentary Low and Slow cover her daughter's lowrider quincianera, had a similar experience. "Back in the '40s, we couldn't wear tight skirts, dangly earrings, or speak Spanish. If you did, you were labeled 'bad.' " But, like so many young cruisers of their generation, Chavez and Alcala continued to wear the pachuco fashion and speak Spanish, at least when their teachers weren't around. The car, the clothes and the language were all badges of pride for a generation caught between cultures, struggling to find their own identity. <br />
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What frightened many Southern Californians, however, was not just the pachucos' rough and ready reputation. It was their ability to move through traditionally Anglo areas with ease. "Being strangers to an urban environment, the first generation tended to respect the boundaries of the Mexican communities," writes historian Carey McWilliams of the pachucos' first lows. "But, the second generation was lured far beyond these boundaries into the downtown shopping districts, to the beaches and, above all, to the glamour of Hollywood. It was this generation of Mexicans, the pachuco generation, that first came to the general notice and attention of the Anglo-American population." <br />
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The attention that the pachucos got, with their cars, clothes and street slang, called calo, was notorious. "We went to the movies--we were just waiting outside--and the guy wouldn't let us in with a pass," said Cesar Chavez. "The cops came and then stood us against a wall and searched us. They ripped our pants--can you imagine? In those days the one that I had was a sharkskin suit and it cost me $45, a lot of money in those days--we're talking about 1942 or '43." Cesar wasn't the only one. "I was just hanging out [on the corner of 5th Avenue and Glendale Avenue] with my homeboys in a zoot suit, when a city of Glendale placa [police car] drove up and called me over," Noni Maldonado told "El Danny" in an article for Barrio Breakthrough Magazine. "Our zoot suits, to us, were firme trajes, to go to dances and hang out with the pleve. We weren't into gangs or pachuco fighting. We just automatically got stereotyped because of our clothes and our hair style, but that was us!"<br />
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== Drift cars ==<br />
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== Race cars ==<br />
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== Street Racing ==<br />
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== Online Resources ==</div>Zerilloshttps://wikicars.org/index.php?title=Custom_auto&diff=17186Custom auto2006-09-21T07:05:08Z<p>Zerillos: /* Pre-runners */</p>
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<div>== Hot Rod History ==<br />
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A lot has been written about the origins of the hot rod and the development of the culture that gave rise to them and then grew up around them. This is my own personal take on the subject, and I'm sure others with more detailed knowledge (including the many who were there) might well disagree with my thoughts. With that caveat, I place the defining origin point for hot rods and hot rod culture as the end of World War II. A number of factors came together at one time -- the period between the end of the war in 1945 and the begining of the 1950s -- and mainly in one place -- southern California -- to create a unique environment in which the hot rod and its culture were born.<br />
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At the end of the war, a legion of young men returned to America with a wad of demobilization cash in their pockets and a sense of freedom and excitement bred by their experiences in the war. With a period of peace and the steadily increasing prosperity of the country as a backdrop, these young men had a "can-do" attitude and a desire to express themselves in ways that their time in the military had stifled. And, all of a sudden, there were a lot of inexpensive used cars available. For five years Detroit had basically been in the business of supplying the military. Now all that production capacity was turned to creating a stream of new cars to satisfy the pent-up demand of a civilian population that had scrimped and saved throughout the Great Depression of the 1930s and the sacrifices of the war years. Men who'd stayed behind to work in America's offices and factories had a lot of savings and they were ready to ditch their aging cars from the 1920s and 1930s for gleaming new models offered by the Big Three (and the others who are now gone, like Wilys and Kaiser). Their trade-ins became the starting point of the hot rodders, and came to define the way they were built and how they looked.These factors dictated the core aesthetic of the classic American hot rod. It was the later Model Ts and the plentiful early-30s Fords and Chevys that became the raw material for the young men who created hot rodding and hot rod culture. Here's a picture of a '32 Ford Roadster, a contemporary car, but one built on the style of those first hot rods. The basic performance and engineering elements of the hotrod came together in these cars: More power, less weight and a look derived from these things leading to chopped tops, channeled bodies, pinched frames, dropped axles and, eventually wide tires. <br />
And why southern California? Again, a lot has been written about the question of why southern California became the seed-bed for so much cultural change in the second half of the twentieth century. Part of it was Hollywood, part simply that the western part of the country had reached a critical mass of prosperity and population sufficient to establish itself as a new center of culture distinct from the old center in the northeast. But a few factors made southern California the right place for the birth of hot rodding. One was the climate: with year-round perfect temperature and little rainfall, young men of little means could work outside on cars that had few creature comforts themselves. More important, Los Angeles was the first city truly shaped from its beginnings by the automobile: There were more roads, and new ones there. Finally, and perhaps most importantly, was "the lakes," the dry lake beds just east of L.A. that became a magnet for the chopped and stripped-down speed machines. Here the hot rodders found miles and miles of hard, glass-flat surface upon which to run their machines.<br />
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GOLDEN AGE <br />
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The 1950s were the Golden Age of hot rodding and, for a while, there was only hot rodding -- not the different strains of car-craziness that it gave birth to. In the beginning, there was no distinction among the cars that kids played with as a form of street-running self-expression, the drag racing car, the customized work of art; there was just the hot rod, the amateur automobile artform. But the seeds of hot-rodding's progeny were growing during that time.<br />
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The "lakes" were breeding a number of different kinds of cars aimed at faster and faster top speeds at the expense of driveability and, eventually even roadability. The famous "drop tank roadsters" exemplified these early forefathers of the machines that would some day exceed the speed of sound on the ground, built from war surplus military aircraft fuel tanks.<br />
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Meanwhile, the true "drag strip" was born. The National Hot Rod Association was formed in 1951 to impose some safety standards on "those speed-crazed kids" and the NHRA, now the governing body for drag racing in the the U.S., held its first sanctioned event in southern California in 1953.<br />
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Finally, the pure aesthetics of hot-rodding began to be expressed in the metalwork of exterior modifications to later, post-war cars. This gave rise to the "kustom" culture of cars that were increasingly works of pure visual art. Later, this gave rise to the show car world of the mid-1960s to the mid-1970s (detailed below.) <br />
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But for a time, it was all one thing -- just young people exploring a new form of American individuality through the ultimate American experience, the road.<br />
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HOT ROD CULTURE <br />
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During the 1950s and into the early 1960s, the southern California scene connected with hot rods gave birth to a whole host of related cultural phenomena. The stars of custom car building, like Ed Roth and George Barris, became celebrities in the hot rod scene and some, like Roth and Von Dutch became visual artists in a weird and adolescent genre that had a life of its own apart from the cars. More than half the middle-aged men (in 2003, when I'm writing this) in America probably had some kind of Rat Fink image in their room when they were a kid. Many may not have realized the connection to the greasy hot rodders of a decade before. For a look at where this visual art is today take a look at this gallery (warning, it's not for the faint of heart).Then there was the music. At first, hot-rodding was associated with rockabilly, the first form of true rock and roll. But, just as hot rod culture became a defninable space in the general lanscape of American life, a different connection developed. Here it's not possible to separate the connection with a broader southern California scene, known by the often-inapplicable term "surf music." Most folks probably think of the Beach Boys and titles like "Little Deuce Coupe" and "409," but there were many other musicians who were mining the hot rod experience for subject matter. Jan and Dean come to mind, and the Ventures (with their album covers adorned with "wild" T-buckets), and the incredible Dick Dale, whose music to me is the sound of hot rodding.<br />
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Hot rod culture sat at an intersection between the hipsters of the late 40s and 50s (think of Dean Moriarty's relationship with cars in Kerouac's On the Road, and "Big Daddy" Ed Roth's goatee), the lower-class aspirations of kids from the wrong side of the tracks in a country with rising economic expectations (think of the menace of Dennis Hopper's "Goon" in Rebel Without a Cause) and the general development of a "counterculture" of individuality and free expression. For a time, the hot rod became a central symbol of youth and creativity in America, and was as cool as anything around. But by the mid-1960s, the wave of the counterculture had moved on and, although many of the "show car" artists of the time incorporated things like peace symbols and images of long-haired guys in patched bell-bottoms in their work, the days when hot rod culture was part of the "crest of the wave" were over.<br />
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== Show Cars ==<br />
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By the early 1960s the various different lines of hot rod culture were well defined, had separated and then begun to interact in new ways. the two most important elements of this for me were the "show rod" phenomenon and muscle cars. The "Kings of Kustom" had been working for a while now, and their ideas were seeping out to a larger audience, while at the same time the milieu of the classic hot rod kids was mutating rapidly. Southern California, the memetic engine of mid-century America, had moved on, and "teen rebellion" was morphing into the full-blown and politicized counterculture. Greasers and hipsters gave way to hippies and yippies. A great portrait of this time can be found in Tom Wolfe's very first bit of journalism, The Kandy-Kolored Tangerine-Flake Streamline Baby, his 1965 portrait of the "kustom kar show" world.<br />
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The work of Tom Daniels exemplifies the era of the show rod perhaps better than any other. Daniels had a huge influence on the hot rod aesthetic of my generation through his work for the plastic model kit maker Monogram (later acquired by Revell). I recently discovered Tom Daniels' website, and the flood of memories unleashed by the images there was amazing. I'd insert some here, but Daniels has a blood-curdling warning about his ownership of the work there, so I'll suggest you go by his website, especially the page devoted to the box art for the kits he designed. Off the top of my head, I can well remember building the "Red Baron", the "T'rantula" (probably the two most influential on my own personal hotrod aesthetic), the "Pie Wagon," "Beer Wagon," "Garbage Truck," "Paddy Wagon" and "Sand Crab." Interestingly, note that all of these kits were issued in 1968 or 1969, when I was 11 and 12 years old. I think these designs came along at a time when my automotive aesthetic was being forged for a lifetime. To see many of Tom Daniels' kits built by great modelers (along with others mainly from that era of "outrageous show rods"), visit Show Rod Rally. Presumably Daniels' prohibition on use of images doesn't run to photos of the kits themselves, so here are the first two mentioned.<br />
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Interestingly, most of these cars never existed except as model kits; few were ever built as real, driveable automobiles. I suppose this highlights as much as anything else the fact that the hot rod's power is as much that of image and idea, rather than as transportation.<br />
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Here's a very good brief description of the show car phenomenon of the 1960s and early 1970s:The 1960s saw the pinnacle of one of America's most unusual native art forms. Flowing streamlined designs, radiant colors, and amazing craftsmanship blended together to develop a new concept - - Show Cars.<br />
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Show cars evolved from the custom car, which was basically a modified version of an existing vehicle. Early pioneers of auto customizing in the 1950's began changing and improving their wheels for speed, originality, and a cool look. During these times, cars were "chopped, tubbed, raked, and hopped-up." These basic customizing techniques continued to become more elaborate until custom cars were being designed from scratch or by heavily converting existing vehicles into unbelievable designs. True show cars were distinguished by being one-of-a-kind originals, built from the ground up. It seems a paradox that their engines were extremely powerful, yet they rarely touched the road. In other words, these cars were meant to be looked at, not driven. The men who created them were true artists, and their creations were true art. Show cars belong to the genre of sculpture, and for those of us who couldn't afford the originals, there were always the model kits.<br />
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Probably the most famous custom car designers are George Barris and Ed Roth. Barris was one of the pioneer customizes and has personalized automobiles for many celebrities. An avid model and toy collector himself, Barris started making hobby kits of his cars with Revell in 1957, the first being a 1956 Buick. He is better known for his special cars however, and when AMT made a model kit of his 1960 Ala Kart, a whole line of kits designed after Barris' award-winning custom cars began.<br />
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Ed "Big Daddy" Roth, reached cult status on auto show circuits and teen modeler circles with his outrageous cars and Rat Fink character. (More can be found on Roth in the Freaks, Geeks, and Oddballs chapter.)<br />
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In 1967, Monogram and car designer Tom Daniel started a partnership that would produce 60 kits and last nearly a decade. Daniel had previously worked for George Barris where he helped design the Munster Koach and Dragula. One of Daniel's designs, the Red Baron, proved to be so popular that Monogram released it in a larger 1/12 scale.<br />
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Other heavy contenders on the show car circuit included Daryl Starbird, Carl Casper, and Bill Cushenberry. By the end of the 1970's though, the show car craze declined in popularity. Even though many wild rods are still being produced today, they sure don't make 'em like they used to!<br />
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== Muscle Cars ==<br />
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A muscle car is a high-performance automobile. The term principally refers to American models produced between 1964 and 1971.<br />
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The term muscle car generally describes a mid-size car with a large, powerful engine (typically, although not universally, a V8 engine) and special trim, intended for maximum acceleration on the street or in drag racing competition. It is distinguished from sports cars, which were customarily and coincidentally considered smaller, two-seat cars, or GTs, two-seat or 2+2 cars intended for high-speed touring and possibly road racing. High-performance full-size or compact cars are arguably excluded from this category, as are the breed of compact sports coupes inspired by the Ford Mustang and typically known as pony cars, although few would dispute a big-block pony car's credentials as a muscle car.<br />
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An alternate definition is based on power-to-weight ratio, defining a muscle car as an automobile with (for example) fewer than 12 pounds per rated hp. Such definitions are inexact, thanks to a wide variation in curb weight depending on options and to the questionable nature of the SAE gross hp ratings in use before 1972, which were often deliberately overstated or underrated for various reasons.<br />
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Another alternate definition involves a car's original design intents. Muscle cars are factory produced automobiles that have a larger engine than was originally planned for in the design and production phase of the original car. Examples of this trend can be found throughout American, Japanese, and European cars of all designs. This includes many cars that typically are not labeled as muscle cars, such as the B13 (1991-1994) Nissan Sentra SE-R, and excludes other cars typically labeled as muscle cars, such as the Dodge Viper.<br />
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Although auto makers such as Chrysler had occasionally experimented with placing a high performance V-8 in a lighter mid-size platform, and full-size cars such as the Ford Galaxie and Chevrolet Impala offered high-performance models, Pontiac is usually credited for starting the muscle car trend with its 1964 Pontiac GTO, based on the rather more pedestrian Pontiac Tempest. For 1964 and 1965, the GTO was an option package that included Pontiac's 389 in³ (6.5 L) V8 engine, floor-shifted transmission with Hurst shift linkage, and special trim. In 1966, the Pontiac GTO was no longer an option, and became its own model. The project, spearheaded by Pontiac division president John De Lorean, was technically a violation of General Motors policy limiting its smaller cars to 330 in³ (5.4 L) displacement, but it proved far more popular than expected, and inspired a host of imitations, both at GM and its competitors.<br />
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It marked a general trend towards factory performance, which reflected the importance of the youth market. A key appeal of the muscle cars was that they offered the burgeoning American car culture an array of relatively affordable vehicles with strong street performance that could also be used for racing. The affordability aspect was quickly compromised by increases in size, optional equipment, and plushness, forcing the addition of more and more powerful engines just to keep pace with performance. A backlash against this cost and weight growth led in 1967 and 1968 to a secondary trend of "budget muscle" in the form of the Plymouth Road Runner, Dodge Super Bee, and other stripped, lower-cost variants.<br />
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Although the sales of true muscle cars were relatively modest by total Detroit standards, they had considerable value in publicity and bragging rights, serving to bring young buyers into showrooms. The fierce competition led to an escalation in power that peaked in 1970, with some models offering as much as 450 hp (and others likely producing as much actual power, whatever their rating).<br />
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Another related type of car is the car-based pickup. Examples of these are the Ford Ranchero, GMC Sprint, GMC Caballero, and one of the most famous examples, the Chevrolet El Camino.<br />
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== Pre-runners ==<br />
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Some of the terminology associated with prerunners & desert race vehicles is pretty far removed from the mainstream of off-roading. While this is not a complete listing of all the terms associated with these vehicles, we hope it will further your understanding of them, and of the sport of off-road racing in general.<br />
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'''Vertical Wheel Travel''' - Amount of wheel travel measured from the center of the axle at full droop to the center of the axle at full compression <br />
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'''Lever Ratio''' - Shocks & springs can be mounted in several locations, and at various angles. If a shock were to be mounted vertically atop the axle, it would be said to have a 1 to 1 lever ratio - i.e. 1 in. of vertical shock travel = 1 in. of vertical wheel travel. If the shock is mounted at a 45 deg. angle, it will move 1/2 in for every inch of wheel travel. As such, it would be said to have a 1.5 to 1 lever ratio. <br />
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'''Velocity Sensitive Shocks''' - Many prerunners & race vehicles use velocity sensitive shocks. Their monotube design is lightweight, affordable, and provides a significant "bang for the buck". VS shocks are rebuildable, & use a series of stacked flexible washers to determine their valving characteristics. Adjustments are made by disassembling the shock, and changing the stack of washers to a stiffer, or lighter configuration. VS shocks use up to 200psi of nitrogen gas to combat foaming at high temperatures & shaft speed. further cooling capacity often comes from remote reservoirs, though they are optional on most models. It is common to se several VS shocks mounted together, and valved lightly, reducing the workload per shock. <>Coilover Shocks - These shocks serve as a mounting point for a coil spring. Unlike "overload" shocks found in auto supply houses, "Coilovers" are extremely high performance units, used in 3 & 4 link suspension applications. The coil springs are removable from the shocks for replacement & tuning, and the shock is fully rebuildable / adjustable for compression & rebound dampening. Coilover shocks are mounted to the chassis via spherical rod ends, rather than bushings to minimize unwanted deflection, and provide maximum streingth to the load bearing assembly. Coilover Shocks most always come with a remote reservior to aid in fluid cooling.<br />
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'''Remote Reservoir''' - Found on 9 out of 10 race shocks, Remote reserviors provide the shock with increased fluid & gas capacity, allowing for increased cooling, less "shock fade", and longer maintenance intervals. These aluminum & steel canisters contain a piston which separates the hydraulic fluid from high pressure nitrogen gas. They are attached to the shock absorber by a custom length of braided steel hose, or high pressure hydraulic line, and can be attached anywhere on the vehicle.<br />
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'''Bypass Shock''' - Bypass shocks are the pinnacle of shock technology. The goal of a bypass shock is to provide light valving in the initial movement of the wheel (to keep the wheels in contact with the ground over smaller bumps), progressively stiffer valving throughout the midrange of travel, and finially very stiff valving at the uppermost reaches of a shocks stroke to resist bottoming. Using a series (usually 2-4) of "bypass tubes" welded to the shock body, valving becomes externally adjustable via metered "jets". The bypass tubes provide precise oil flow through the shock, minimizing cavatation due to heat or unequal pressure, and together with the metered "jets", make for near infinite compression / rebound dampening possibilities. The latest developments in bypass shock technology have led to the development of "internal bypass" shocks. While the general principle of bypass remains the same, internal bypass shocks locate the bypass tubes inside the shock body, making them suitable for use in a coilover configuration. The sheer size of bypass shocks is impressive, but they aren't built that way for their looks. Rather than ounces, the fluid capacity of Bypass shocks is better measured in quarts, translating directly into a cooler running, nearly fade-proof assembly. Shaft sizes begin in the 7/8 in. range. Bypass shocks are always mounted via spherical rod end, as the loads generated would quickly destroy rubber or ploy bushings. These are the shocks commonly seen on (but not limited to) the Trophy, Pro & Class 7 & 8 trucks of SCORE.<br />
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'''3 Link Suspension''' - the "link" in 3 link refers to the number of mounting points on the rear axle. Used with torsion bar, 1/4 elliptic leaf springs & coilover shock arrangements, the 3 link uses 3 "control arms" to locate the axle & position it as it moves throughout it's range of travel. The standard configuration for a 3 Link is one arm (per side) mounted slightly below the axle, with a forward attachment point at the frame or custom built crossmember. Centered above the axle is a 3rd mounting point, using a triangular shaped arm (usually built of tubular steel), which attaches forward on the frame, or crossmember. 3 Link suspensions have been built & tested with up to 38 inches of "Vertical" wheel travel, and provide tremendous amounts of wheel articulation. Many prerunners, and even some race trucks use bushings for the mounting of the forward sections of the control arms, but the rear (axle) mounting points are often spherical rod ends. The spherical rod ends are a stronger assembly, and are less binding, offering a free and greater range of movement. <br />
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'''4 Link Suspension''' - a 4 Link is identical to the 3 Link except for using two upper control arms rather than one. these upper arms are mounted from a near center position (each aside the differential) and angled outward to the frame or custom built crossmember. Like the 3 Link, The 4 Link is capable of incredible vertical wheel travel, but articulation is slightly less.<br />
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'''A-Arm Suspension''' - usually found on the front of non Ford vehicles, the A-Arm suspension uses an upper & lower "A" shaped arm & a coil or torsion bar springing. A-Arms are a simple & popular suspension, and can achieve respectable (aprox 13 in.) wheel travel when used with stock length arms. On mini / mid size trucks, wheel travel is limited by the shorter arms & can be in the 9-11 in. range. Long travel A-Arm suspensions require longer / redesigned arms, and can involve relocation of the engine / K frame to achieve sufficient clearance. Further mods include spherical rod ends, modified ball joints, and redesigned spindles. Depending on the configuration, travel in the 28in.range is achievable, but at far greater cost than other suspension designs.<br />
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'''Twin "I"Beam''' - TIB / TTB suspensions consist of 3 main parts. The I beam (which mounts the spindle / brake assembly), the radius arm (which runs parallel to the frame, attaching at the I Beam in front, and a crossmember in the rear), and the coil spring, or coilover shock. This front suspension has been in use on Ford Trucks since the 60's, and has been transplanted to just about every other vehicle in existence. The reason for it's popularity is simple. There's an old desert saying that says "12 in. of Ford travel is worth 15 in. of anything else". Secondly, the cost of a 15 in. TIB or TTB system is well under $2000, making it the best value per in. on the market today. The Twin I Beam (and it's 4wd counterpart the TTB-Twin Traction Beam) is a far stronger design than the traditional A-Arm, and is ridiculously easy to extract usable travel from. A stock F-150 approaches 10 in. of travel, & with a few simple mods, 15 in. of wheel travel is there for the taking. Extreme examples measuring in at 32 in. are not unheard of, but 26-30 in. is common in race vehicles. Variations on the TIB can be found on such diverse vehicles as Glamis bound sand buggies, Polaris & Yamaha snowmobiles, and even the Toyota Land Cruiser that Ivan Stewart uses to prerun the courses of the SCORE / Laughlin desert series! <br />
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'''1/4 Elliptic Suspension''' - 1/4 elliptic suspensions use a 3 or 4 link configuration, and replace the coilover springs with leafs. An ellipse is a full circle. 1/4 elliptic rear takes it's name from the shape & configuration of the leaf springs, which, not coincidentally, resemble the arch of 1/4 of a circle. Mounting the leafs can take many forms, with a roller or spherical rod end, being the 2 most common types. In the rear, A pivoting "clamp" holds the springs in place, while a NASCAR style "Weight Jack" allows the builder / tuner to adjust ride height. <br />
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'''Torsion Bar Suspension''' - can take many forms. Commonly, torsion bars are used in conjunction with A-Arms in front suspension applications, due to their simple design, ease of maintenance, and light weight. TB suspensions are occasionally found in custom rear suspension applications, controlling a 3 or 4 Link set up. Torsion bars are often used to supplement coil or leaf suspensions, acting as a "secondary suspension".<br />
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'''Secondary Suspension''' - Used most often on race trucks & "top shelf" prerunners, secondary suspension systems allow for very light primary springing (to allow the truck to effortlessly absorb smaller bumps & obstacles), and only come into play in the final inches of wheel travel. The 2 most common forms of secondary suspension are Pneumatic (air / nitrogen) & Torsion bar. <br />
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'''Pneumatic Bump Stop''' - Used in place of, or in conjunction with a poly bump stop, pneumatic bump stops function similarly to an air shock. High pressure nitrogen allows the stop to be tuned to a specific degree of resistance, and some suspension set ups, can act as a form of secondary suspension (by providing a dramatic but controlled increase in effective spring rate during the last few inches of travel).<br />
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'''Spherical Rod End''' - AKA: "Hiem Joints". SRE's are a high strength solution to extreme angle woes. Available in sizes from 1/8 in. to well over 1 in. SRE's have found use at the ends of control / radius arms, tie rods, A-Arms, and many other parts throughout both prerunners & race trucks. Recently, aftermarket lift kit manufacturers have begun incorporating SRE's into the Jeep TJ / XJ / ZJ model lines, as well as the Dodge Ram.<br />
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'''Parker Pumper''' - While Parker Pumper is a brand name, it has come to be as interchangeable as "Xerox" in the off road community. The pumper is an air filtration system consisting of a chassis mounted blower that ducts filtered air to a specially modified helmet, allowing the wearer breathably clean and cool air in the dusty desert environment. <br />
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'''Suspension Seats''' - Produced by several manufacturers, suspension seats utilize an nylon/canvas "base" to cradle the foam padded seating area. This "base" is in turn attached to a tubular steel seat frame by an elastic cord, creating a seating surface that is "suspended". Major advantages to suspension seating include smoother ride, reduced potential for back (spinal compression) injury, and improved vehicle control.<br />
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== Low riders ==<br />
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== Drift cars ==<br />
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== Race cars ==<br />
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== Street Racing ==<br />
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== Online Resources ==</div>Zerilloshttps://wikicars.org/index.php?title=Custom_auto&diff=17185Custom auto2006-09-21T06:44:23Z<p>Zerillos: /* Muscle Cars */</p>
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<div>== Hot Rod History ==<br />
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A lot has been written about the origins of the hot rod and the development of the culture that gave rise to them and then grew up around them. This is my own personal take on the subject, and I'm sure others with more detailed knowledge (including the many who were there) might well disagree with my thoughts. With that caveat, I place the defining origin point for hot rods and hot rod culture as the end of World War II. A number of factors came together at one time -- the period between the end of the war in 1945 and the begining of the 1950s -- and mainly in one place -- southern California -- to create a unique environment in which the hot rod and its culture were born.<br />
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At the end of the war, a legion of young men returned to America with a wad of demobilization cash in their pockets and a sense of freedom and excitement bred by their experiences in the war. With a period of peace and the steadily increasing prosperity of the country as a backdrop, these young men had a "can-do" attitude and a desire to express themselves in ways that their time in the military had stifled. And, all of a sudden, there were a lot of inexpensive used cars available. For five years Detroit had basically been in the business of supplying the military. Now all that production capacity was turned to creating a stream of new cars to satisfy the pent-up demand of a civilian population that had scrimped and saved throughout the Great Depression of the 1930s and the sacrifices of the war years. Men who'd stayed behind to work in America's offices and factories had a lot of savings and they were ready to ditch their aging cars from the 1920s and 1930s for gleaming new models offered by the Big Three (and the others who are now gone, like Wilys and Kaiser). Their trade-ins became the starting point of the hot rodders, and came to define the way they were built and how they looked.These factors dictated the core aesthetic of the classic American hot rod. It was the later Model Ts and the plentiful early-30s Fords and Chevys that became the raw material for the young men who created hot rodding and hot rod culture. Here's a picture of a '32 Ford Roadster, a contemporary car, but one built on the style of those first hot rods. The basic performance and engineering elements of the hotrod came together in these cars: More power, less weight and a look derived from these things leading to chopped tops, channeled bodies, pinched frames, dropped axles and, eventually wide tires. <br />
And why southern California? Again, a lot has been written about the question of why southern California became the seed-bed for so much cultural change in the second half of the twentieth century. Part of it was Hollywood, part simply that the western part of the country had reached a critical mass of prosperity and population sufficient to establish itself as a new center of culture distinct from the old center in the northeast. But a few factors made southern California the right place for the birth of hot rodding. One was the climate: with year-round perfect temperature and little rainfall, young men of little means could work outside on cars that had few creature comforts themselves. More important, Los Angeles was the first city truly shaped from its beginnings by the automobile: There were more roads, and new ones there. Finally, and perhaps most importantly, was "the lakes," the dry lake beds just east of L.A. that became a magnet for the chopped and stripped-down speed machines. Here the hot rodders found miles and miles of hard, glass-flat surface upon which to run their machines.<br />
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GOLDEN AGE <br />
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The 1950s were the Golden Age of hot rodding and, for a while, there was only hot rodding -- not the different strains of car-craziness that it gave birth to. In the beginning, there was no distinction among the cars that kids played with as a form of street-running self-expression, the drag racing car, the customized work of art; there was just the hot rod, the amateur automobile artform. But the seeds of hot-rodding's progeny were growing during that time.<br />
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The "lakes" were breeding a number of different kinds of cars aimed at faster and faster top speeds at the expense of driveability and, eventually even roadability. The famous "drop tank roadsters" exemplified these early forefathers of the machines that would some day exceed the speed of sound on the ground, built from war surplus military aircraft fuel tanks.<br />
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Meanwhile, the true "drag strip" was born. The National Hot Rod Association was formed in 1951 to impose some safety standards on "those speed-crazed kids" and the NHRA, now the governing body for drag racing in the the U.S., held its first sanctioned event in southern California in 1953.<br />
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Finally, the pure aesthetics of hot-rodding began to be expressed in the metalwork of exterior modifications to later, post-war cars. This gave rise to the "kustom" culture of cars that were increasingly works of pure visual art. Later, this gave rise to the show car world of the mid-1960s to the mid-1970s (detailed below.) <br />
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But for a time, it was all one thing -- just young people exploring a new form of American individuality through the ultimate American experience, the road.<br />
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HOT ROD CULTURE <br />
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During the 1950s and into the early 1960s, the southern California scene connected with hot rods gave birth to a whole host of related cultural phenomena. The stars of custom car building, like Ed Roth and George Barris, became celebrities in the hot rod scene and some, like Roth and Von Dutch became visual artists in a weird and adolescent genre that had a life of its own apart from the cars. More than half the middle-aged men (in 2003, when I'm writing this) in America probably had some kind of Rat Fink image in their room when they were a kid. Many may not have realized the connection to the greasy hot rodders of a decade before. For a look at where this visual art is today take a look at this gallery (warning, it's not for the faint of heart).Then there was the music. At first, hot-rodding was associated with rockabilly, the first form of true rock and roll. But, just as hot rod culture became a defninable space in the general lanscape of American life, a different connection developed. Here it's not possible to separate the connection with a broader southern California scene, known by the often-inapplicable term "surf music." Most folks probably think of the Beach Boys and titles like "Little Deuce Coupe" and "409," but there were many other musicians who were mining the hot rod experience for subject matter. Jan and Dean come to mind, and the Ventures (with their album covers adorned with "wild" T-buckets), and the incredible Dick Dale, whose music to me is the sound of hot rodding.<br />
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Hot rod culture sat at an intersection between the hipsters of the late 40s and 50s (think of Dean Moriarty's relationship with cars in Kerouac's On the Road, and "Big Daddy" Ed Roth's goatee), the lower-class aspirations of kids from the wrong side of the tracks in a country with rising economic expectations (think of the menace of Dennis Hopper's "Goon" in Rebel Without a Cause) and the general development of a "counterculture" of individuality and free expression. For a time, the hot rod became a central symbol of youth and creativity in America, and was as cool as anything around. But by the mid-1960s, the wave of the counterculture had moved on and, although many of the "show car" artists of the time incorporated things like peace symbols and images of long-haired guys in patched bell-bottoms in their work, the days when hot rod culture was part of the "crest of the wave" were over.<br />
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== Show Cars ==<br />
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By the early 1960s the various different lines of hot rod culture were well defined, had separated and then begun to interact in new ways. the two most important elements of this for me were the "show rod" phenomenon and muscle cars. The "Kings of Kustom" had been working for a while now, and their ideas were seeping out to a larger audience, while at the same time the milieu of the classic hot rod kids was mutating rapidly. Southern California, the memetic engine of mid-century America, had moved on, and "teen rebellion" was morphing into the full-blown and politicized counterculture. Greasers and hipsters gave way to hippies and yippies. A great portrait of this time can be found in Tom Wolfe's very first bit of journalism, The Kandy-Kolored Tangerine-Flake Streamline Baby, his 1965 portrait of the "kustom kar show" world.<br />
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The work of Tom Daniels exemplifies the era of the show rod perhaps better than any other. Daniels had a huge influence on the hot rod aesthetic of my generation through his work for the plastic model kit maker Monogram (later acquired by Revell). I recently discovered Tom Daniels' website, and the flood of memories unleashed by the images there was amazing. I'd insert some here, but Daniels has a blood-curdling warning about his ownership of the work there, so I'll suggest you go by his website, especially the page devoted to the box art for the kits he designed. Off the top of my head, I can well remember building the "Red Baron", the "T'rantula" (probably the two most influential on my own personal hotrod aesthetic), the "Pie Wagon," "Beer Wagon," "Garbage Truck," "Paddy Wagon" and "Sand Crab." Interestingly, note that all of these kits were issued in 1968 or 1969, when I was 11 and 12 years old. I think these designs came along at a time when my automotive aesthetic was being forged for a lifetime. To see many of Tom Daniels' kits built by great modelers (along with others mainly from that era of "outrageous show rods"), visit Show Rod Rally. Presumably Daniels' prohibition on use of images doesn't run to photos of the kits themselves, so here are the first two mentioned.<br />
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Interestingly, most of these cars never existed except as model kits; few were ever built as real, driveable automobiles. I suppose this highlights as much as anything else the fact that the hot rod's power is as much that of image and idea, rather than as transportation.<br />
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Here's a very good brief description of the show car phenomenon of the 1960s and early 1970s:The 1960s saw the pinnacle of one of America's most unusual native art forms. Flowing streamlined designs, radiant colors, and amazing craftsmanship blended together to develop a new concept - - Show Cars.<br />
<br />
Show cars evolved from the custom car, which was basically a modified version of an existing vehicle. Early pioneers of auto customizing in the 1950's began changing and improving their wheels for speed, originality, and a cool look. During these times, cars were "chopped, tubbed, raked, and hopped-up." These basic customizing techniques continued to become more elaborate until custom cars were being designed from scratch or by heavily converting existing vehicles into unbelievable designs. True show cars were distinguished by being one-of-a-kind originals, built from the ground up. It seems a paradox that their engines were extremely powerful, yet they rarely touched the road. In other words, these cars were meant to be looked at, not driven. The men who created them were true artists, and their creations were true art. Show cars belong to the genre of sculpture, and for those of us who couldn't afford the originals, there were always the model kits.<br />
<br />
Probably the most famous custom car designers are George Barris and Ed Roth. Barris was one of the pioneer customizes and has personalized automobiles for many celebrities. An avid model and toy collector himself, Barris started making hobby kits of his cars with Revell in 1957, the first being a 1956 Buick. He is better known for his special cars however, and when AMT made a model kit of his 1960 Ala Kart, a whole line of kits designed after Barris' award-winning custom cars began.<br />
<br />
Ed "Big Daddy" Roth, reached cult status on auto show circuits and teen modeler circles with his outrageous cars and Rat Fink character. (More can be found on Roth in the Freaks, Geeks, and Oddballs chapter.)<br />
<br />
In 1967, Monogram and car designer Tom Daniel started a partnership that would produce 60 kits and last nearly a decade. Daniel had previously worked for George Barris where he helped design the Munster Koach and Dragula. One of Daniel's designs, the Red Baron, proved to be so popular that Monogram released it in a larger 1/12 scale.<br />
<br />
Other heavy contenders on the show car circuit included Daryl Starbird, Carl Casper, and Bill Cushenberry. By the end of the 1970's though, the show car craze declined in popularity. Even though many wild rods are still being produced today, they sure don't make 'em like they used to!<br />
<br />
== Muscle Cars ==<br />
<br />
A muscle car is a high-performance automobile. The term principally refers to American models produced between 1964 and 1971.<br />
<br />
The term muscle car generally describes a mid-size car with a large, powerful engine (typically, although not universally, a V8 engine) and special trim, intended for maximum acceleration on the street or in drag racing competition. It is distinguished from sports cars, which were customarily and coincidentally considered smaller, two-seat cars, or GTs, two-seat or 2+2 cars intended for high-speed touring and possibly road racing. High-performance full-size or compact cars are arguably excluded from this category, as are the breed of compact sports coupes inspired by the Ford Mustang and typically known as pony cars, although few would dispute a big-block pony car's credentials as a muscle car.<br />
<br />
An alternate definition is based on power-to-weight ratio, defining a muscle car as an automobile with (for example) fewer than 12 pounds per rated hp. Such definitions are inexact, thanks to a wide variation in curb weight depending on options and to the questionable nature of the SAE gross hp ratings in use before 1972, which were often deliberately overstated or underrated for various reasons.<br />
<br />
Another alternate definition involves a car's original design intents. Muscle cars are factory produced automobiles that have a larger engine than was originally planned for in the design and production phase of the original car. Examples of this trend can be found throughout American, Japanese, and European cars of all designs. This includes many cars that typically are not labeled as muscle cars, such as the B13 (1991-1994) Nissan Sentra SE-R, and excludes other cars typically labeled as muscle cars, such as the Dodge Viper.<br />
<br />
Although auto makers such as Chrysler had occasionally experimented with placing a high performance V-8 in a lighter mid-size platform, and full-size cars such as the Ford Galaxie and Chevrolet Impala offered high-performance models, Pontiac is usually credited for starting the muscle car trend with its 1964 Pontiac GTO, based on the rather more pedestrian Pontiac Tempest. For 1964 and 1965, the GTO was an option package that included Pontiac's 389 in³ (6.5 L) V8 engine, floor-shifted transmission with Hurst shift linkage, and special trim. In 1966, the Pontiac GTO was no longer an option, and became its own model. The project, spearheaded by Pontiac division president John De Lorean, was technically a violation of General Motors policy limiting its smaller cars to 330 in³ (5.4 L) displacement, but it proved far more popular than expected, and inspired a host of imitations, both at GM and its competitors.<br />
<br />
It marked a general trend towards factory performance, which reflected the importance of the youth market. A key appeal of the muscle cars was that they offered the burgeoning American car culture an array of relatively affordable vehicles with strong street performance that could also be used for racing. The affordability aspect was quickly compromised by increases in size, optional equipment, and plushness, forcing the addition of more and more powerful engines just to keep pace with performance. A backlash against this cost and weight growth led in 1967 and 1968 to a secondary trend of "budget muscle" in the form of the Plymouth Road Runner, Dodge Super Bee, and other stripped, lower-cost variants.<br />
<br />
Although the sales of true muscle cars were relatively modest by total Detroit standards, they had considerable value in publicity and bragging rights, serving to bring young buyers into showrooms. The fierce competition led to an escalation in power that peaked in 1970, with some models offering as much as 450 hp (and others likely producing as much actual power, whatever their rating).<br />
<br />
Another related type of car is the car-based pickup. Examples of these are the Ford Ranchero, GMC Sprint, GMC Caballero, and one of the most famous examples, the Chevrolet El Camino.<br />
<br />
== Pre-runners ==<br />
<br />
== Low riders ==<br />
<br />
== Drift cars ==<br />
<br />
== Race cars ==<br />
<br />
== Street Racing ==<br />
<br />
== Online Resources ==</div>Zerilloshttps://wikicars.org/index.php?title=Custom_auto&diff=17184Custom auto2006-09-21T06:43:39Z<p>Zerillos: /* Show Cars */</p>
<hr />
<div>== Hot Rod History ==<br />
<br />
A lot has been written about the origins of the hot rod and the development of the culture that gave rise to them and then grew up around them. This is my own personal take on the subject, and I'm sure others with more detailed knowledge (including the many who were there) might well disagree with my thoughts. With that caveat, I place the defining origin point for hot rods and hot rod culture as the end of World War II. A number of factors came together at one time -- the period between the end of the war in 1945 and the begining of the 1950s -- and mainly in one place -- southern California -- to create a unique environment in which the hot rod and its culture were born.<br />
<br />
At the end of the war, a legion of young men returned to America with a wad of demobilization cash in their pockets and a sense of freedom and excitement bred by their experiences in the war. With a period of peace and the steadily increasing prosperity of the country as a backdrop, these young men had a "can-do" attitude and a desire to express themselves in ways that their time in the military had stifled. And, all of a sudden, there were a lot of inexpensive used cars available. For five years Detroit had basically been in the business of supplying the military. Now all that production capacity was turned to creating a stream of new cars to satisfy the pent-up demand of a civilian population that had scrimped and saved throughout the Great Depression of the 1930s and the sacrifices of the war years. Men who'd stayed behind to work in America's offices and factories had a lot of savings and they were ready to ditch their aging cars from the 1920s and 1930s for gleaming new models offered by the Big Three (and the others who are now gone, like Wilys and Kaiser). Their trade-ins became the starting point of the hot rodders, and came to define the way they were built and how they looked.These factors dictated the core aesthetic of the classic American hot rod. It was the later Model Ts and the plentiful early-30s Fords and Chevys that became the raw material for the young men who created hot rodding and hot rod culture. Here's a picture of a '32 Ford Roadster, a contemporary car, but one built on the style of those first hot rods. The basic performance and engineering elements of the hotrod came together in these cars: More power, less weight and a look derived from these things leading to chopped tops, channeled bodies, pinched frames, dropped axles and, eventually wide tires. <br />
And why southern California? Again, a lot has been written about the question of why southern California became the seed-bed for so much cultural change in the second half of the twentieth century. Part of it was Hollywood, part simply that the western part of the country had reached a critical mass of prosperity and population sufficient to establish itself as a new center of culture distinct from the old center in the northeast. But a few factors made southern California the right place for the birth of hot rodding. One was the climate: with year-round perfect temperature and little rainfall, young men of little means could work outside on cars that had few creature comforts themselves. More important, Los Angeles was the first city truly shaped from its beginnings by the automobile: There were more roads, and new ones there. Finally, and perhaps most importantly, was "the lakes," the dry lake beds just east of L.A. that became a magnet for the chopped and stripped-down speed machines. Here the hot rodders found miles and miles of hard, glass-flat surface upon which to run their machines.<br />
<br />
<br />
GOLDEN AGE <br />
<br />
<br />
The 1950s were the Golden Age of hot rodding and, for a while, there was only hot rodding -- not the different strains of car-craziness that it gave birth to. In the beginning, there was no distinction among the cars that kids played with as a form of street-running self-expression, the drag racing car, the customized work of art; there was just the hot rod, the amateur automobile artform. But the seeds of hot-rodding's progeny were growing during that time.<br />
<br />
The "lakes" were breeding a number of different kinds of cars aimed at faster and faster top speeds at the expense of driveability and, eventually even roadability. The famous "drop tank roadsters" exemplified these early forefathers of the machines that would some day exceed the speed of sound on the ground, built from war surplus military aircraft fuel tanks.<br />
<br />
Meanwhile, the true "drag strip" was born. The National Hot Rod Association was formed in 1951 to impose some safety standards on "those speed-crazed kids" and the NHRA, now the governing body for drag racing in the the U.S., held its first sanctioned event in southern California in 1953.<br />
<br />
Finally, the pure aesthetics of hot-rodding began to be expressed in the metalwork of exterior modifications to later, post-war cars. This gave rise to the "kustom" culture of cars that were increasingly works of pure visual art. Later, this gave rise to the show car world of the mid-1960s to the mid-1970s (detailed below.) <br />
<br />
<br />
But for a time, it was all one thing -- just young people exploring a new form of American individuality through the ultimate American experience, the road.<br />
<br />
<br />
HOT ROD CULTURE <br />
<br />
<br />
<br />
During the 1950s and into the early 1960s, the southern California scene connected with hot rods gave birth to a whole host of related cultural phenomena. The stars of custom car building, like Ed Roth and George Barris, became celebrities in the hot rod scene and some, like Roth and Von Dutch became visual artists in a weird and adolescent genre that had a life of its own apart from the cars. More than half the middle-aged men (in 2003, when I'm writing this) in America probably had some kind of Rat Fink image in their room when they were a kid. Many may not have realized the connection to the greasy hot rodders of a decade before. For a look at where this visual art is today take a look at this gallery (warning, it's not for the faint of heart).Then there was the music. At first, hot-rodding was associated with rockabilly, the first form of true rock and roll. But, just as hot rod culture became a defninable space in the general lanscape of American life, a different connection developed. Here it's not possible to separate the connection with a broader southern California scene, known by the often-inapplicable term "surf music." Most folks probably think of the Beach Boys and titles like "Little Deuce Coupe" and "409," but there were many other musicians who were mining the hot rod experience for subject matter. Jan and Dean come to mind, and the Ventures (with their album covers adorned with "wild" T-buckets), and the incredible Dick Dale, whose music to me is the sound of hot rodding.<br />
<br />
Hot rod culture sat at an intersection between the hipsters of the late 40s and 50s (think of Dean Moriarty's relationship with cars in Kerouac's On the Road, and "Big Daddy" Ed Roth's goatee), the lower-class aspirations of kids from the wrong side of the tracks in a country with rising economic expectations (think of the menace of Dennis Hopper's "Goon" in Rebel Without a Cause) and the general development of a "counterculture" of individuality and free expression. For a time, the hot rod became a central symbol of youth and creativity in America, and was as cool as anything around. But by the mid-1960s, the wave of the counterculture had moved on and, although many of the "show car" artists of the time incorporated things like peace symbols and images of long-haired guys in patched bell-bottoms in their work, the days when hot rod culture was part of the "crest of the wave" were over.<br />
<br />
<br />
== Show Cars ==<br />
<br />
By the early 1960s the various different lines of hot rod culture were well defined, had separated and then begun to interact in new ways. the two most important elements of this for me were the "show rod" phenomenon and muscle cars. The "Kings of Kustom" had been working for a while now, and their ideas were seeping out to a larger audience, while at the same time the milieu of the classic hot rod kids was mutating rapidly. Southern California, the memetic engine of mid-century America, had moved on, and "teen rebellion" was morphing into the full-blown and politicized counterculture. Greasers and hipsters gave way to hippies and yippies. A great portrait of this time can be found in Tom Wolfe's very first bit of journalism, The Kandy-Kolored Tangerine-Flake Streamline Baby, his 1965 portrait of the "kustom kar show" world.<br />
<br />
The work of Tom Daniels exemplifies the era of the show rod perhaps better than any other. Daniels had a huge influence on the hot rod aesthetic of my generation through his work for the plastic model kit maker Monogram (later acquired by Revell). I recently discovered Tom Daniels' website, and the flood of memories unleashed by the images there was amazing. I'd insert some here, but Daniels has a blood-curdling warning about his ownership of the work there, so I'll suggest you go by his website, especially the page devoted to the box art for the kits he designed. Off the top of my head, I can well remember building the "Red Baron", the "T'rantula" (probably the two most influential on my own personal hotrod aesthetic), the "Pie Wagon," "Beer Wagon," "Garbage Truck," "Paddy Wagon" and "Sand Crab." Interestingly, note that all of these kits were issued in 1968 or 1969, when I was 11 and 12 years old. I think these designs came along at a time when my automotive aesthetic was being forged for a lifetime. To see many of Tom Daniels' kits built by great modelers (along with others mainly from that era of "outrageous show rods"), visit Show Rod Rally. Presumably Daniels' prohibition on use of images doesn't run to photos of the kits themselves, so here are the first two mentioned.<br />
<br />
Interestingly, most of these cars never existed except as model kits; few were ever built as real, driveable automobiles. I suppose this highlights as much as anything else the fact that the hot rod's power is as much that of image and idea, rather than as transportation.<br />
<br />
Here's a very good brief description of the show car phenomenon of the 1960s and early 1970s:The 1960s saw the pinnacle of one of America's most unusual native art forms. Flowing streamlined designs, radiant colors, and amazing craftsmanship blended together to develop a new concept - - Show Cars.<br />
<br />
Show cars evolved from the custom car, which was basically a modified version of an existing vehicle. Early pioneers of auto customizing in the 1950's began changing and improving their wheels for speed, originality, and a cool look. During these times, cars were "chopped, tubbed, raked, and hopped-up." These basic customizing techniques continued to become more elaborate until custom cars were being designed from scratch or by heavily converting existing vehicles into unbelievable designs. True show cars were distinguished by being one-of-a-kind originals, built from the ground up. It seems a paradox that their engines were extremely powerful, yet they rarely touched the road. In other words, these cars were meant to be looked at, not driven. The men who created them were true artists, and their creations were true art. Show cars belong to the genre of sculpture, and for those of us who couldn't afford the originals, there were always the model kits.<br />
<br />
Probably the most famous custom car designers are George Barris and Ed Roth. Barris was one of the pioneer customizes and has personalized automobiles for many celebrities. An avid model and toy collector himself, Barris started making hobby kits of his cars with Revell in 1957, the first being a 1956 Buick. He is better known for his special cars however, and when AMT made a model kit of his 1960 Ala Kart, a whole line of kits designed after Barris' award-winning custom cars began.<br />
<br />
Ed "Big Daddy" Roth, reached cult status on auto show circuits and teen modeler circles with his outrageous cars and Rat Fink character. (More can be found on Roth in the Freaks, Geeks, and Oddballs chapter.)<br />
<br />
In 1967, Monogram and car designer Tom Daniel started a partnership that would produce 60 kits and last nearly a decade. Daniel had previously worked for George Barris where he helped design the Munster Koach and Dragula. One of Daniel's designs, the Red Baron, proved to be so popular that Monogram released it in a larger 1/12 scale.<br />
<br />
Other heavy contenders on the show car circuit included Daryl Starbird, Carl Casper, and Bill Cushenberry. By the end of the 1970's though, the show car craze declined in popularity. Even though many wild rods are still being produced today, they sure don't make 'em like they used to!<br />
<br />
== Muscle Cars ==<br />
<br />
== Pre-runners ==<br />
<br />
== Low riders ==<br />
<br />
== Drift cars ==<br />
<br />
== Race cars ==<br />
<br />
== Street Racing ==<br />
<br />
== Online Resources ==</div>Zerilloshttps://wikicars.org/index.php?title=Custom_auto&diff=17183Custom auto2006-09-21T06:34:54Z<p>Zerillos: /* Show Cars */</p>
<hr />
<div>== Hot Rod History ==<br />
<br />
A lot has been written about the origins of the hot rod and the development of the culture that gave rise to them and then grew up around them. This is my own personal take on the subject, and I'm sure others with more detailed knowledge (including the many who were there) might well disagree with my thoughts. With that caveat, I place the defining origin point for hot rods and hot rod culture as the end of World War II. A number of factors came together at one time -- the period between the end of the war in 1945 and the begining of the 1950s -- and mainly in one place -- southern California -- to create a unique environment in which the hot rod and its culture were born.<br />
<br />
At the end of the war, a legion of young men returned to America with a wad of demobilization cash in their pockets and a sense of freedom and excitement bred by their experiences in the war. With a period of peace and the steadily increasing prosperity of the country as a backdrop, these young men had a "can-do" attitude and a desire to express themselves in ways that their time in the military had stifled. And, all of a sudden, there were a lot of inexpensive used cars available. For five years Detroit had basically been in the business of supplying the military. Now all that production capacity was turned to creating a stream of new cars to satisfy the pent-up demand of a civilian population that had scrimped and saved throughout the Great Depression of the 1930s and the sacrifices of the war years. Men who'd stayed behind to work in America's offices and factories had a lot of savings and they were ready to ditch their aging cars from the 1920s and 1930s for gleaming new models offered by the Big Three (and the others who are now gone, like Wilys and Kaiser). Their trade-ins became the starting point of the hot rodders, and came to define the way they were built and how they looked.These factors dictated the core aesthetic of the classic American hot rod. It was the later Model Ts and the plentiful early-30s Fords and Chevys that became the raw material for the young men who created hot rodding and hot rod culture. Here's a picture of a '32 Ford Roadster, a contemporary car, but one built on the style of those first hot rods. The basic performance and engineering elements of the hotrod came together in these cars: More power, less weight and a look derived from these things leading to chopped tops, channeled bodies, pinched frames, dropped axles and, eventually wide tires. <br />
And why southern California? Again, a lot has been written about the question of why southern California became the seed-bed for so much cultural change in the second half of the twentieth century. Part of it was Hollywood, part simply that the western part of the country had reached a critical mass of prosperity and population sufficient to establish itself as a new center of culture distinct from the old center in the northeast. But a few factors made southern California the right place for the birth of hot rodding. One was the climate: with year-round perfect temperature and little rainfall, young men of little means could work outside on cars that had few creature comforts themselves. More important, Los Angeles was the first city truly shaped from its beginnings by the automobile: There were more roads, and new ones there. Finally, and perhaps most importantly, was "the lakes," the dry lake beds just east of L.A. that became a magnet for the chopped and stripped-down speed machines. Here the hot rodders found miles and miles of hard, glass-flat surface upon which to run their machines.<br />
<br />
<br />
GOLDEN AGE <br />
<br />
<br />
The 1950s were the Golden Age of hot rodding and, for a while, there was only hot rodding -- not the different strains of car-craziness that it gave birth to. In the beginning, there was no distinction among the cars that kids played with as a form of street-running self-expression, the drag racing car, the customized work of art; there was just the hot rod, the amateur automobile artform. But the seeds of hot-rodding's progeny were growing during that time.<br />
<br />
The "lakes" were breeding a number of different kinds of cars aimed at faster and faster top speeds at the expense of driveability and, eventually even roadability. The famous "drop tank roadsters" exemplified these early forefathers of the machines that would some day exceed the speed of sound on the ground, built from war surplus military aircraft fuel tanks.<br />
<br />
Meanwhile, the true "drag strip" was born. The National Hot Rod Association was formed in 1951 to impose some safety standards on "those speed-crazed kids" and the NHRA, now the governing body for drag racing in the the U.S., held its first sanctioned event in southern California in 1953.<br />
<br />
Finally, the pure aesthetics of hot-rodding began to be expressed in the metalwork of exterior modifications to later, post-war cars. This gave rise to the "kustom" culture of cars that were increasingly works of pure visual art. Later, this gave rise to the show car world of the mid-1960s to the mid-1970s (detailed below.) <br />
<br />
<br />
But for a time, it was all one thing -- just young people exploring a new form of American individuality through the ultimate American experience, the road.<br />
<br />
<br />
HOT ROD CULTURE <br />
<br />
<br />
<br />
During the 1950s and into the early 1960s, the southern California scene connected with hot rods gave birth to a whole host of related cultural phenomena. The stars of custom car building, like Ed Roth and George Barris, became celebrities in the hot rod scene and some, like Roth and Von Dutch became visual artists in a weird and adolescent genre that had a life of its own apart from the cars. More than half the middle-aged men (in 2003, when I'm writing this) in America probably had some kind of Rat Fink image in their room when they were a kid. Many may not have realized the connection to the greasy hot rodders of a decade before. For a look at where this visual art is today take a look at this gallery (warning, it's not for the faint of heart).Then there was the music. At first, hot-rodding was associated with rockabilly, the first form of true rock and roll. But, just as hot rod culture became a defninable space in the general lanscape of American life, a different connection developed. Here it's not possible to separate the connection with a broader southern California scene, known by the often-inapplicable term "surf music." Most folks probably think of the Beach Boys and titles like "Little Deuce Coupe" and "409," but there were many other musicians who were mining the hot rod experience for subject matter. Jan and Dean come to mind, and the Ventures (with their album covers adorned with "wild" T-buckets), and the incredible Dick Dale, whose music to me is the sound of hot rodding.<br />
<br />
Hot rod culture sat at an intersection between the hipsters of the late 40s and 50s (think of Dean Moriarty's relationship with cars in Kerouac's On the Road, and "Big Daddy" Ed Roth's goatee), the lower-class aspirations of kids from the wrong side of the tracks in a country with rising economic expectations (think of the menace of Dennis Hopper's "Goon" in Rebel Without a Cause) and the general development of a "counterculture" of individuality and free expression. For a time, the hot rod became a central symbol of youth and creativity in America, and was as cool as anything around. But by the mid-1960s, the wave of the counterculture had moved on and, although many of the "show car" artists of the time incorporated things like peace symbols and images of long-haired guys in patched bell-bottoms in their work, the days when hot rod culture was part of the "crest of the wave" were over.<br />
<br />
<br />
== Show Cars ==<br />
<br />
By the early 1960s the various different lines of hot rod culture were well defined, had separated and then begun to interact in new ways. the two most important elements of this for me were the "show rod" phenomenon and muscle cars. The "Kings of Kustom" had been working for a while now, and their ideas were seeping out to a larger audience, while at the same time the milieu of the classic hot rod kids was mutating rapidly. Southern California, the memetic engine of mid-century America, had moved on, and "teen rebellion" was morphing into the full-blown and politicized counterculture. Greasers and hipsters gave way to hippies and yippies. A great portrait of this time can be found in Tom Wolfe's very first bit of journalism, The Kandy-Kolored Tangerine-Flake Streamline Baby, his 1965 portrait of the "kustom kar show" world.<br />
<br />
The work of Tom Daniels exemplifies the era of the show rod perhaps better than any other. Daniels had a huge influence on the hot rod aesthetic of my generation through his work for the plastic model kit maker Monogram (later acquired by Revell). I recently discovered Tom Daniels' website, and the flood of memories unleashed by the images there was amazing. I'd insert some here, but Daniels has a blood-curdling warning about his ownership of the work there, so I'll suggest you go by his website, especially the page devoted to the box art for the kits he designed. Off the top of my head, I can well remember building the "Red Baron", the "T'rantula" (probably the two most influential on my own personal hotrod aesthetic), the "Pie Wagon," "Beer Wagon," "Garbage Truck," "Paddy Wagon" and "Sand Crab." Interestingly, note that all of these kits were issued in 1968 or 1969, when I was 11 and 12 years old. I think these designs came along at a time when my automotive aesthetic was being forged for a lifetime. To see many of Tom Daniels' kits built by great modelers (along with others mainly from that era of "outrageous show rods"), visit Show Rod Rally. Presumably Daniels' prohibition on use of images doesn't run to photos of the kits themselves, so here are the first two mentioned.<br />
<br />
Interestingly, most of these cars never existed except as model kits; few were ever built as real, driveable automobiles. I suppose this highlights as much as anything else the fact that the hot rod's power is as much that of image and idea, rather than as transportation.<br />
<br />
Here's a very good brief description of the show car phenomenon of the 1960s and early 1970s:The 1960s saw the pinnacle of one of America's most unusual native art forms. Flowing streamlined designs, radiant colors, and amazing craftsmanship blended together to develop a new concept - - Show Cars.<br />
<br />
Show cars evolved from the custom car, which was basically a modified version of an existing vehicle. Early pioneers of auto customizing in the 1950's began changing and improving their wheels for speed, originality, and a cool look. During these times, cars were "chopped, tubbed, raked, and hopped-up." These basic customizing techniques continued to become more elaborate until custom cars were being designed from scratch or by heavily converting existing vehicles into unbelievable designs. True show cars were distinguished by being one-of-a-kind originals, built from the ground up. It seems a paradox that their engines were extremely powerful, yet they rarely touched the road. In other words, these cars were meant to be looked at, not driven. The men who created them were true artists, and their creations were true art. Show cars belong to the genre of sculpture, and for those of us who couldn't afford the originals, there were always the model kits.<br />
<br />
Probably the most famous custom car designers are George Barris and Ed Roth. Barris was one of the pioneer customizes and has personalized automobiles for many celebrities. An avid model and toy collector himself, Barris started making hobby kits of his cars with Revell in 1957, the first being a 1956 Buick. He is better known for his special cars however, and when AMT made a model kit of his 1960 Ala Kart, a whole line of kits designed after Barris' award-winning custom cars began.<br />
<br />
Ed "Big Daddy" Roth, reached cult status on auto show circuits and teen modeler circles with his outrageous cars and Rat Fink character. (More can be found on Roth in the Freaks, Geeks, and Oddballs chapter.)<br />
<br />
In 1967, Monogram and car designer Tom Daniel started a partnership that would produce 60 kits and last nearly a decade. Daniel had previously worked for George Barris where he helped design the Munster Koach and Dragula. One of Daniel's designs, the Red Baron, proved to be so popular that Monogram released it in a larger 1/12 scale.<br />
<br />
Other heavy contenders on the show car circuit included Daryl Starbird, Carl Casper, and Bill Cushenberry. By the end of the 1970's though, the show car craze declined in popularity. Even though many wild rods are still being produced today, they sure don't make 'em like they used to!</div>Zerilloshttps://wikicars.org/index.php?title=Custom_auto&diff=17182Custom auto2006-09-21T06:34:29Z<p>Zerillos: </p>
<hr />
<div>== Hot Rod History ==<br />
<br />
A lot has been written about the origins of the hot rod and the development of the culture that gave rise to them and then grew up around them. This is my own personal take on the subject, and I'm sure others with more detailed knowledge (including the many who were there) might well disagree with my thoughts. With that caveat, I place the defining origin point for hot rods and hot rod culture as the end of World War II. A number of factors came together at one time -- the period between the end of the war in 1945 and the begining of the 1950s -- and mainly in one place -- southern California -- to create a unique environment in which the hot rod and its culture were born.<br />
<br />
At the end of the war, a legion of young men returned to America with a wad of demobilization cash in their pockets and a sense of freedom and excitement bred by their experiences in the war. With a period of peace and the steadily increasing prosperity of the country as a backdrop, these young men had a "can-do" attitude and a desire to express themselves in ways that their time in the military had stifled. And, all of a sudden, there were a lot of inexpensive used cars available. For five years Detroit had basically been in the business of supplying the military. Now all that production capacity was turned to creating a stream of new cars to satisfy the pent-up demand of a civilian population that had scrimped and saved throughout the Great Depression of the 1930s and the sacrifices of the war years. Men who'd stayed behind to work in America's offices and factories had a lot of savings and they were ready to ditch their aging cars from the 1920s and 1930s for gleaming new models offered by the Big Three (and the others who are now gone, like Wilys and Kaiser). Their trade-ins became the starting point of the hot rodders, and came to define the way they were built and how they looked.These factors dictated the core aesthetic of the classic American hot rod. It was the later Model Ts and the plentiful early-30s Fords and Chevys that became the raw material for the young men who created hot rodding and hot rod culture. Here's a picture of a '32 Ford Roadster, a contemporary car, but one built on the style of those first hot rods. The basic performance and engineering elements of the hotrod came together in these cars: More power, less weight and a look derived from these things leading to chopped tops, channeled bodies, pinched frames, dropped axles and, eventually wide tires. <br />
And why southern California? Again, a lot has been written about the question of why southern California became the seed-bed for so much cultural change in the second half of the twentieth century. Part of it was Hollywood, part simply that the western part of the country had reached a critical mass of prosperity and population sufficient to establish itself as a new center of culture distinct from the old center in the northeast. But a few factors made southern California the right place for the birth of hot rodding. One was the climate: with year-round perfect temperature and little rainfall, young men of little means could work outside on cars that had few creature comforts themselves. More important, Los Angeles was the first city truly shaped from its beginnings by the automobile: There were more roads, and new ones there. Finally, and perhaps most importantly, was "the lakes," the dry lake beds just east of L.A. that became a magnet for the chopped and stripped-down speed machines. Here the hot rodders found miles and miles of hard, glass-flat surface upon which to run their machines.<br />
<br />
<br />
GOLDEN AGE <br />
<br />
<br />
The 1950s were the Golden Age of hot rodding and, for a while, there was only hot rodding -- not the different strains of car-craziness that it gave birth to. In the beginning, there was no distinction among the cars that kids played with as a form of street-running self-expression, the drag racing car, the customized work of art; there was just the hot rod, the amateur automobile artform. But the seeds of hot-rodding's progeny were growing during that time.<br />
<br />
The "lakes" were breeding a number of different kinds of cars aimed at faster and faster top speeds at the expense of driveability and, eventually even roadability. The famous "drop tank roadsters" exemplified these early forefathers of the machines that would some day exceed the speed of sound on the ground, built from war surplus military aircraft fuel tanks.<br />
<br />
Meanwhile, the true "drag strip" was born. The National Hot Rod Association was formed in 1951 to impose some safety standards on "those speed-crazed kids" and the NHRA, now the governing body for drag racing in the the U.S., held its first sanctioned event in southern California in 1953.<br />
<br />
Finally, the pure aesthetics of hot-rodding began to be expressed in the metalwork of exterior modifications to later, post-war cars. This gave rise to the "kustom" culture of cars that were increasingly works of pure visual art. Later, this gave rise to the show car world of the mid-1960s to the mid-1970s (detailed below.) <br />
<br />
<br />
But for a time, it was all one thing -- just young people exploring a new form of American individuality through the ultimate American experience, the road.<br />
<br />
<br />
HOT ROD CULTURE <br />
<br />
<br />
<br />
During the 1950s and into the early 1960s, the southern California scene connected with hot rods gave birth to a whole host of related cultural phenomena. The stars of custom car building, like Ed Roth and George Barris, became celebrities in the hot rod scene and some, like Roth and Von Dutch became visual artists in a weird and adolescent genre that had a life of its own apart from the cars. More than half the middle-aged men (in 2003, when I'm writing this) in America probably had some kind of Rat Fink image in their room when they were a kid. Many may not have realized the connection to the greasy hot rodders of a decade before. For a look at where this visual art is today take a look at this gallery (warning, it's not for the faint of heart).Then there was the music. At first, hot-rodding was associated with rockabilly, the first form of true rock and roll. But, just as hot rod culture became a defninable space in the general lanscape of American life, a different connection developed. Here it's not possible to separate the connection with a broader southern California scene, known by the often-inapplicable term "surf music." Most folks probably think of the Beach Boys and titles like "Little Deuce Coupe" and "409," but there were many other musicians who were mining the hot rod experience for subject matter. Jan and Dean come to mind, and the Ventures (with their album covers adorned with "wild" T-buckets), and the incredible Dick Dale, whose music to me is the sound of hot rodding.<br />
<br />
Hot rod culture sat at an intersection between the hipsters of the late 40s and 50s (think of Dean Moriarty's relationship with cars in Kerouac's On the Road, and "Big Daddy" Ed Roth's goatee), the lower-class aspirations of kids from the wrong side of the tracks in a country with rising economic expectations (think of the menace of Dennis Hopper's "Goon" in Rebel Without a Cause) and the general development of a "counterculture" of individuality and free expression. For a time, the hot rod became a central symbol of youth and creativity in America, and was as cool as anything around. But by the mid-1960s, the wave of the counterculture had moved on and, although many of the "show car" artists of the time incorporated things like peace symbols and images of long-haired guys in patched bell-bottoms in their work, the days when hot rod culture was part of the "crest of the wave" were over.<br />
<br />
<br />
== Show Cars ==</div>Zerilloshttps://wikicars.org/index.php?title=Custom_auto&diff=17181Custom auto2006-09-21T06:30:22Z<p>Zerillos: </p>
<hr />
<div>== Hot Rod History ==<br />
<br />
A lot has been written about the origins of the hot rod and the development of the culture that gave rise to them and then grew up around them. This is my own personal take on the subject, and I'm sure others with more detailed knowledge (including the many who were there) might well disagree with my thoughts. With that caveat, I place the defining origin point for hot rods and hot rod culture as the end of World War II. A number of factors came together at one time -- the period between the end of the war in 1945 and the begining of the 1950s -- and mainly in one place -- southern California -- to create a unique environment in which the hot rod and its culture were born.<br />
<br />
At the end of the war, a legion of young men returned to America with a wad of demobilization cash in their pockets and a sense of freedom and excitement bred by their experiences in the war. With a period of peace and the steadily increasing prosperity of the country as a backdrop, these young men had a "can-do" attitude and a desire to express themselves in ways that their time in the military had stifled. And, all of a sudden, there were a lot of inexpensive used cars available. For five years Detroit had basically been in the business of supplying the military. Now all that production capacity was turned to creating a stream of new cars to satisfy the pent-up demand of a civilian population that had scrimped and saved throughout the Great Depression of the 1930s and the sacrifices of the war years. Men who'd stayed behind to work in America's offices and factories had a lot of savings and they were ready to ditch their aging cars from the 1920s and 1930s for gleaming new models offered by the Big Three (and the others who are now gone, like Wilys and Kaiser). Their trade-ins became the starting point of the hot rodders, and came to define the way they were built and how they looked.These factors dictated the core aesthetic of the classic American hot rod. It was the later Model Ts and the plentiful early-30s Fords and Chevys that became the raw material for the young men who created hot rodding and hot rod culture. Here's a picture of a '32 Ford Roadster, a contemporary car, but one built on the style of those first hot rods. The basic performance and engineering elements of the hotrod came together in these cars: More power, less weight and a look derived from these things leading to chopped tops, channeled bodies, pinched frames, dropped axles and, eventually wide tires. <br />
And why southern California? Again, a lot has been written about the question of why southern California became the seed-bed for so much cultural change in the second half of the twentieth century. Part of it was Hollywood, part simply that the western part of the country had reached a critical mass of prosperity and population sufficient to establish itself as a new center of culture distinct from the old center in the northeast. But a few factors made southern California the right place for the birth of hot rodding. One was the climate: with year-round perfect temperature and little rainfall, young men of little means could work outside on cars that had few creature comforts themselves. More important, Los Angeles was the first city truly shaped from its beginnings by the automobile: There were more roads, and new ones there. Finally, and perhaps most importantly, was "the lakes," the dry lake beds just east of L.A. that became a magnet for the chopped and stripped-down speed machines. Here the hot rodders found miles and miles of hard, glass-flat surface upon which to run their machines.<br />
<br />
<br />
GOLDEN AGE <br />
<br />
<br />
The 1950s were the Golden Age of hot rodding and, for a while, there was only hot rodding -- not the different strains of car-craziness that it gave birth to. In the beginning, there was no distinction among the cars that kids played with as a form of street-running self-expression, the drag racing car, the customized work of art; there was just the hot rod, the amateur automobile artform. But the seeds of hot-rodding's progeny were growing during that time.<br />
<br />
The "lakes" were breeding a number of different kinds of cars aimed at faster and faster top speeds at the expense of driveability and, eventually even roadability. The famous "drop tank roadsters" exemplified these early forefathers of the machines that would some day exceed the speed of sound on the ground, built from war surplus military aircraft fuel tanks.<br />
<br />
Meanwhile, the true "drag strip" was born. The National Hot Rod Association was formed in 1951 to impose some safety standards on "those speed-crazed kids" and the NHRA, now the governing body for drag racing in the the U.S., held its first sanctioned event in southern California in 1953.<br />
<br />
Finally, the pure aesthetics of hot-rodding began to be expressed in the metalwork of exterior modifications to later, post-war cars. This gave rise to the "kustom" culture of cars that were increasingly works of pure visual art. Later, this gave rise to the show car world of the mid-1960s to the mid-1970s (detailed below.) <br />
<br />
<br />
But for a time, it was all one thing -- just young people exploring a new form of American individuality through the ultimate American experience, the road.<br />
<br />
<br />
HOT ROD CULTURE <br />
<br />
<br />
<br />
During the 1950s and into the early 1960s, the southern California scene connected with hot rods gave birth to a whole host of related cultural phenomena. The stars of custom car building, like Ed Roth and George Barris, became celebrities in the hot rod scene and some, like Roth and Von Dutch became visual artists in a weird and adolescent genre that had a life of its own apart from the cars. More than half the middle-aged men (in 2003, when I'm writing this) in America probably had some kind of Rat Fink image in their room when they were a kid. Many may not have realized the connection to the greasy hot rodders of a decade before. For a look at where this visual art is today take a look at this gallery (warning, it's not for the faint of heart).Then there was the music. At first, hot-rodding was associated with rockabilly, the first form of true rock and roll. But, just as hot rod culture became a defninable space in the general lanscape of American life, a different connection developed. Here it's not possible to separate the connection with a broader southern California scene, known by the often-inapplicable term "surf music." Most folks probably think of the Beach Boys and titles like "Little Deuce Coupe" and "409," but there were many other musicians who were mining the hot rod experience for subject matter. Jan and Dean come to mind, and the Ventures (with their album covers adorned with "wild" T-buckets), and the incredible Dick Dale, whose music to me is the sound of hot rodding.<br />
<br />
Hot rod culture sat at an intersection between the hipsters of the late 40s and 50s (think of Dean Moriarty's relationship with cars in Kerouac's On the Road, and "Big Daddy" Ed Roth's goatee), the lower-class aspirations of kids from the wrong side of the tracks in a country with rising economic expectations (think of the menace of Dennis Hopper's "Goon" in Rebel Without a Cause) and the general development of a "counterculture" of individuality and free expression. For a time, the hot rod became a central symbol of youth and creativity in America, and was as cool as anything around. But by the mid-1960s, the wave of the counterculture had moved on and, although many of the "show car" artists of the time incorporated things like peace symbols and images of long-haired guys in patched bell-bottoms in their work, the days when hot rod culture was part of the "crest of the wave" were over.</div>Zerilloshttps://wikicars.org/index.php?title=Custom_auto&diff=17180Custom auto2006-09-21T06:29:57Z<p>Zerillos: </p>
<hr />
<div>== Hot Rod History ==<br />
<br />
A lot has been written about the origins of the hot rod and the development of the culture that gave rise to them and then grew up around them. This is my own personal take on the subject, and I'm sure others with more detailed knowledge (including the many who were there) might well disagree with my thoughts. With that caveat, I place the defining origin point for hot rods and hot rod culture as the end of World War II. A number of factors came together at one time -- the period between the end of the war in 1945 and the begining of the 1950s -- and mainly in one place -- southern California -- to create a unique environment in which the hot rod and its culture were born.<br />
<br />
At the end of the war, a legion of young men returned to America with a wad of demobilization cash in their pockets and a sense of freedom and excitement bred by their experiences in the war. With a period of peace and the steadily increasing prosperity of the country as a backdrop, these young men had a "can-do" attitude and a desire to express themselves in ways that their time in the military had stifled. And, all of a sudden, there were a lot of inexpensive used cars available. For five years Detroit had basically been in the business of supplying the military. Now all that production capacity was turned to creating a stream of new cars to satisfy the pent-up demand of a civilian population that had scrimped and saved throughout the Great Depression of the 1930s and the sacrifices of the war years. Men who'd stayed behind to work in America's offices and factories had a lot of savings and they were ready to ditch their aging cars from the 1920s and 1930s for gleaming new models offered by the Big Three (and the others who are now gone, like Wilys and Kaiser). Their trade-ins became the starting point of the hot rodders, and came to define the way they were built and how they looked.These factors dictated the core aesthetic of the classic American hot rod. It was the later Model Ts and the plentiful early-30s Fords and Chevys that became the raw material for the young men who created hot rodding and hot rod culture. Here's a picture of a '32 Ford Roadster, a contemporary car, but one built on the style of those first hot rods. The basic performance and engineering elements of the hotrod came together in these cars: More power, less weight and a look derived from these things leading to chopped tops, channeled bodies, pinched frames, dropped axles and, eventually wide tires. <br />
And why southern California? Again, a lot has been written about the question of why southern California became the seed-bed for so much cultural change in the second half of the twentieth century. Part of it was Hollywood, part simply that the western part of the country had reached a critical mass of prosperity and population sufficient to establish itself as a new center of culture distinct from the old center in the northeast. But a few factors made southern California the right place for the birth of hot rodding. One was the climate: with year-round perfect temperature and little rainfall, young men of little means could work outside on cars that had few creature comforts themselves. More important, Los Angeles was the first city truly shaped from its beginnings by the automobile: There were more roads, and new ones there. Finally, and perhaps most importantly, was "the lakes," the dry lake beds just east of L.A. that became a magnet for the chopped and stripped-down speed machines. Here the hot rodders found miles and miles of hard, glass-flat surface upon which to run their machines.<br />
<br />
<br />
GOLDEN AGE <br />
<br />
<br />
The 1950s were the Golden Age of hot rodding and, for a while, there was only hot rodding -- not the different strains of car-craziness that it gave birth to. In the beginning, there was no distinction among the cars that kids played with as a form of street-running self-expression, the drag racing car, the customized work of art; there was just the hot rod, the amateur automobile artform. But the seeds of hot-rodding's progeny were growing during that time.<br />
<br />
The "lakes" were breeding a number of different kinds of cars aimed at faster and faster top speeds at the expense of driveability and, eventually even roadability. The famous "drop tank roadsters" exemplified these early forefathers of the machines that would some day exceed the speed of sound on the ground, built from war surplus military aircraft fuel tanks.<br />
<br />
Meanwhile, the true "drag strip" was born. The National Hot Rod Association was formed in 1951 to impose some safety standards on "those speed-crazed kids" and the NHRA, now the governing body for drag racing in the the U.S., held its first sanctioned event in southern California in 1953.<br />
<br />
Finally, the pure aesthetics of hot-rodding began to be expressed in the metalwork of exterior modifications to later, post-war cars. This gave rise to the "kustom" culture of cars that were increasingly works of pure visual art. Later, this gave rise to the show car world of the mid-1960s to the mid-1970s (detailed below.) <br />
<br />
<br />
But for a time, it was all one thing -- just young people exploring a new form of American individuality through the ultimate American experience, the road.<br />
<br />
<br />
HOT ROD CULTURE <br />
<br />
<br />
<br />
During the 1950s and into the early 1960s, the southern California scene connected with hot rods gave birth to a whole host of related cultural phenomena. The stars of custom car building, like Ed Roth and George Barris, became celebrities in the hot rod scene and some, like Roth and Von Dutch became visual artists in a weird and adolescent genre that had a life of its own apart from the cars. More than half the middle-aged men (in 2003, when I'm writing this) in America probably had some kind of Rat Fink image in their room when they were a kid. Many may not have realized the connection to the greasy hot rodders of a decade before. For a look at where this visual art is today take a look at this gallery (warning, it's not for the faint of heart).Then there was the music. At first, hot-rodding was associated with rockabilly, the first form of true rock and roll. But, just as hot rod culture became a defninable space in the general lanscape of American life, a different connection developed. Here it's not possible to separate the connection with a broader southern California scene, known by the often-inapplicable term "surf music." Most folks probably think of the Beach Boys and titles like "Little Deuce Coupe" and "409," but there were many other musicians who were mining the hot rod experience for subject matter. Jan and Dean come to mind, and the Ventures (with their album covers adorned with "wild" T-buckets), and the incredible Dick Dale, whose music to me is the sound of hot rodding. <br />
Hot rod culture sat at an intersection between the hipsters of the late 40s and 50s (think of Dean Moriarty's relationship with cars in Kerouac's On the Road, and "Big Daddy" Ed Roth's goatee), the lower-class aspirations of kids from the wrong side of the tracks in a country with rising economic expectations (think of the menace of Dennis Hopper's "Goon" in Rebel Without a Cause) and the general development of a "counterculture" of individuality and free expression. For a time, the hot rod became a central symbol of youth and creativity in America, and was as cool as anything around. But by the mid-1960s, the wave of the counterculture had moved on and, although many of the "show car" artists of the time incorporated things like peace symbols and images of long-haired guys in patched bell-bottoms in their work, the days when hot rod culture was part of the "crest of the wave" were over.</div>Zerilloshttps://wikicars.org/index.php?title=Custom_auto&diff=17179Custom auto2006-09-21T06:27:53Z<p>Zerillos: </p>
<hr />
<div><br />
== Hot Rod History ==<br />
<br />
A lot has been written about the origins of the hot rod and the development of the culture that gave rise to them and then grew up around them. This is my own personal take on the subject, and I'm sure others with more detailed knowledge (including the many who were there) might well disagree with my thoughts. With that caveat, I place the defining origin point for hot rods and hot rod culture as the end of World War II. A number of factors came together at one time -- the period between the end of the war in 1945 and the begining of the 1950s -- and mainly in one place -- southern California -- to create a unique environment in which the hot rod and its culture were born.<br />
<br />
At the end of the war, a legion of young men returned to America with a wad of demobilization cash in their pockets and a sense of freedom and excitement bred by their experiences in the war. With a period of peace and the steadily increasing prosperity of the country as a backdrop, these young men had a "can-do" attitude and a desire to express themselves in ways that their time in the military had stifled. And, all of a sudden, there were a lot of inexpensive used cars available. For five years Detroit had basically been in the business of supplying the military. Now all that production capacity was turned to creating a stream of new cars to satisfy the pent-up demand of a civilian population that had scrimped and saved throughout the Great Depression of the 1930s and the sacrifices of the war years. Men who'd stayed behind to work in America's offices and factories had a lot of savings and they were ready to ditch their aging cars from the 1920s and 1930s for gleaming new models offered by the Big Three (and the others who are now gone, like Wilys and Kaiser). Their trade-ins became the starting point of the hot rodders, and came to define the way they were built and how they looked.These factors dictated the core aesthetic of the classic American hot rod. It was the later Model Ts and the plentiful early-30s Fords and Chevys that became the raw material for the young men who created hot rodding and hot rod culture. Here's a picture of a '32 Ford Roadster, a contemporary car, but one built on the style of those first hot rods. The basic performance and engineering elements of the hotrod came together in these cars: More power, less weight and a look derived from these things leading to chopped tops, channeled bodies, pinched frames, dropped axles and, eventually wide tires. <br />
And why southern California? Again, a lot has been written about the question of why southern California became the seed-bed for so much cultural change in the second half of the twentieth century. Part of it was Hollywood, part simply that the western part of the country had reached a critical mass of prosperity and population sufficient to establish itself as a new center of culture distinct from the old center in the northeast. But a few factors made southern California the right place for the birth of hot rodding. One was the climate: with year-round perfect temperature and little rainfall, young men of little means could work outside on cars that had few creature comforts themselves. More important, Los Angeles was the first city truly shaped from its beginnings by the automobile: There were more roads, and new ones there. Finally, and perhaps most importantly, was "the lakes," the dry lake beds just east of L.A. that became a magnet for the chopped and stripped-down speed machines. Here the hot rodders found miles and miles of hard, glass-flat surface upon which to run their machines.<br />
<br />
<br />
GOLDEN AGE <br />
<br />
<br />
The 1950s were the Golden Age of hot rodding and, for a while, there was only hot rodding -- not the different strains of car-craziness that it gave birth to. In the beginning, there was no distinction among the cars that kids played with as a form of street-running self-expression, the drag racing car, the customized work of art; there was just the hot rod, the amateur automobile artform. But the seeds of hot-rodding's progeny were growing during that time.<br />
<br />
The "lakes" were breeding a number of different kinds of cars aimed at faster and faster top speeds at the expense of driveability and, eventually even roadability. The famous "drop tank roadsters" exemplified these early forefathers of the machines that would some day exceed the speed of sound on the ground, built from war surplus military aircraft fuel tanks: <br />
Meanwhile, the true "drag strip" was born. The National Hot Rod Association was formed in 1951 to impose some safety standards on "those speed-crazed kids" and the NHRA, now the governing body for drag racing in the the U.S., held its first sanctioned event in southern California in 1953. <br />
<br />
<br />
Finally, the pure aesthetics of hot-rodding began to be expressed in the metalwork of exterior modifications to later, post-war cars. This gave rise to the "kustom" culture of cars that were increasingly works of pure visual art. Later, this gave rise to the show car world of the mid-1960s to the mid-1970s (detailed below.) <br />
<br />
<br />
But for a time, it was all one thing -- just young people exploring a new form of American individuality through the ultimate American experience, the road.<br />
<br />
<br />
HOT ROD CULTURE <br />
<br />
<br />
<br />
During the 1950s and into the early 1960s, the southern California scene connected with hot rods gave birth to a whole host of related cultural phenomena. The stars of custom car building, like Ed Roth and George Barris, became celebrities in the hot rod scene and some, like Roth and Von Dutch became visual artists in a weird and adolescent genre that had a life of its own apart from the cars. More than half the middle-aged men (in 2003, when I'm writing this) in America probably had some kind of Rat Fink image in their room when they were a kid. Many may not have realized the connection to the greasy hot rodders of a decade before. For a look at where this visual art is today take a look at this gallery (warning, it's not for the faint of heart).Then there was the music. At first, hot-rodding was associated with rockabilly, the first form of true rock and roll. But, just as hot rod culture became a defninable space in the general lanscape of American life, a different connection developed. Here it's not possible to separate the connection with a broader southern California scene, known by the often-inapplicable term "surf music." Most folks probably think of the Beach Boys and titles like "Little Deuce Coupe" and "409," but there were many other musicians who were mining the hot rod experience for subject matter. Jan and Dean come to mind, and the Ventures (with their album covers adorned with "wild" T-buckets), and the incredible Dick Dale, whose music to me is the sound of hot rodding. <br />
Hot rod culture sat at an intersection between the hipsters of the late 40s and 50s (think of Dean Moriarty's relationship with cars in Kerouac's On the Road, and "Big Daddy" Ed Roth's goatee), the lower-class aspirations of kids from the wrong side of the tracks in a country with rising economic expectations (think of the menace of Dennis Hopper's "Goon" in Rebel Without a Cause) and the general development of a "counterculture" of individuality and free expression. For a time, the hot rod became a central symbol of youth and creativity in America, and was as cool as anything around. But by the mid-1960s, the wave of the counterculture had moved on and, although many of the "show car" artists of the time incorporated things like peace symbols and images of long-haired guys in patched bell-bottoms in their work, the days when hot rod culture was part of the "crest of the wave" were over.</div>Zerilloshttps://wikicars.org/index.php?title=Category:Auto_Shows&diff=17059Category:Auto Shows2006-09-14T19:06:42Z<p>Zerillos: </p>
<hr />
<div>== C ==<br />
[http://www.zercustoms.com Car Show Photos]</div>Zerilloshttps://wikicars.org/index.php?title=North_American_International_Auto_Show&diff=17058North American International Auto Show2006-09-14T19:03:48Z<p>Zerillos: </p>
<hr />
<div>[[Image:NAIAS-2005.jpg|thumbnail|360px|right|NAIAS 2005, near the [[Audi]] exhibit.]]<br />
<br />
The '''North American International Auto Show''' (previously called the '''Detroit Auto Show''' and often abbreviated '''NAIAS''') is an annual [[automobile]] show (or [[auto show]]) that occurs every [[year]] in [[Detroit, Michigan]]. The first auto show occurred in Detroit in [[1907]] at Beller's Beer Garden at Riverside Park and has been held every year except [[1943]]-[[1952]]. It was renamed the North American International Auto Show in [[1989]]. Since [[1965]], it has been held at [[Cobo Hall|Cobo Center]] where it occupies 1 million square feet (93,000 m²) of floor space. The show is particularly important because Detroit is the location of the headquarters of the Big Three American automakers, [[Chrysler Corporation|Chrysler]], [[Ford Motor Company|Ford]], and [[General Motors Corporation|General Motors]].<br />
<br />
The show begins with press preview days, industry preview days and a charity preview event. The charity preview raises money for local children's charities. In [[2004]] and [[2005]], the charity preview attracted 17,500 people at $400 a ticket and raised $7 million in total. [[2006]] was the sixth consecutive year the charity preview event raised over $6 million. 35,711 tickets were sold for the industry preview representing people from 24 countries in 2005 and 6,897 credentialed press from 63 countries. Over 800,000 attended during the days the show was open to the general public in 2004. It is estimated that the show provides over $500 million to the local economy.<br />
<br />
The NAIAS was long the only auto show in the United States sanctioned by the [[Organisation Internationale des Constructeurs d'Automobiles]]. Starting with the 2006 season, however, the [[Greater Los Angeles Auto Show]] will also be recognized.<br />
<br />
==2007==<br />
Introductions at the [[2007]] show:<br />
* 2008 [[Ford Five Hundred]] update<br />
* 2007 [[Ford Focus]] refresh<br />
* [[Rear wheel drive]] [[Pontiac]] sedan concept<br />
* 2008 [[Hyundai Veracruz]] midsize crossover SUV<br />
<br />
==2006==<br />
The [[2006]] show was held from [[January 8]] through [[January 22]]. <br />
* January 8-10 — Press days<br />
* January 11-12 — Industry days<br />
* January 13 — Charity preview<br />
* January 14-22 — Open to the public<br />
<br />
===Production car introductions===<br />
[[Image:Hummer-H3-NAIAS-2005.jpg|thumb|2007 Hummer H3|250px|right]]<br />
[[Image:Jaguar XK front IAA 2005.jpg|thumb|2007 Jaguar XK|250px|right]]<br />
* [[2006]] [[Audi RS4]]<br />
* [[2007]] [[Audi S6]]<br />
* 2007 [[Audi S8]]<br />
* 2006 [[BMW 3-Series|BMW 325xi]] Sports Wagon<br />
* 2007 [[BMW M Roadster]]<br />
* 2006 [[BMW M6]]<br />
* 2006 [[BMW Z4]] Coupe<br />
* 2007 [[Cadillac Escalade]]<br />
* 2007 [[Cadillac Escalade]] ESV<br />
* 2007 [[Cadillac Escalade]] EXT<br />
* 2007 [[Chevrolet Aveo]]<br />
* 2007 [[Chevrolet Suburban]] LTZ<br />
* 2007 [[Chevrolet Tahoe]] LTZ<br />
* 2007 [[Chevrolet Tahoe]] Two-Mode Hybrid<br />
* 2007 [[Chrysler Aspen]]<br />
* 2007 [[Dodge Caliber]]<br />
* 2007 [[Ford Edge]]<br />
* 2007 [[Shelby Mustang#2007|Ford Shelby Cobra GT500]]<br />
* 2007 [[Ford Explorer Sport Trac]] [[Ford Explorer#Sport Trac|Adrenalin]]<br />
* 2007 [[GMC Yukon]]<br />
* 2007 [[GMC Yukon]] XL<br />
* 2007 [[Honda Fit]]<br />
* 2007 [[Hummer H3]]x<br />
* 2007 [[Hyundai Santa Fe]]<br />
* 2007 [[Jaguar XK]] convertible<br />
* 2007 [[Jeep Compass]]<br />
* 2007 [[Jeep Wrangler]]<br />
* 2007 [[Kia Optima]]<br />
* 2007 [[Lexus LS]]<br />
* 2007 [[Lincoln MKX]]<br />
* 2006 [[Maserati GranSport]] Spyder<br />
* 2006 [[Maserati Quattroporte]] Sport GT and Executive GT<br />
* 2007 [[Mercedes-Benz E-Class|Mercedes-Benz E320 Bluetec]]<br />
* 2007 [[Mercedes-Benz GL-Class|Mercedes-Benz GL320 Bluetec]]<br />
* 2007 [[Mercedes-Benz GL-Class|Mercedes-Benz GL450]]<br />
* 2007 [[Mercedes-Benz M-Class|Mercedes-Benz ML63 AMG]]<br />
* 2007 [[Mercedes-Benz R-Class|Mercedes-Benz R63 AMG]]<br />
* 2006 [[Mercedes-Benz S-Class|Mercedes-Benz S550]]<br />
* 2007 [[Mercedes-Benz S-Class|Mercedes-Benz S65 AMG]]<br />
* 2007 [[Mitsubishi Eclipse]] Spyder<br />
* 2007 [[Nissan Versa]]<br />
* 2007 [[Nissan Sentra]]<br />
* 2007 [[Pontiac Solstice]] GXP<br />
* 2007 [[Saturn Sky]]<br />
* 2007 [[Saturn VUE|Saturn VUE Green Line]]<br />
* 2007 [[Toyota Camry]] (''[[AutoWeek]]'' "Most Significant")<br />
* 2007 [[Toyota Camry Hybrid]]<br />
* 2007 [[Toyota FJ Cruiser]]<br />
* 2007 [[Toyota Yaris]]<br />
* 2006 [[Volvo C70|Volvo C70 Convertible]]<br />
* [[Geely]] 7151CK (the first [[China|Chinese]] automobile ever shown in the United States)<br />
<br />
===Concept car introductions===<br />
[[Image:2009-challenger-concept.jpg|thumb|Dodge Challenger Concept|250px|right]]<br />
* [[Aston Martin]] [[Aston Martin Rapide|Rapide]] [[sedan|saloon]] concept<br />
* [[Acura RDX]] prototype<br />
* [[Audi Roadjet]] concept (mid-size [[station wagon]])<br />
* [[BMW X3]] Hybrid Efficient Dynamics concept<br />
* 2007 [[Buick Enclave]] concept<br />
* [[Chevrolet Camaro#Generation 5|Chevrolet Camaro Concept]] (''[[AutoWeek]]'' "Best In Show")<br />
* [[Chrysler Imperial#2006|Chrysler Imperial]] concept<br />
* [[Dodge Challenger#2009|Dodge Challenger Concept]] (''[[AutoWeek]]'' "Best Concept")<br />
* [[Ford Motor Company|Ford]] iosis sedan concept<br />
* [[Ford Reflex]] concept ([[Diesel]]/electric/[[solar power|solar]] [[hybrid car]]) [http://media.ford.com/newsroom/feature_display.cfm?release=22280&cmp=rss_media_fmc]<br />
* [[Ford Motor Company|Ford]] F-250 Super Chief luxury pickup concept<br />
* [[Hyundai]] HCD9 Talus concept<br />
* [[Infiniti G35|Infiniti G35 Coupe Concept]]<br />
* [[Jeep Patriot]] crossover concept<br />
* [[Kia Motors|Kia]] Soul concept crossover SUV<br />
* [[Lamborghini Miura#2006 Miura concept|Lamborghini Miura]] concept<br />
* [[Lincoln (automobile)|Lincoln]] [[Lincoln MKS|MKS]] Concept Sedan<br />
* [[Maserati]] Pininfarina Birdcage concept<br />
* [[Maybach Exelero]] concept<br />
* [[Mazda Kabura]] concept<br />
* [[Mazda Mazda5]] hydrogen rotary concept<br />
* [[BMW MINI|Mini Concept Detroit]]<br />
* [[Mitsubishi Motors|Mitsubishi]] Concept-CT MIEV (a [[hybrid car]] prototype with electric motors at the wheels)<br />
* [[Nissan]] Urge [[roadster]] concept (''[[AutoWeek]]'' "Most Fun") Car with built in [[Xbox 360]].<br />
* [[Saab 9-5]] Aero BioPower concept<br />
* [[Subaru]] B5-TPH concept<br />
* [[Toyota]] F3R concept<br />
* [[Volvo C30]] concept<br />
<br />
<br style="clear:both" /><br />
<br />
==2005==<br />
The [[2005]] show saw the following important introductions:<br />
<br />
===Production car introductions===<br />
* 2006 [[Cadillac STS#STS-V|Cadillac STS-V]]<br />
* 2006 [[Chevrolet Corvette|Chevrolet Corvette Z06]]<br />
* 2006 [[Chrysler 300C|Chrysler 300C SRT-8]] <br />
* 2006 [[Dodge Charger (LX)|Dodge Charger]]<br />
* 2006 [[Dodge Viper|Dodge Viper SRT-10 Coupe]]<br />
* 2006 [[Ford Fusion]]<br />
* 2006 [[Honda Ridgeline]]<br />
* 2006 [[Hyundai Sonata]]<br />
* 2006 [[Infiniti M]]<br />
* 2006 [[Kia Rio]]<br />
* 2006 [[Land Rover Range Rover]]<br />
* 2006 [[Land Rover Range Rover Sport]]<br />
* 2006 [[Lincoln Zephyr]]<br />
* 2006 [[Mercedes-Benz M-Class]]<br />
* 2006 [[Mercury Milan]]<br />
* 2006 [[Mitsubishi Eclipse]]<br />
* 2006 [[Mitsubishi Raider]]<br />
* 2006 [[Porsche 911|Porsche 911 Cabrio]]<br />
* 2005 [[Saab 9-7X]]<br />
* 2007 [[Saturn Sky]]<br />
* 2006 [[Subaru B9|Subaru B9 Tribeca]]<br />
<br />
===Concept car introductions===<br />
* [[Audi Allroad Quattro Concept]]<br />
* [[Chrysler Firepower]]<br />
* [[Ford Explorer#2007|Ford Explorer Sport Trac Concept]]<br />
* [[Ford Fairlane (North American)#2008 Ford Fairlane|Ford Fairlane Concept]]<br />
* [[Ford Shelby GR-1]]<br />
* [[Ford SYNUS]]<br />
* [[General Motors Sequel]]<br />
* [[GMC Graphyte Hybrid]]<br />
* [[Jaguar Advanced Lightweight Coupe Concept]]<br />
* [[Mercury Meta One]]<br />
* [[Nissan AZEAL]]<br />
* [[Opel Astra]] hybrid concept<br />
* [[Suzuki Concept X]]<br />
* [[Toyota FT-SX]]<br />
* [[Volkswagen New Beetle#The Ragster Concept|Volkswagen New Beetle Ragster]]<br />
<br />
==1992==<br />
===Production car introductions===<br />
The following production vehicles debuted at the [[1992]] show:<br />
* [[1993]] [[Audi 100|Audi 100CS Quattro]]<br />
* 1993 [[Audi Cabriolet]]<br />
* 1993 [[BMW E36]] [[BMW 3 Series|3 Series coupes]]<br />
* 1993 [[Chrysler Concorde]]<br />
* [[1994]] [[Chrysler New Yorker]]<br />
* 1993 [[Dodge Intrepid]]<br />
* 1993 [[Eagle Vision]]<br />
* 1993 [[Ford Probe]] ''GT''<br />
* 1993 [[Jeep Grand Cherokee]]<br />
* 1993 [[Mercedes-Benz W140]] [[Mercedes-Benz S-Class|600SEC]]<br />
* 1993 [[Mercury Villager]]<br />
* 1993 [[Nissan Quest]]<br />
* 1993 [[Nissan 240SX]] convertible<br />
* 1993 [[Nissan 300ZX]] convertible<br />
* 1993 [[Saturn SW]]<br />
<br />
===Concept car introductions===<br />
The following concept cars were shown:<br />
* [[Buick]] Sceptre<br />
* [[Chevrolet]] Sizigi<br />
* [[Chrysler Cirrus]] concept<br />
* [[Dodge]] EPIC<br />
* [[Ford Motor Company|Ford]] Connecta<br />
* [[General Motors Ultralite]] <br />
* [[Hyundai Motor Company|Hyundai]] HCD-1<br />
* [[Lincoln (automobile)|Lincoln]] Marque X<br />
* [[Oldsmobile]] Anthem<br />
* [[Pontiac]] Salsa<br />
<br />
==1989==<br />
<br />
The Detroit Auto Show was renamed to the North American International Auto Show for 1989, as [[Lexus]] and [[Infiniti]] debuted. The show opened on January 11, with press previews and introductions for the first two days.<br />
<br />
Introductions:<br />
* [[Audi V8]]<br />
* [[Chevrolet Lumina]]<br />
* [[Chevrolet Lumina APV]]<br />
* [[Chevrolet Corvette C4#ZR-1|Chevrolet Corvette ZR-1]]<br />
* [[Chrysler LeBaron|Chrysler LeBaron GT]]<br />
* [[Chrysler Town & Country]]<br />
* [[Dodge Dakota]] convertible<br />
* [[Dodge Viper]] concept<br />
* [[Geo Prizm]]<br />
* [[Geo Storm]]<br />
* [[Infiniti Q|Infiniti Q45]]<br />
* [[Lexus LS|Lexus LS400]]<br />
* [[Lotus Esprit]] Turbo<br />
* [[Mazda MPV]]<br />
* [[Mitsubishi Eclipse]]<br />
* [[Plymouth Laser]]<br />
* [[Porsche 911]] Carrera 4 and Speedster<br />
* [[Porsche 944]] S2 Cabriolet<br />
* [[Shelby Dakota]]<br />
* [[Shelby CSX#CSX-VNT|Shelby CSX-VNT]]<br />
* [[Volkswagen Corrado]]<br />
<br />
==External links==<br />
*[http://www2.naias.com/default.asp Official webpage]<br />
*[http://www.mph-online.com/web/news/00245 2006 Coverage by&nbsp;mph Magazine]<br />
*[http://www.thecarconnection.com/Auto_News/Car_Shows/Detroit_Auto_Show/2006_Detroit_Auto_Show_Index.S286.A9795.html 2006 Coverage from The Car Connection]<br />
*[http://www.zercustoms.com Car Show Photos]<br />
<br />
[[Category:1907 establishments]]<br />
[[Category:Auto shows]]<br />
[[Category:Detroit culture]]<br />
[[Category:Michigan culture]]<br />
<br />
[[de:North American International Auto Show]]<br />
[[nl:North American International Auto Show]]<br />
[[sr:Северноамерички међународни сајам аутомобила]]<br />
[[pt:North American International Auto Show]]</div>Zerilloshttps://wikicars.org/index.php?title=Automobile_ancillary_power&diff=17056Automobile ancillary power2006-09-14T19:00:34Z<p>Zerillos: /* Vacuum */</p>
<hr />
<div>Several different methods of '''automobile ancillary power''' exist. The ultimate source of power for most of them is the [[automobile]]'s main power source—normally an [[internal combustion engine]] of some kind—but some way of transferring power to the vehicle's ancillary systems is required. This may be through direct [[mechanical]] connection, [[electricity]], [[hydraulic]] systems, [[vacuum]], or [[compressed air]].<br />
<br />
The trend in modern vehicles is toward making all ancilliaries run on electrical power, simplifying the vehicle's systems and making them easier to control automatically.<br />
<br />
==Mechanical==<br />
<br />
Some automobile accessories are connected directly to the engine through [[gear]]s or [[belt (mechanics)|belt]]s. These may include ancillary systems that directly service the engine; the [[water pump]], [[fuel pump]], [[oil pump]], [[fan (implement)|cooling fan]], etc. Another class of mechanically connected ancilliaries are those that require large amounts of power; for example, an [[air conditioning]] [[gas compressor|compressor]].<br />
<br />
Also mechanically connected to the engine are components to convert this mechanical power into other forms; for example, an [[alternator]] to charge the [[battery (electricity)|battery]], or a hydraulic [[pump]] to drive the power [[steering]].<br />
<br />
==Electrical==<br />
Automobiles have had electrically driven systems from the beginning, since the spark-ignition engine used in most vehicles requires electricity to generate the spark. Initially this was generated by a [[magneto]] and was only of use for ignition, but it was not long before an engine-driven DC [[generator]] was fitted. Because of the varying electrical power available from such a generator as engine speed changed, the generator was not connected directly to a car's electrical systems but rather through a lead-acid [[Battery (electricity)|battery]] which enabled a more constant, smoothed flow of power and a limited supply of that power even with the engine off. This availability encouraged the use of other electrical accessories, such as lighting (which had previously been through [[kerosene lamp|oil lamps]] or [[acetylene]] lamps) and the [[automobile self starter]]. In the 1950's, six-volt systems gave way to the more robust and powerful twelve-volt standard as power accessories began to proliferate.<br />
<br />
A further advance occurred when the DC generator was replaced by the combination of an [[alternator]] and a [[voltage regulator]], first introduced on the 1960 [[Plymouth Valiant]]. This gave a more reliable power source capable of handling greater loads, and was the final impetus to electrify more and more vehicle subsystems which had hitherto been driven by other sources of power.<br />
<br />
Today, most systems in the average vehicle such as [[power window]]s, [[power seat]]s, and [[power door locks]] are electrically powered. The exceptions tend to be the A/C compressor and the [[power steering]], although electrically driven power steering systems have been developed and are being used in a few models such as the [[Chevrolet Cobalt]]. Higher voltage wiring, even up to forty-two volts, has been discussed by the industry but never adopted for ordinary cars, reportedly because such high-energy systems could potentially cause harmful or fatal [[electric shock]].<br />
<br />
==Hydraulic==<br />
<br />
Hydraulic systems in the automobile generally have a hydraulic pump, driven electrically or directly from the engine via a belt. In passenger cars, the most common use of hydraulics is in the [[power steering]] system, which is hydraulically driven in the vast majority of vehicles. [[Convertible]] tops can be raised and lowered using hydraulics, although other methods, such as electrically, have also been used. Historically, [[windshield wiper]]s were sometimes hydraulically driven, although this use mostly ceased after the late [[1960s]]. Aside from these, the use of hydraulics on cars has been confined to the French company [[Citroën]] and cars built under their influence. Citroën devised a high-pressure hydraulics system for cars which was used to drive all manner of systems, even power-adjustable seats.<br />
<br />
In other vehicles, such as heavy [[truck]]s, [[tractor]]s and the like, hydraulic systems are much more common. [[Hydraulic ram]]s drive dump truck beds, cranes, loaders, [[3-point hitch]]es on tractors, and much more.<br />
<br />
==Vacuum==<br />
An easily-accessible source of power from an internal combustion engine is partial [[vacuum]], available by tapping the [[manifold (automotive engineering)|inlet manifold]]. The [[piston engine]] is fundamentally an air [[pump]], and it produces suction and partial [[manifold vacuum]] on the inlet side. This can be used to power accessories or advance the [[ignition system]] [[spark plug|spark]] timing.<br />
<br />
Inlet manifold vacuum varies depending on engine load and [[throttle]] position. Therefore, rather than being connected directly, "vacuum canisters" are sometimes used to smooth things out, also to have a vacuum 'reserve' on [[turbo charger|turbo charged]] engines where, when the [[Turbo Engine|turbo]] is active, there exists no vacuum but an overpressure in the inlet manifold.<br />
<br />
These cannisters are connected to the inlet manifold through one-way valves that allow air to be sucked out when the engine is generating a lot of vacuum, but do not allow air to flow in. They can be viewed as, effectively, a "vacuum [[battery (electricity)|battery]]". Vacuum canisters allow vacuum accessories to be operated for a limited time even when the engine is turned off. (Electrical systems could not do this until the development of '''retained accessory power''' allowed power accessories to function after the ignition is turned off.)<br />
<br />
The most common vacuum-powered ancillary is the power-assisted braking system. This is often vacuum powered even on modern cars, and is generally connected directly to manifold vacuum for increased reliability. In this case, the vacuum is only an assist; the brakes function (albeit requiring greater force) if vacuum power is lost.<br />
<br />
Many older cars used vacuum-powered [[windscreen wiper]]s; loss of manifold vacuum when the engine was working hard, with wide open throttle, caused these to slow down or even stop when climbing hills. Even in ordinary conditions, their speed varied inversely with the speed of the car--the wipers ran slower at higher vehicle speeds, an inconveient and even unsafe characteristic.<br />
<br />
Automotive vacuum systems reached their height of sophistication in the late [[1960s]], after which their use declined. Electrical power was not trusted as reliable at the time, especially for door locks. As an example, a 1967 [[Ford Thunderbird]] used vacuum for:<br />
* Power [[brake]]s<br />
* [[Transmission (mechanics)|Transmission]] shift control<br />
* [[Headlight]] doors<br />
* Remote trunk latch release<br />
* Rear cabin vent control<br />
* [[Power door lock]]s<br />
* Ventilation air routing<br />
* Control of the [[heater core]] valve<br />
* Tilt-away steering wheel release<br />
Such systems tended to be increasingly unreliable with age, however, as the long runs of vacuum tubing necessary were very susceptible to leaks.<br />
<br />
==External Links==<br />
* [http://www.zercustoms.com/news/Car-Hydraulics.php Car Hydraulics]<br />
<br />
==Compressed air==<br />
<br />
Compressed air systems are rarely found in cars, but larger vehicles often use [[air brake (rail)|air brakes]]. These normally use an electrically-driven compressor and large air tanks. Sometimes air is used to drive other systems as well.<br />
<br />
[[Category:Automotive technologies]]</div>Zerilloshttps://wikicars.org/index.php?title=Semi-automatic_transmission&diff=17055Semi-automatic transmission2006-09-14T18:59:24Z<p>Zerillos: </p>
<hr />
<div>'''Semi-[[Automatic transmission|automatic]] transmission''', or '''clutchless manual transmission''', is a system which uses electronic sensors, processors and actuators to do [[gear shift]]s on the command of the driver. This removes the need for a clutch pedal which the driver needs to depress before making a gear change, since the clutch itself is actuated by electronic equipment which can synchronise the timing and torque required to make gear shifts quick and smooth. The system was designed by European [[automobile]] manufacturers to provide a better driving experience, especially in cities where congestion frequently causes stop-and-go traffic patterns.<br />
<br />
In standard mass-production automobiles, the gear lever appears similar to manual shifts, except that the shift stick only moves forward and backward to shift into higher and lower gears respectively, instead of the traditional H-pattern. The Bugatti Veyron uses this approach for its 7-speed transmission. In [[Formula One]], the system is adapted to fit onto the steering wheel in the form of two [[paddle]]s; depressing the right paddle shifts into a higher gear, while depressing the left paddle shifts into a lower one. Numerous road cars have inherited the same mechanism.<br />
<br />
Hall effect sensors sense the direction of requested shift, and this input, together with a sensor in the [[gear box]] which senses the current speed and gear selected, feeds into a central processing unit. This unit then determines the optimal timing and torque required for a smooth clutch engagement, based on input from these two sensors as well as other factors, such as engine rotation, the Electronic Stability Program, [[air conditioner]] and [[dashboard]] instruments.<br />
<br />
The central processing unit powers a hydro-mechanical unit to either engage or disengage the clutch, which is kept in close synchronization with the gear-shifting action the driver has started. The hydro-mechanical unit contains a servomotor coupled to a gear arrangement for a linear actuator, which uses brake fluid from the braking system to impel a hydraulic cylinder to move the main clutch actuator.<br />
<br />
The power of the system lies in the fact that electronic equipment can react much faster and more precisely than a human, and takes advantage of the precision of electronic signals to allow a complete clutch operation without the intervention of the driver.<br />
<br />
Historically, the first semi-[[Automatic transmission|automatic]] transmission which was marketed was the 1941 M4/Vacamatic Transmission by [[Chrysler]]. It was an early attempt at an [[Automatic transmission|automatic]] transmission that still required the use of a clutch, primarily to start and stop. Later, the Volkswagen Beetle came with an optional "Autostick", which was essentially a clutchless manual with three forward gears. <br />
<br />
Citroen is one manufacturer that committed to semi [[Automatic transmission|automatic]] transmission. First appearing in 1955 on the Citroen DS, an hydraulic system was used to select gears and operate the conventional clutch using hydraulic servos. There was also a speed controller and idle speed step-up device, all hydraulically operated. This was a clutchless shifting with a single column mounted selector. The Citroen 2CV gained a device named 'Trafficlutch', a centrefugal clutch that enabled clutchless changes in the first two ratios only (for town driving). The DS's semi [[Automatic transmission|automatic]] transmission was nicknamed 'Citro-Matic' in the United States. Later, the manufacturer introduced optional semi [[Automatic transmission|automatic]] transmissions on their medium and large saloon and estate models in the 1970s; the Citroen GS and CX models had the option of 3 speed, semiautomatic transmission marketed as 'C matic'. This was simpler than the previous inasmuch as it used a floor mounted quadrant lever operating a contact breaker and conventional gear selector rods in series, a fluid coupling 'torque convertor' and wet plate clutch were cut in and out of phase by an electro valve controlled by the contact breaker. This system was simple in that it dispensed with the former use of hydraulics to operate a clutch AND select the gear ratios. Citroen semi [[Automatic transmission|automatic]] transmission of this era made no use of electronics, the entire gear selecting operation was carried out by simply moving the gear lever from one ratio to the next. <br />
<br />
The German automobile manufacturer, NSU, produced a semi [[Automatic transmission|automatic]] system for the rotary engined Ro80 saloon car in the 1960s, similar in concept to Citroen's system except that it used an electric switch on the gear shifter which disengaged the clutch.<br />
<br />
Drag Racers have their own type of clutchless manual transmissions. A Liberty is basically a manual transmission with no clutch, and is used in Pro Stock. The Lenco is a transmisson also used in drag racers. A Lenco is different from a Liberty because a Lenco uses planetary gears, like an [[Automatic transmission|automatic]]. Both transmissions can be manually shifted, or use an air shifter. However, they require a clutch to use when leaving off the line for traction. The Lenco uses separate levers to shift while the Liberty uses a single shifter hooked up to several levers. A variation of the Lenco called a Lencodrive utilizes a torque converter and no clutch.<br />
<br />
Some variants of the system, such as [[Citroën]]'s Sensodrive, allow the driver to select [[Automatic transmission|automatic]] mode, in which the processor takes responsibility for gear changes. The car then drives much like a standard [[Automatic transmission|automatic]], including features such as kickdown, but with fuel consumption pretty similar to a manual. Gears can be selected using either stick or paddles, both in manual control and as a temporal change in [[Automatic transmission|automatic]] mode (for example before starting to overtake another car).<br />
<br />
Semi-[[Automatic transmission|automatic]] transmissions have also made its way into the truck and bus market in the early 2000s. [[Volvo]] offers its i-Shift on its heavier trucks and buses, while ZF Friedrichshafen AG markets its ASTronic system for buses and coaches. These gearboxes have a place in [[public transport]] as they have been shown to significantly reduce fuel consumption.<br />
<br />
==Types==<br />
*Direct-Shift Gearbox<br />
*Dual-clutch gearbox<br />
*Electrohydraulic manual transmission (e.g. BMW sequential manual gearbox, SMG)<br />
<br />
==External Links==<br />
* [http://www.zercustoms.com/news/Car-Hydraulics.php Car Hydraulics]<br />
<br />
[[Category:Automotive transmission technologies]]<br />
[[Category:Auto parts]]</div>Zerilloshttps://wikicars.org/index.php?title=Infiniti&diff=17051Infiniti2006-09-14T18:53:32Z<p>Zerillos: </p>
<hr />
<div>{{List Of Infinity Models}}<br />
<br />
Infiniti is [[Nissan]]'s luxury brand in the United States, Canadian, Mexican, Middle Eastern, South Korean (first dealership opened in July 2005) and Taiwanese markets. [[Nissan]] also has plans to release Infiniti into many European markets (Russia & Ukraine in 2007, United Kingdom in 2008), China (10 dealerships by 2007), as well as in Japan sometime after 2008.<br />
<br />
Infiniti vehicles are traditionally based on the same automobile platforms as [[Nissan]] models. In some cases, similar vehicles are sold as upscale [[Nissan]]s in the same market, while other Infinitis are rebadged models from the Japanese market, where [[Nissan]]'s model range includes high-end luxury vehicles. More recently, the differentiation between [[Nissan]] and Infiniti vehicles has become greater, and even where two models may share a similar platform, Infinitis tend to feature more powerful [[engine]]s, tuned [[suspension]]s, [[steering systems]], and more luxurious interior appointments.<br />
<br />
Infiniti's model name designation includes one letter for [[coupés]] and [[sedans]] (two letters for [[SUV]]s) and a number reflecting [[engine]] displacement. For example, the [[Infiniti QX56|QX56]] is an [[SUV]] featuring a 5.6 L engine and the [[Infiniti Q45|Q45]] is Infiniti's flagship sedan, featuring a 4.5 L engine. The one exception to this was the [[Infiniti QX4|QX4 SUV]], which featured a 3.3 L engine (1997-2000) and later a 3.5 L engine (2001-2003). An 'x' following the engine displacement of Infiniti sedans denotes an [[Four Wheel Drive|all wheel drive]] model (e.g. [[Infiniti G35|Infiniti G35x]]).<br />
<br />
===History===<br />
<br />
Infiniti was introduced in the United States by [[Nissan]] in 1989, to rival [[Toyota]] and [[Honda]]'s introduction of their own luxury brands, [[Lexus]] and [[Acura]], respectively. A series of Zen-inspired advertisements, which became known as the "rocks and trees" campaign, aimed to bring about brand awareness. The advertisements, however, neglected to feature any of Infiniti's models, and thus failed to generate adequate sales. Better advertising and the introduction of award-winning models eventually made Infiniti a chief contender in the luxury vehicle segment of the American market. Since 1989, sales have consistently grown.<br />
<br />
Infiniti began to take part of the luxury market mostly thanks to its popular [[Infiniti Q45|Q45]]. The vehicle included a class leading (at the time) 278 [[hp]] (207 kW)[[V8]] [[engine]], [[four-wheel steering]], the first [[active suspension]] system offered on a motor vehicle, and numerous interior luxury appointments. These made it competitive against the comparatively uninspiring engines and interiors found in German imports like [[BMW]] and [[Mercedes-Benz]], which by the time of Infiniti's release had overtaken [[Cadillac]] and [[Lincoln]] in dominating the luxury segment of the American market.<br />
<br />
In 1997, Infiniti released the [[Infiniti QX4|QX4]], a modified and more luxurious version of the [[Nissan Pathfinder]], making Infiniti the first maker (apart from [[SUV]] specialists, [[Jeep]] and [[Land Rover]]) to offer a mid-sized luxury [[SUV]] - predating the release of the [[Lexus RX 300]] and the [[Mercedes-Benz ML320]]. Like a traditional [[SUV]], it was based on a truck platform, which gave it a competitive edge against the aforementioned competitors for its off-roading abilities.<br />
<br />
By the late 1990s, however, Infiniti was consistently behind [[Lexus]] and even near-luxury rival [[Acura]], in sales due to [[Nissan]]'s struggling financial situation. The [[Infiniti Q45|Q45]] had retreated considerably from its focused, taut rendition of an executive sedan, having become a barely recognizable, ponderously-handling sedan that earned the nickname "The Japanese Lincoln." In 1999, Infiniti reintroduced the [[Infiniti G20|G20]], a compact sporty sedan that was sold between 1991 and 1995. The car had hopes of challenging [[BMW]], but with an underpowered four cylinder [[engine]], fell short. Infiniti's other offerings, the [[Nissan Maxima|Maxima]]-based [[Infiniti I30|I30]] and the strange-looking [[Infiniti J30|J30]] never garnered strong followings, and the company, bereft of an image or a following, floundered.<br />
<br />
By the early 2000s, Infiniti was facing extinction. Its own impending doom being perhaps the best motivator, the company rededicated itself to developing a dynamic and powerful line-up of sporty luxury cars. Car and Driver reported that Infiniti executives invited members of the motoring press to a meeting where they "swore never again to take their eyes off [[BMW]]." Although this effort began with a completely redesigned [[Infiniti Q45|Q45]] flagship for the 2002 model year, it was the [[Infiniti G35|G35]] that finally turned sales around for Infiniti in 2003. A compact sports sedan far exceeding the capabilities of its [[Nissan Primera]]-based predecessor (the [[Infiniti G20|G20]]), the [[Nissan Skyline]]-based [[Infiniti G35|G35]] became an instant hit. The release of the sport tuned [[Infiniti FX45|FX45]] [[sport utility vehicle]] piggybacked on the [[Infiniti G35|G35]]'s success. The [[Infiniti FX45|FX45]] combined sports-car handling and performance with station wagon-like versatility and all-weather capability. In 2004, Infiniti graced the [[Infiniti G35|G35]] with an [[all-wheel drive]] ([[AWD]]) option in an effort to sway buyers from [[all-wheel drive]] mecca [[Audi]].<br />
<br />
Today, Infiniti's sales and reputation continue to increase impressively as Carlos Ghosn follows through on his vision to break Infiniti away from its [[Nissan]] roots. The [[Infiniti G35|G35]] series helped re-define Infiniti as the "Japanese BMW", an image it continues to cultivate. This reputation has been enhanced by the [[Infiniti FX35|FX35]]/[[Infiniti FX45|FX45]] [[SUV]], and the redesigned [[Infiniti M35|M35]]/[[Infiniti M45|M45]] for the 2006 model year. The [[Infiniti M35|M35]]/[[Infiniti M45|M45]] has already garnered impressive acclaim from the automotive press, winning an eight-car comparison test in Car and Driver, and has proven very popular in its first few months of sales.<br />
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<br />
===Models===<br />
<br />
{| style="margin: 0.5em auto; clear: both;" class="toccolours"<br />
|align="center" colspan=22|'''[[Infiniti]] — a marque of [[Nissan]] Motors — road car timeline, 1990s-present''' <br />
|-<br />
|align=center rowspan=2 bgcolor=#F0F0F0|'''Type'''<br />
|align=center colspan=10 bgcolor=#F0F0F0|1990s<br />
|align=center colspan=10 bgcolor=#F0F0F0|2000s<br />
|- align=center bgcolor=#F0F0F0<br />
|width=4%|0||width=4%|1||width=4%|2||width=4%|3||width=4%|4||width=4%|5||width=4%|6||width=4%|7||width=4%|8||width=4%|9<br />
|width=4%|0||width=4%|1||width=4%|2||width=4%|3||width=4%|4||width=4%|5||width=4%|6||width=4%|7||width=4%|8||width=4%|9<br />
|- align=center<br />
|bgcolor=#F0F0F0| [[Compact car|Compact]]<br />
|colspan=1 bgcolor=#E0E0E0|<br />
|colspan=6 bgcolor=#C0C0C0 |[[Infiniti G20|G20]]<br />
|colspan=2 bgcolor=#E0E0E0|<br />
|colspan=4 bgcolor=#C0C0C0 |[[Infiniti G20|G20]]<br />
|colspan=4 bgcolor=#C0C0C0 |[[Infiniti G35|G35]]<br />
|colspan=3 bgcolor=#C0C0C0 |[[Infiniti G35|G35]]<br />
|- align=center<br />
|bgcolor=#F0F0F0 rowspan=2| [[Midsize car|Mid-size]]<br />
|colspan=6 bgcolor=#E0E0E0|<br />
|colspan=4 bgcolor=#C0C0C0 |[[Infiniti I|I30]]<br />
|colspan=5 bgcolor=#C0C0C0 |[[Infiniti I|I30 / I35]]<br />
|colspan=1 bgcolor=#E0E0E0|<br />
|colspan=4 bgcolor=#C0C0C0 |[[Infiniti M|M35]]<br />
|- align=center<br />
|colspan=3 bgcolor=#C0C0C0 |[[Infiniti M30|M30]]<br />
|colspan=5 bgcolor=#C0C0C0 |[[Infiniti J|J30]]<br />
|colspan=2 bgcolor=#E0E0E0|<br />
|colspan=3 bgcolor=#E0E0E0|<br />
|colspan=3 bgcolor=#C0C0C0 |[[Infiniti M|M45]]<br />
|colspan=4 bgcolor=#C0C0C0 |[[Infiniti M|M45]]<br />
|- align=center<br />
|bgcolor=#F0F0F0| [[Fullsize car|Full-size]]<br />
|colspan=7 bgcolor=#C0C0C0 |[[Infiniti Q|Q45]]<br />
|colspan=5 bgcolor=#C0C0C0 |[[Infiniti Q|Q45]]<br />
|colspan=8 bgcolor=#C0C0C0 |[[Infiniti Q|Q45]]<br />
|- align=center<br />
|bgcolor=#F0F0F0 rowspan=1| [[Crossover SUV|Crossover]]<br />
|colspan=10 bgcolor=#E0E0E0|<br />
|colspan=3 bgcolor=#E0E0E0|<br />
|colspan=7 bgcolor=#C0C0C0 |[[Infiniti FX|FX35 / FX45]]<br />
|- align=center<br />
|bgcolor=#F0F0F0 rowspan=1| [[SUV]]<br />
|colspan=7 bgcolor=#E0E0E0|<br />
|colspan=6 bgcolor=#C0C0C0 |[[Infiniti QX4|QX4]]<br />
|colspan=1 bgcolor=#E0E0E0|<br />
|colspan=6 bgcolor=#C0C0C0 |[[Infiniti QX56|QX56]]<br />
|}<br />
<br />
===Current Models===<br />
<br />
*[[Infiniti FX]] ([[Infiniti FX35|FX35]] and [[Infiniti FX45|FX45]] variations) <br />
*[[Infiniti G35]] ([[sedan]], [[AWD]] [[sedan]], and [[coupe]] derivations) <br />
*[[Infiniti M]] ([[Infiniti M35|M35]]/[[Infiniti M35|M35x]] and [[Infiniti M45|M45]] variations) <br />
*[[Infiniti Q45]] <br />
*[[Infiniti QX56]]<br />
<br />
===Past Models===<br />
<br />
*[[Infiniti M30]] <br />
*[[Infiniti G20]]<br />
*[[Infiniti J30]]<br />
*[[Infiniti I]] ([[Infiniti I30|I30]], [[1996]]-[[2001]]; [[Infiniti I35|I35]], [[2002]]-[[2004]]) <br />
*[[Infiniti QX4]]<br />
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<br />
===Future Models and Concept Vehicles===<br />
<br />
*[[Infiniti Kuraza]] (concept vehicle, no current plans for production) <br />
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<br />
===External Links===<br />
<br />
*[http://www.infiniti.com/ Infiniti.com]<br />
*[http://www.nissan-global.com/EN/index.html Nissan Motor Corporation]<br />
*[http://www.infiniti.co.kr/ Infiniti Korea]<br />
*[http://www.infinitihelp.com/ Infinitihelp.com]<br />
*[http://www.infiniti-forum.com/ Infiniti Forum]<br />
*[http://www.zercustoms.com/ Custom Auto]</div>Zerilloshttps://wikicars.org/index.php?title=Ford_Shelby_GT500&diff=17049Ford Shelby GT5002006-09-14T18:46:21Z<p>Zerillos: </p>
<hr />
<div>[[Image:Gt350.jpg|right|thumb|250px|1965 Shelby GT-350R Racing Version]]<br />
[[Image:Shelby_Mustang_GT350.jpg|right|thumb|250px|Shelby GT350 at the Scarsdale Concours]]<br />
<br />
The '''Shelby Mustang''' was a tuner sports car from the 1960s. It was a series of [[Ford Mustang]]s which were specially modified by Carroll Shelby's company and sold as a series. The program was factory-sponsored and production was eventually moved in-house. The spirit of the series continues today in the special Mustang Cobra models.<br />
<br />
==1965==<br />
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The first Shelby version of the Mustang appeared in 1965. All '65 Shelbys were painted white with (optional) parallel blue stripes from nose to tail. They also featured rocker panel stripes with the '''GT350''' name. The engine was a modified ''K-code'' 289ci Windsor [[V8]] with special "Cobra" valve covers, tri-Y headers, a special intake manifold and Holley carburetor increased power from 271 to 306&nbsp;hp (162 to 228 kW).<br />
<br />
==1966==<br />
The 1966 was differentiated in body color (non-white versions were introduced - colors included blue, red, green and black, as well as the original white) and trim. The "Le Mans" stripes were continued as an option, as in 1965. It featured special quarter-panel windows and rear air scoops on each side and an optional automatic transmission. A fold-down rear seat was now standard as well. Where early 1965 cars had black engine blocks, 1966 and later cars had the 289 engine painted blue.<br />
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Shelby struck a deal with the Hertz car rental company to produce a special line of GT350s for rent which were subsequently sold to the public after their rental-car lives were finished. These '''GT350H''' cars are quite rare and sought-after today, with some examples selling for more than $120,000. Shelby produced 1000 of these cars; 800 in black, and 50 each in red, white, blue and green. The black cars all had gold stripes, whereas the colored cars only had Shelby side stripes, without the Le Mans top stripes. Shelby would repeat this trick in 1987 with the Shelby CSX-T.<br />
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==1967==<br />
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The new 1967 Mustang was followed with a new Shelby. It featured a 1967 Mercury Cougar tail light panel minus the chrome trim, a flip-up spoiler, and two sets of air scoops on each side. This was also the first American car to feature a factory roll bar.<br />
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This year also saw the introduction of the '''GT500''' alongside the continued GT350. The new GT500 featured a 428 in&sup3; (7 L) FE Police Interceptor Big-block [[V8]]. This is also one of the most famous Shelby Mustangs. A modified GT500 clone, known as Eleanor, featured alongside Nicholas Cage in Gone in Sixty Seconds the 2000 remake of '''''Gone in Sixty Seconds''''' and a blue GT500 is prominently featured in the manga series Gunsmith Cats.<br />
<br />
==1968==<br />
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Shelby lost the lease for their factory at Los Angeles International Airport in late 1967 so production of the Shelby cars was moved to Ionia, Michigan under [[Ford|Ford Motor Company]] control.<br />
<br />
<br />
==1969 & 1970==<br />
<br />
Carroll Shelby terminated his agreement with Ford in the summer of 1969. The GT350 and GT500 for the 1969-70 model years received extenisve facelifts. Ford was heavily involved with design and style decisions, with Shelby having very little input. Production of Shelby Mustangs ceased with the 1970 model year. The 1970 models were in fact leftover 1969 models.<br />
<br />
==2006 Shelby GT-H==<br />
<br />
Ford introduced the ''Shelby GT-H'' version of the Mustang at the 2006 New York Auto Show in April 2006. Like the original GT350H from 1966, the GT-H features gold-on-black paint and will only be available at the Hertz car rental agency. A modest power bump over the regular Mustang GT results in 325&nbsp;hp (242&nbsp;kW) and 330&nbsp;ft·lbf (447&nbsp;N·m). Features include a 5-speed [[automatic transmission]], and a package from Ford Racing including a 90&nbsp;mm cold air intake kit, muffler kit, X-pipe, and a cat-back exhaust. Just 500 will be built to celebrate the 40th anniversary of the original.<br />
<br />
==2007 Shelby Cobra GT500==<br />
[[Image:800px-DSCN1306.jpg|right|thumb|250px|The 2007 Shelby Mustang at the New York International Auto Show]]<br />
Shelby and Ford will return with a Shelby-branded Mustang, the '''Shelby Cobra GT500''' for 2007. Introduced at the 2005 New York International Auto Show, the GT500 uses a 5.4&nbsp;L ''Modular'' [[supercharged]] [[V8]]. 500&nbsp;hp and 475&nbsp;ft·lbf (644&nbsp;N·m) will be available, designed to outperform all previous Mustangs. A Tremec 6-speed [[manual transmission]], suspension tuning, a body kit, and 18 inch wheels will complete the car.<br />
<br />
The right to purchase the first 2007 Shelby GT500 was auctioned off at the Barrett-Jackson Collector Car Auction on January 21, 2006 in Scottsdale, Arizona for $648,000. Proceeds will benefit the Carroll Shelby Children's Foundation.<br />
<br />
==Early Performance Tests==<br />
<br />
Car and Driver compared an early build 2007 Shelby GT500 with a 2006 Z51 package [[Chevrolet Corvette]]. The Shelby obtained a 12.9 sec quarter-mile while the Corvette ran a 12.8. The Shelby had a 100 hp advantage over the Corvette, but a 616 lb weight disadvantage. Similar tests by the magazine Road & Track reported a 13.1 quarter-mile for the Shelby GT500. Some critics have pointed out that the weight of the car is causing estimated ET's less than expected. The weight of the Shelby GT500 with a driver is nearly 4100 lbs. Muscle Mustangs and Fast Fords (August 2006 issue) were able to coax low-12 second performances out of it ('''best: 12.257s'''), with trap speeds of over 117mph. <br />
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The heavy iron block V8, with supercharger and water-to-air [[intercooler]], shift the weight bias further forward than the standard Mustang GT (57/43%; front/rear. But the car is said to handle predictably and ride comfortably. According to Car & Driver the GT500 provides the "best [overall] bang for the buck around," but the Corvette is a better performance vehicle.<br />
<br />
==See also==<br />
* [[Ford Mustang]]<br />
* [[Shelby Cobra]]<br />
<br />
==External Links==<br />
[http://www.zercustoms.com/news/Ford-Shelby-Cobra-GT500-by-SVT-1.php 2007 Ford Shelby Cobra GT500 by SVT]<br />
<br />
[[Category:Ford vehicles|Mustang Shelby]]<br />
[[Category:Shelby vehicles|Mustang]]<br />
[[Category:Sports cars]]</div>Zerillos