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2009-02-24T07:57:00.000-08:00

Vintage Guitars - The Mosrite Story

2008-11-20T06:16:00.000-08:00

The Mosrite Story

The Mosrite company was started in 1952 by Semie Moseley with the financial help of a friend, Rev. Ray Boatwright, who bought Semie his first band saw in the early '50s. Semie had been obsessed by guitars as a teenager and started repairing, and later building them, because he could not find one that felt or sounded quite right.
By the time he was 19-years-old, Semie had not only built his first triple-neck guitar, he was repairing guitars for local artists like Merle Travis. These early guitars were almost completely handmade by Semie from 1952 to '58/'59, using primitive hand-tools and carving the aluminum vibratos by hand. He also went through the time consuming process of forming the pickup covers over a mold in his oven and winding the bobbins by hand.
Early models he built included a double-neck for Joe "King of the Strings" Maphis. "It was a beautiful instrument" said Gene Moles, an assembly line inspector for Mosrite guitars, a session musician from Bakersfield, and a member of Jimmy Thompson's TV band. This double-neck was one of the slightly bulkier designs, also used by Larry Collins whose double neck was finished in 1956, unlike the smoother double-necks made a little later in the 1950s for people like Brian Lonbeck.
At first, it was all custom, handmade guitars, built wherever the Moseleys could put equipment - in garages or storage sheds. Semie even set up shop in a friend's barn outside of Los Angeles, rent free. This infamous "tin shed" in Oildale, California, is still standing and is about the size of a two car garage.

The first Mosrite Ventures model prototypes were built here, as were several double-necks and more standard "Tele"-shaped single-necks, still with mainly hand-made parts as in the beginning Semie did everything himself. He would later move to a cement block building on Kern Street in Oildale and then to Bakersfield, California. The Bakersfield location would give rise to his association with the now famous honky tonk, "Bakersfield Sound", known for its country western twangers.
These were challenging times for Semie. In the winter is was bitterly cold and he would burn wood cuts and shavings from guitar remnants in a 44-gallon drum to keep warm. He had no money and wanted to start a guitar manufacturing company but could not get financed.
This is one of the Ventures prototypes from the late '50s with bound body and set neck. As you can see, the guitar is close to the final early "production" model, but with a few small exceptions. The symmetrical headstock says "Joe Maphis model by Mosrite of California" as the Ventures deal hadn't been worked out yet. This guitar also has what was to become known as the "mistake plate" around the vibrato. Semie had set the neck too shallow and needed to recess the unit into the body, necessitating a plate to hide the mistake.

Enter the Ventures
Semie had built a guitar that he lent to Nokie Edwards of the Ventures to use on some recording sessions. This was to change everything! Nokie bought a guitar from Semie and, within a year, an endorsement deal with the Ventures would make Mosrite a household name, at least in the surf/instrumental guitar world.
It was probably Nokie who made the Mosrite name famous. Nokie was the lead guitarist for the Ventures, an instrumental group, and by 1962 the entire band was playing Mosrites on songs like "Walk Don't Run" and the theme from "Hawaii 5-O". The back of one of their albums read, "Guitars courtesy of Mosrite Distributing Corporation". That was enough to start the ball rolling and soon Mosrite had substantial orders from dealers, which signaled the start of Mosrite's heyday. Initially building 20-30 guitars a month, the orders kept coming in and Mosrite was on its way to becoming a credible American guitar manufacturer.
At the peak of production in 1968, Semie, his brother Andy and their crew of 107 employees, were making about 600 guitars a month - acoustics, standard electrics, double-necks, triple-necks, and basses. They were also producing effects pedals, amplifiers, Dobros (which Mosrite bought in 1966), and Melobar slide guitars, which Semie was making for the Melobar company. The most popular Mosrites were the Ventures models and today, when guitarists talk about Mosrites, they are usually referring to the models shown on Ventures' albums.

The Mosrite Ventures Model
Semie had been working with Bob Crooks of the Standel guitar company who wanted Semie to design a guitar for him "like a Fender". This guitar eventually became the basis for the Mosrite Ventures model. Early examples of these guitars have "Joe Maphis Model", or, simply, "Mosrite" on the headstock.
Legend has it that Semie flipped over a Stratocaster and traced around it to produce the now-classic Mosrite body design. However, the shape of the Mosrite Ventures model is more elaborate, more curvaceous, and, in the opinion of many, more pleasing to the eye than an upside down Strat. In fact, Semie's innate talent for original guitar design would prove itself again and again over the years.
After working on a prototype with guitar artisan Bill Gruggett, the first "official Ventures" guitar became available in 1963. The first model had a set neck and a celluloid-bound body, with a large "The Ventures" logo on the headstock. They were available in red or sunburst only. The amplifier jack was on the side of the guitar and these are referred to as the "side jack models".

The necks were very thin and had extremely low frets known at Mosrite as "speed frets". They had a zero fret and semi-circular-type metal string guide (nut). The vibrato unit on these early models was called a "Vibramute" and had a special muting mechanism near the bridge. All Mosrite production numbers are sketchy, but it's believed approximately 200 of these guitars were built. The Ventures used this model on their January, 1965, tour.
In 1964, the amplifier jack was moved on to the pickguard and the body binding was dropped. The neck joint was changed to the bolt-on type but the screw heads were covered by a metal plate, which was subsequently changed to a more standard type bolt-on neckplate with exposed screw heads.

All of these changes suggest economy in manufacturing as the "original" design would have been very expensive to produce. The Ventures logo became smaller in mid '64 and the pickups changed to show the "Mosrite of California" logo embossed on them, but with no "R" for registered trade mark.
In the next installment of the Mosrite Story, we'll take a close look at the company during the 1960s and '70s - and have more to say about the Mosrite Ventures models.

The '60s and '70s
During the early to mid '60s, the Mosrite company began to do extremely well and started experimenting with different types of guitars, effects pedals and amps. One owner Semie Moseley's experiments included: reintroducing twin neck guitars, known as the Joe Maphis twin neck model, although it differed considerably from the original '50s Joe Maphis double-neck.
During the '60s, Mosrite built various Ventures model guitars and basses, semi-acoustic Celebrity models in three different versions , a bass model, and a "fake" semi-solid body known as a "combo." The body of the guitar was made from solid wood and had the front hollowed out and another piece of wood glued on, like a Rickenbacker guitar. These "combos" were released later as a Joe Maphis model, but without F-shaped sound holes.
Around this same time, guitarists began to use Mosrite's new Fuzzrite effects pedal designed by Semie's friend Ed Sanner and solid state amplifiers. Later, Jimi Hendrix would artistically craft his music using a Fuzzrite pedal.
By 1965, the Vibramute vibrato unit was modified to a die cast with the name Moseley embossed on it with a serial number. The mute mechanism had long since disappeared. Volume and tone knobs were changed to a "hat type" with an "M" stamped on top and are numbered from 1 to 5 and lettered with a T and V, for tone and volume, respectively.
In '66 the knobs were changed again to something very similar, but taller and without the V and T lettering embossed on them. Also around this time the string guide was changed to a 1/4 round unit.
Mosrite necks were very thin and made from two or three pieces of rock maple. Semie insisted on sanding down the frets to make them extremely small and low calling it "speed fretting". Most early Mosrites have a truss rod adjustment at the headstock, but by late '66 all models featured this trait, along with a plastic truss rod cover.
At this time, there were three different models. The original and most collectable Ventures model, the Ventures model II, like the one Johnny Ramone played with a slab body and no German carve, and the Mark V.
The slab body Mark II was a very short lived model with production figures estimated at somewhere between 140 and 180 being made in mid-1965. These had two distinct features seen only on that particular model (and a couple of crossover German carve guitars). One was the tremolo unit of folded chrome steel with the arm coming out between the D and G strings and the other was the use of thinner pickups with no pole pieces. After the slab body Mark II was dropped (apparently Semie thought it looked too cheap) the Mark V with the German carve was offered as a Mark II with the later headstock decal applied.
The German carve Mark II and Mark V are identical guitars that were offered at the same time, although the serial numbering up to around B700 seem to be Mark IIs and after that Mark Vs. These guitars had less expensive appointments although most of the hardware was identical to the higher end Ventures model.
In 1967 the Ventures distribution deal ended and the Ventures logo disappeared from all headstocks. This was the first nail in the Mosrite coffin. Although their guitars were selling well in both America and Japan, things started to go wrong and within two years Mosrite would suffer the first of many closures.
Having turned down a deal with Sears and Roebuck, Co., Semie signed a deal with the Thomas Organ Company. Then everything seemed to fall apart, with Mosrite filing for bankruptcy on Valentine's day 1969 - things were never the same again.

Into the '70s
By the late '60s Mosrite was making many models including the Ventures model, the Ventures II and V, and a Ventures model bass. All of the models became "Mark" series guitars after the endorsement deal with the Ventures terminated in 1967.
Mosrite also offered the semi-solid Combo and Joe Maphis models as a six-string and a bass, the semi-acoustic Celebrity in guitar and bass and the Joe Maphis twin neck model with 6/12 stringed configurations. After the deal with the Ventures collapsed in '67 the "Mark" series was identical in construction to the Ventures guitars, except for the logo on the headstock and a serial number starting without a "V" prefix soon after the Ventures logo stopped being applied. All six string guitars were offered in twelve string.
Other interesting guitars of the mid to late '60s included three different acoustic models and four different Dobro's that included a Celebrity semi-acoustic with a resonator cone called the Californian. Moseley lost the rights to the Californian name when he lost the company in 1969.
The late '60s and early '70s were bad times for the company compared to its heydays of the early and mid '60s. Misfortune resulted in Semie losing the Mosrite name and the rights to his guitars. Always driven, Semie began to make his guitars under the "Gospel" name. In fact, in some cases Mosrites have turned up with Mosrite logos under the Gospel plate screwed to the headstock! Models that were available as Mosrites could be bought as Gospels.
Semie bought the name Mosrite back in late 1970 and started fresh with many new ideas and old favorites. Mosrites like the Bluesbender and 350 had been prototyped in the late '60s before Mosrite closed, but it wasn't until Semie opened back up in Bakersfield, California in early '71 that these models were produced.
The 1970s was an experimental era for Semie when he introduced models like the Brassrail which literally had a brass rail running down the fretboard from the nut connecting the frets together, all the way to the bridge. The brassrail idea was Semie's innovative attempt to make a guitar with superior sustain. A deluxe version was also offered and had a unique changeable electronics package that would alter the sound of the guitar, accessed through a brass plate on the back of the guitar.
The Bluesbender was similar to the Brassrail but had a bolt on neck without the rail. The models were very Les Paul in shape with a carved top and stop tailpiece. The Bluesbender is a remarkable guitar to play even today.
At this time, Semie also offered the 300 mono and 350 mono and stereo models. They had the same body shape, similar to the single cutaway Fender Telecaster, with the 300 mono a single pickup guitar and the 350 having two pickups and stereo outputs.
The Celebrity was still being made in the form of the Celebrity II and III with small numbers of Celebrity I full depth body guitars being made to order. The Combo was changed to the Joe Maphis model with no F-hole. Both guitars offered standard Mosrite hardware bought over from the '60s, except the firm now offered humbuckers on all models. The pickups were encased in the original single coil covers, but had two rows of pole pieces, one drilled right through the Mosrite of California embossing!
Also seen for the first time on production models was phase switching and very complicated electronics built into the Brassrail Deluxe.
In '73 Semie made some Acoustic Black Widows for the Acoustic guitar and amp company. Most were produced in Japan, except for the last 200 or so. The homegrown Black Widows are easy to identify as they're adorned with many Mosrite parts and very Mosrite-type necks. As the name suggests, the Black Widows were all black, except for a large red pad on the back. The Widows were offered as both six-strings and basses, but since Semie never kept detailed records, the number of Black Widows built is unknown.
As luck would have it, the 300 and 350 models sold reasonably well and Semie was able to recruit employees and begin to run a newer, yet smaller guitar company. Sales catalogues also show Celebrity guitars with flame maple tops and humbuckers and also Dobro style guitars available throughout the '70s.
Semie continued on through the '70s with innovative and brilliant designs, but people kept longing for the return of his popular Ventures model to make a comeback. Semie did make small numbers of Ventures shaped models, especially in the early '70s but was trying to make a name for himself as both a luthier and guitar designer who had more to offer the guitar world, and he did.
The 1970s were very lean years for Semie and Mosrite and he took some time off from guitar building to record and head out on gospel tours. It was a chance meeting in the early 1980s that would recharge Moseley and bring Mosrite back to the world of guitars.

Into the '80s
Mosrite at Jonas Ridge, NCAfter moving the factory from Oklahoma City in ’76 to Yuba City, California in ’77, then to Carson City, Nevada in ’79 and later to an old school building in Jonas Ridge, North Carolina in 1981, Mosrite production picked up again thanks to orders from Japan.
A chance meeting with a Japanese Mosrite enthusiast at a guitar show insured that owner of Mosrite guitars, Semie Moseley, could start making bigger production runs again, thanks to the financial input for (unofficial) Ventures model reproductions. However, after building 300 guitars of the 700 guitar order, in November 1983 the factory burned down. Semie had little insurance on the building, so production had to shut down yet again. Above is a photo of the Mosrite factory at Jonas Ridge, NC, as it stands today.
Details around this time are sketchy, but Semie continued to build Mosrites on a custom basis at a building in Morganton, North Carolina. Production was fairly small through the ‘80s until the new factory was eventually set up in an old Wal-Mart building in Boonville, Arkansas on March 9, 1991.

V88During this period in the late ‘80s and early ‘90s Semie made Venture model “reissues”, including copies of the early ’63 sidejack, set neck guitars and the new V88 and M88. The V88’s were Ventures reissues with Mosrite 1988 on the headstock and like most Mosrites throughout the ‘80s were signed by Semie either on the back of the headstock or the back of the neck – sometimes both. As was the M88 which was a Ventures model shape with no scratch plate or German carve. In 1987, Mosrite also built the 25th Anniversary Ventures model. This was a Ventures reproduction with a metallic silver body and “sunburst” black and silver scratchplate with an “M” embossed into it. Only 7 were finished of the originally planned 25 guitars.
Mosrite was back and the number of models were increasing quickly. Vibramute vibratos were back on most Ventures shaped models with a rarer Semie Moselely labeled Vibramute appearing on some guitars thoughout the ‘80s and ‘90s, as shown below.
During the 1980s, there were quite a few Ventures shaped guitars being made with and without German carves and scratch plates. The VII and VIII carve top models with no scratch plate were made around 1984 until the end of the ‘80s.

V88 VibramuteOne guitar was made in 1989 when the State of Arkansas helped Semie move to Leachville, Arkansas. But then political action by unbelievers in Arkansas failed to follow through with financing. Semie returned to Jonas Ridge, North Carolina.
In 1991 the State of Arkansas put money up for Semie to relocate Mosrite to Boonvile, Arkansas. There Semie would have been very successful, even though he had recently had a car accident that took his leg (It was reattached!), but things were looking up for the business. He had 15 employees that had built Gretsch guitars.

V88 HeadstockUnfortunately, tragedy struck again three months after the move when Semie was diagnosed with multiple myaloma cancer of the bone.
Andy Moselely, Semie’s brother, went to the factory to help out after Semie died, but Loretta (Semie’s widow) had already taken charge and informed Andy that she could keep things going by herself.
There were many “new” models in the works during the early ‘90s, including a slab body Ventures shape Mosrite with the timber and aluminum hard tailpiece aimed at a cheaper market.

Mosrite Ventures ModelAlso in full production were the ’63 sidejacks, as well as ’64 and ’64 reissues using the Ventures logos. A Nokie (Nokie Edwards – Lead Guitarist, Ventures) model was made in small numbers that has become quite collectible now due to the Ventures association and the very small production run.
The last Mosrite production run to be made was in 1993 and was made up of the 30th Anniversary Nokie models. These were set neck, fully bound Ventures re-issues based on the early ’63 sidejack models.
Semie had died in August 1992. His dreams were carried on for awhile with the help of his staff and Loretta, but in 1994 everything shut down for what was maybe – hopefully not! – the last time.
[Editor's Note: Fact or urban legend? Modern Guitars confirmed with John Rutledge, Semie's General Manager during the '50s and '60s and Noke Edwards, lead guitarist for the Ventures, the story that Semie flipped a Fender Stratocaster on to its back and outlined it to arrive at the signature Mosrite Ventures model guitar.]

by Tim Brennan and Rick Landers

The Ventures
Around mid-'60s, a marriage between "mosrite", a Rolls-Royce of electric guitars, and The Ventures, the world's greatest instrumental group, swept the whole country of Japan.The long-time dream of "electric guitar ('eleki')" kids who then were junior or senior high school boys now has come true and they are just having fun playing "The Ventures" tunes with their "mosrite". It's a genuine "mosrite" sound that "Guyatone" or "Teisco" back in those days or "Japan mosrite" could not produce.

Ventures Trivia
The Ventures have written over 1000 tunes, and recorded over 3000 songs altogether! If they ever decide to play all of the songs that they've ever recorded, it would take almost 5 days - without a break - to play them all.

· The Ventures have released over 250 albums including compilations! 37 of these have hit the US charts. Over 150 albums have been released in Japan.

· Walk, Don't Run was kept from hitting #1 by several different records, including the immortal Itsy Bittsy Teeny Weeny Yellow Polka Dot Bikini. The Ventures became the first act in the history of the music industry to hit the top ten with two different versions of the same song when Walk Don’t Run '64 hit #8. (Neil Sedaka achieved it later with a second version of Breaking Up Is Hard To Do).

· The Ventures have been together as a group for 49 years and have never taken a year off from concerts or recording.

· In addition to recording the hit version of Hawaii Five-O, The Ventures also contributed some of the incidental music heard in the background of the TV show.

· In the early 60's, the band would record 4 to 6 albums a year. At one time, they had 5 albums in the top 100 simultaneously (1963).

· In 1993 the band received the coveted Lifetime Achievement Award from Guitar Player Magazine.

· Walk, Don't Run, had already been named one of 20 Essential Rock Albums for guitarists, by Guitar Player Magazine, in 1987.

· In 1970 and 1971, the Ventures were the #1 composers in Japan. Five of their compositions hit #1 on the Japanese charts. They usually released an instrumental version of the song, while a Japanese artist would release a vocal version.

· In 1958, The Ventures released their first single, Cookies and Coke/ The Real McCoy. Despite Don Wilson's superb imitation of Walter Brennan, the record flopped. There are only two copies of this record known to exist. It took Bob and Don four or five months to save up the money to record their next record, Walk, Don't Run.

· During the 60's, The Ventures outsold the Beatles in Japan two to one.

· For the year 1965, The Ventures had five of the top ten singles in Japan, per Billboard magazine (January 1966)

· The McCoys ( of Hang on Sloopy fame) got their name from The McCoy, a Ventures original tune on the Walk Don’t Run album, although their old name, Rick (Derringer) and the Raiders, was still on their bass drum when they recorded Sloopy.

· Artists who have publicly acknowledged their musical debt to The Ventures include John Fogerty, Jimmy Page, Stanley Clarke, Steve Miller, George Harrison, the Ramones, Jeff "Skunk" Baxter, Larry Carleton, Dire Straits, Davie Allan, Aerosmith, Marshall Crenshaw, Sir Elton John and many more.

· In September, 1962, the band released their most controversial recording, Lolita Ya-Ya, the theme from the movie Lolita. It peaked at #61 in the US. Later that year, they released The 2,000 Pound Bee, the first single recording to use a fuzz-box guitar. This song was played at (Killer Bee) John Belushi's funeral.

· Primarily known for their album success, the band had 14 top 100 singles in the 60's.

· Every LP released by the Ventures from 1961-1972 sold at least 100,000 copies. Even though Liberty Records had many hit artists (including Ricky Nelson, Bobby Vee, Sandy Nelson, Johnny Rivers, the Fifth Dimension, Cher, the Hollies, Gary Lewis and the Playboys, the Chipmunks, Jan and Dean, and numerous others), the company publicized the fact that The Ventures were responsible for over 25% of their business throughout the 60's.

· The first release in the Play Guitar with the Ventures series was the first and perhaps only musical instrument instructional album to chart. Countless young guitarists learned to play by listening to this series of albums and by playing along with regular Ventures albums.

· After surpassing 40,000,000 in record sales there, the Ventures became the first foreign members of Japan's Conservatory of Music.

· The Ventures have also placed their handprints in the Hollywood Rock Walk.

· The drummer on Walk, Don't Run was Skip Moore, not Howie Johnson as many assume. Skip was given the choice of $25 or 1/4 of the money the record would make for playing on the session. He took the 25 bucks! Another early drummer, George Babbitt, retired as a 4-star Air Force general.

· Nokie Edwards real first name is Nole. He is from Lahoma, Oklahoma, hence the "Nokie". He turned professional at 11 and was on the radio at 13! That’s it . . . Nole from Okie.

· Keyboardist John Durrill, who joined the group in the late 60's, formerly played with The Five Americans. He later wrote three hits for Cher. Dark Lady went to #1 for him and Cher in 1974.

· Drummer Howie Johnson left the group after a bad auto accident made travel too painful. Howie passed away in 1989.

· Drummer Mel Taylor believed that he was the first drummer ever to play bluegrass music. He also played the Hollywood Bowl the first time Country music was played there. He did session work with Gary Paxton (Alley Oop, Cherry Pie, Monster Mash, etc.), Herb Alpert, Buck Owens and others before joining the Ventures.

· Don Wilson considers himself a "guitar flogger". He also played lead fire extinguisher on Telstar.

· Gerry McGee played on the first two Monkees albums. The opening guitar chords on the Monkees theme song are his, as is the famous intro on Last Train to Clarksville. He has also played with Bobby Darin, Delany and Bonnie, Kris Kristofferson, Elvis, the Everly Brothers, Linda Ronstadt, Ricky Nelson, Sandy Nelson, and Jerry Lee Lewis. His father, Denus, was a pioneering Cajun fiddle player. · Bob Bogle played lead guitar on Walk Don't Run, Perfidia, Lullaby of the Leaves, Blue Moon, and a number of cuts on the first several albums. He still plays some lead, especially in the studio. The first time Bob played bass guitar was live on stage!

· Bob Reisdorf, their first producer, was in such a hurry to get their first album out, that he used some Liberty Records stockroom employees in sunglasses on the first album cover. That cover was later parodied, using the actual band members, on Walk Don't Run, Vol. 2.

Vintage Guitars - The Charvel Surfcaster

2008-11-20T05:30:00.001-08:00

The Charvel Surfcaster

The Charvel Surfcaster is a model of electric guitar designed in the early 1990s, and manufactured from 1992 to 2005 by the Charvel/Jackson guitar company. The Surfcaster has been considered a boutique style guitar that employs many retro styles from leading

manufacturers of the fifties and sixties. These design aspects make it significantly different then other models from Charvel/Jackson that focused mainly on the hard rock guitarist. The Surfcaster was picked as a "Pawn Shop Prize" by Guitar Player magazine in July 2003.

Sound and playability
The Surfcaster sound is known for its "Jangle" or "Twang" similar to a Fender Telecaster but with more high end frequencies and overtones.

Design
Originally available only in the two lipstick pickup configuration, later models would include a humbucking pickup in the bridge position. Later solid body 3 lipstick pickup variations were also produced. A twelve string and four string bass version were also created and are highly collectible. In later years the Surfcaster was released under the Jackson brand name and production facilities changed from Japan to India. Quality & cosmetics suffered. When Charvel/Jackson was purchased by Fender in 2002 they dropped the Surfcaster because of its similarity to guitars sold under the Fender brand.

Notable Surfcaster players
Scott Ian of Anthrax
Bruce Cockburn
Tommy Victor of Prong (Cleansing era)
Belinda Butcher of My Bloody Valentine
Mark Collins (musician) of The Charlatans (UK band)

Bullit Mustang

2008-11-09T11:38:00.000-08:00

The 2008 Bullit Mustang...

SAN FRANCISCO, Nov. 6 – Four decades after hitting the big screen and redefining the on-screen car chase, the Ford Mustang Bullitt returns to the streets in 2008, blending the best Mustang ever with the latest Ford Racing technology.
This modern classic delivers a balance of power and performance, thanks to special chassis and suspension tweaks as well as the 315 horsepower and 325 pound-feet of torque that Bullitt delivers through its 4.6-liter V-8 engine.
“The 2008 Mustang Bullitt embodies the true spirit of the 1968 movie car,” said Derrick Kuzak, group vice president, Global Product Development. “Like the original Bullitt, this car dials the driving dynamics up a notch for Mustang enthusiasts who love the performance, handling and the sweet sound of Ford power that only Mustang can deliver.”
The 2008 Bullitt arrives in dealers early next year, with a starting MSRP of $31,075 (including destination and delivery) and limited production of 7,700 units for the U.S. and Canada.
The launch of the limited edition 2008 Mustang Bullitt coincides with the 40th anniversary of the release of the Warner pos. Pictures film that gave the original car its name. In the movie, legendary actor Steve McQueen drove a Dark Highland Green 1968 Mustang GT that gained cult status among Mustang enthusiasts, thanks to a seven-minute scene that film and car buffs believe defined the modern movie car chase.

Bullitt Chassis Delivers a Balance of Performance and Comfort
Ford engineers modified the 2008 Mustang Bullitt’s chassis and suspension to fine-tune handling and ensure the extra horsepower and torque from the 4.6-liter V-8 is put to good use. The live rear axle uses a unique 3.73:1 gear that helps launch the Bullitt with vigor.

Stock Mustang GT shocks and struts were swapped out for new units that allowed engineers to dial in a more aggressive driving dynamic while still maintaining the outstanding ride and balance of the base Mustang GT. A tower-to-tower pace designed specifically for the Bullitt lends additional torsional and lateral stiffness to the chassis for improved cornering and holds a unique serial number for each Bullitt.
“The 2008 Mustang Bullitt delivers balanced performance,” said Paul Randle, chief engineer. “Comfort is not compromised for performance. Performance is on demand. You can easily take Bullitt from the track to the street and back onto the track with confidence.”
The pakes also have been improved versus the base Mustang GT’s. More aggressive front pads were developed specifically for Bullitt and improve fade resistance and pedal feel.
The 2008 Mustang Bullitt wears unique cast-aluminum Euroflange wheels, offering a modern twist on the original movie car. The Dark Argent Gray spokes feature a satin finish, while a pight-machined lip completes the look. Calipers are colored to match the wheel. The wheels are wrapped in the same P235/50ZR 18 BF Goodrich g-Force T/A KDWS tires used on Mustangs at the Ford Racing High Performance Driving School at Miller Motorsports Park in Utah.
Powered by Ford Racing
Bullitt packs firepower under the hood. The 4.6-liter, 3-valve V-8 delivers 315 horsepower at 6,000 rpm and 325 pound-feet of torque at 4,250 rpm.
Engine calipation is designed to increase throttle response for a snappier acceleration feel. The redline has been boosted by 250 rpm to 6,500, with top-end speed bumped to 151 miles-per-hour. Gears are selected via a Tremac 5-speed manual transmission, and the shifter is topped with a polished aluminum shift ball designed specifically for the 2008 Bullitt.
The car features the first use of an open-element air filter in a factory-produced, fuel-injected Mustang. Inspired by Ford Racing, the intake is tucked neatly behind the driver side headlamp, mounted in an air box that was tooled up specifically for the Mustang. The hood liner was extensively modified to provide a full seal to the air box, ensuring that the engine is fed a steady diet of cooler air.
“Colder air reduces intake losses,” said Randle. “The new cold-air intake has shown a reduction in rise over ambient temperature from 50 degrees down to 17 degrees Fahrenheit. That equates to more horsepower and more torque in all driving conditions.”
Engine performance is further enhanced through the use of an innovative adaptive spark ignition system, new for the 2008 Mustang.
The system can sense, within a few seconds, what type of fuel is being injected into the motor and adjusts the spark to provide maximum torque at any given speed – and as much as
10 pounds-feet more between 1,000 and 4,000 rpm.
Bullitt can run on either premium or regular fuel. Ford recommends premium fuel for optimum performance, but the adaptive spark ignition will adjust the spark to burn regular fuel without damaging the engine.
“With all the improvements we’ve made to the engine and the taller 3.73-to-1 rear gear, the Bullitt will plant you firmly in the driver’s seat when you stand on the throttle. We’ve seen zero to 60 times drop by up to three tenths of a second,” said Randle. “There’s also plenty of power on tap at any speed. The car definitely feels lighter on its feet, and it is.”
The custom-designed exhaust system continues Mustang’s traditional use of a true dual-exhaust system with a new H-pipe specifically developed for Bullitt. The all-new mufflers, featuring larger 3.5-inch chrome tips (versus the 3-inch tips on the standard Mustang GT) are tuned to minimize backpressure, maximize horsepower and provide the Bullitt with its powerful exhaust note. “We wanted to get the exhaust note as close to the original movie car as possible, so we based it on a digitally mastered DVD,” said Randle. “We wanted something that would rumble your heart, literally buzz you – and the Bullitt team delivered.”

Capturing the Bullitt’s Undercover Look
The original 1968 Mustang’s stealth-like appearance wasn’t necessarily intentional. In typical Hollywood fashion, the movie crew removed all exterior badges and logos from the car – including the iconic pony badge on the grille.
The 2008 Mustang Bullitt calls back the original movie car in painstaking detail – right down to the dark green paint and lack of exterior badges, scoops and spoilers.
The only visible identification is the word “Bullitt” dropped into a gun-sight graphic in the center of the faux gas cap on the decklid.
“The 2008 Mustang Bullitt, like the movie car, is a wolf in sheep’s clothing,” said Doug Gaffka, chief designer. “Mustang is – and always has been – such an icon that it’s recognizable without the badges. But Bullitt’s clean exterior doesn’t give away the Ford Racing-inspired power and performance lurking under its skin.”
The new Bullitt wears a close match to the movie car’s 1968 Highland Green paint, officially called Dark Highland Green. This distinctive color has only graced one other Mustang, the 2001 Mustang Bullitt. Gaffka assures Bullitt enthusiasts that the color will remain an exclusive Mustang Bullitt color. Non-purists can opt for only one other color – black.
The Mustang Bullitt uses the standard Mustang GT’s front fascia. A new black-mesh grille is devoid of the standard chrome pony and is accented by a satin aluminum strip that represents the chrome grille surround on the 1968 car. The rear fascia also is shared with the standard Mustang GT and houses Bullitt’s unique dual exhaust tips. Dark Argent Gray painted pake calipers closely match the wheel spokes, while staying true to the original.

Bullitt Interior Delivers Comfort with a Purpose
The interior is pure Mustang Bullitt, understated and dressed in Charcoal Black leather and Satin metallic trim. The centerpiece of the interior is the hand-machined, aluminum swirl dash panel appliqué.
“The machined appliqué differentiates the Bullitt from any other Mustang in the line-up,” said Gaffka. “It’s also perfect for the Bullitt. The graphic presentation pings back the feel of the ‘60s while still staying true to the Mustang’s modern interior design.”
Satin aluminum bezels circle the air vents and gauges, complementing a satin aluminum shift ball that replaces the standard leather-wrapped shifter on the Mustang GT. The pedals wear race-inspired aluminum covers that further reinforce Bullitt’s performance intentions.
The interior is graphically clean. The only identifying marks visible inside Bullitt are the logo and gun-sight graphic mounted in the center of the leather-wrapped steering wheel and the word “Bullitt” embossed into the metal sill plates. The Dark Charcoal leather seats pick up the diamond perforation inserts from the base Mustang GT. The seats are patterned after those in the Shelby GT500 providing added lumbar and bolster support. The seats are constructed using the new soy-based foam developed by Ford and introduced on the 2008 Mustang. The soy foam, made up of 24 percent renewable content, is produced through a process that requires less energy and emits less CO2.

The Bullitt 2008 PackageThe Bullitt package enhances the Mustang GT Premium package with the following:
-3.73:1 Limited Slip Rear Axle
-Ford Racing Power Pack (cold air induction system)
-High Performance Calipation
-Performance Friction Carbon Metallic® front pake pads
-Ford Racing Strut Tower pace
-Sport –tuned suspension (shocks/springs/stabilizer bar)
-Modified “H” Pipe
-Dark Grey pake Calipers
-18-inch Euro-Flange Bullitt Wheels with Charcoal Satin Finish
-3.5-inch Packed Exhaust Tips
-Distinct Upper Grille
-Bullitt emblem on faux fuel cap
-Black interior with upgraded steering wheel
-Charcoal Black sport leather seats
-Unique IP finish (hand-machined aluminum swirl)
-Satin Aluminum interior accents (ball shifter/sill plate/pedal covers)
-Standard content also includes:
-4.6-liter 3-valve V-8 engine
-5-speed manual transmission
-Auxiliary audio input jack
-One-touch up-down power windows
-Power mirrors and door locks
-Keyless entry
-Air conditioning
-Tilt steering wheel
-Speed control
-Rear window defroster
-Four-wheel power disc pakes
-Anti-lock paking System (ABS) with Traction Control
-Seat-mounted side air bags
-LATCH
-Personal Safety System®
-SecuriLock®
-Tire Pressure Monitoring System
-Shaker 500 Audio System with six-disc CD player, MP3 and eight speakers
-Available options include:
-HID headlamps
-Shaker 1000 Audio System six-disc CD player, MP3 and 10 speakers
-SIRIUS satellite radio
-Ambient Lighting
-Active Anti-Theft System
-Wheel locking kits

AFTER 30 YEARS,THE REAL TRUTH BEHIND THE "BULLITT" CHASE
If there were only one movie in which we could participate, it would be "Bullitt". It's the ultimate car-guy's flick with a cool lead character, lots of attitude, magnificent location, and, of course, hot musclecars in the most realistic, high-speed, fender-banging, gravity-defying chase ever filmed. Even after 30 years, it's the car chase most remembered, admired, and copied. Other movies have had more flips, crashes, explosions, and all-around destruction, but "Bullitt" was a milestone, serving notice to Hollywood that reality was a quality audiences would enjoy. "Bullitt' did more than excite audiences. It changed the way Hollywood looked at cops at a time when policemen were being called pigs. It paved the way for more movies to be shot entirely on location and outside of the Hollywood mentality. It was a cutting-edge film that premiered in a turbulent year that shaped a socially conscious generation's values, music, and lifestyles.The car chase in "Bullitt" worked so well because there was little in the film to draw attention away from it. There was only one profane word and no nudity. The plot was confusing to the point of being incomprehensible, but that mystery kept the audience guessing until the click of Bill Hickmann's seatbelt. With its innovative use of small remote cameras mounted inside the cars during the chase,"Bullitt" was the forerunner of the concept of virtual reality. The audience was seated behind Frank Bullitt as his Mustang pursued the bad guys down the hills of San Franciscos North Beach. The "Bullitt" saga started with movie agent John Flaxman who had the rights to a Robert Pike novel called "Mute Witness". Flaxman asked Alan Trustman, who wrote "The Thomas Crown Affair," to develop a screenplay from the book with Steve McQueen in mind as the lead. "Mute Witness" originally followed a 65-year-old New York cop, but Trustman reshaped the protagonist into Frank Bullitt, a youthful, renegade, but honest detective. "The book lacked visual, dramatic tension, so I built in three chases, each with its own danger, uncertainty, and surprise," says Trustman. He also fashioned a strong female companion, who was so tangled in the plot that she was killed in the final scene.In addition to foot chases at a hospital and the airport, Trustman says he developed a car chase, a claim disputed to this day. "Much of it was specified in the first draft, "adds Trustman, "like placing the camera low on the front bumper of the following car, the car smashing into the building, the hub caps coming off."Flaxman sold the rights to independent producer Phil d'Antoni, who in turn pitched the screenplay to Solar Productions, a company formed by McQueen and Robert Releya. "Bullitt" was to be the first movie in a lucrative six-picture deal between Solar and Warner Bros. Solar hired British director Peter Yates, whose earlier film 'Robbery," opened with a thrilling chase scene involving police cars to direct BULLITT.Yates and Trustman did not get along. "The first script was quite terrible," remembers Yates. 'Peter was not comfortable with strong women," counters Trustman. "He kept asking for rewrites to weaken the female character." Trustman was fired before production started and replaced with Harry Kleiner. Before leaving, however, Trustman learned that Solar was going to film the movie entirely on location in San Francisco. "I told them that, if you drive a light car like a Ford Mustang downhill fast," he says. "it will take off at the intersections and fly through the air." Trustman says he tried the stunt himself during a 1954 summer break from Harvard law school, launching a new Ford Fairlane off the streets.McQueen and Yates have different versions of the chase's inception. In numerous interviews at the time, including talks with Motor Trend, McQueen stressed that the chase was his idea and he instructed the writer to include it in the script. Writing for TV Guide in 1973, Yates said, "The chase didn't exist in the script," and noted that, after numerous rewrites, d'Antoni suggested "there had to be a car chase somewhere in "Bullitt" because of McQueen's driving ability. Even today, Yates maintains that the car chase was never in any Trustman script, but Flaxman confirms that the chase was in the first draft he read.Regardless of who conceived the idea, there's little question that a car chase plan was put into action well before the crew went to San Francisco in February 1968. William Fraker was hired as the cinematographer, and he remembers an early meeting with Yates to discuss the scene. "We decided at that point there would be no camera tricks," says Fraker.Indeed, reality and gritty authenticity were the keys that made "Bullitt" stand out from other police dramas that usually had the look and feel of sanitized TV series. Pat Hustis, the builder and driver of the high-speed camera car, said McQueen told him, "I want the audience to know what it's like to do this."McQueen and his company convinced San Francisco's mayor to open up the city, allowing them use of the police station, hospital, airport, and of course, the streets. In exchange, Solar hired extras from poverty areas at full union scale. Warner Bros. didn't appreciate the effort and ordered Solar back home during the first month of production, suggesting that the rest of the movie, including the car chase, could be duplicated on a Burbank back lot. McQueen refused, and the six-picture deal suddenly became a one picture deal.The choice of cars had more to do with corporate marketing than dramatic inspiration. Ford and Warner Bros. cooperated on movies, so a Mustang and Fairlane were selected. Both were taken to Max Balchowski to be modified, but he said the Fairlane would not survive any serious stunt work. He suggested a Dodge Charger. Balchowski prepared both vehicles and their backups. All the suspension parts were Magnafluxed to check for weakness, and Balchowski reinforced all the lower control arms. For the Charger, he twisted the front torsion bars up for a little extra ground clearance, added Koni shocks and swapped in NASCAR-stiff rear springs. 'The Mustang had its shock towers reinforced and bridged. Heavy-duty front coils were installed, along with a thicker anti-roll bar and Koni shocks. The Mustangs 390-cubic-inch/325-horse engine received milled heads and ignition and carburetor upgrades, but could never really keep pace with the stock 440-cubic-inch/375-horsepower Dodge. All the cars were reshod with Firestone tires, and the Mustang received American Racing Torq-Thrust wheels.There was not just one "Bullitt" Mustang; two were ordered for use by the film crew for close-up and action scenes. However, the two Mustangs were not identical when first purchased. Only one had the GT equipment group, so both car's badging and grilles were removed to achieve a similar appearance between the two. Sharp eyes can notice the GT rear valance with its exhaust cutouts on one of the Mustangs in some scenes.Stunt legend Carey Lofton - who had worked on "Redline 7000," the road race in 'Viva Las Vegas," "Grand Prix", and the great fiery crash in "On the Beach" - was hired to stage the chase. Lofton also designed the legendary car chase in "It's a Mad, Mad, Mad, Mad World.""All the stunt men thought we were crazy," remembers Yates. "They wanted ramps for flips, crashes, and explosions. One stuntman asked me, 'What can you do with hills?' "Steve and I both had a great respect for cars," adds Yates, who club raced in England and was team manager for Stirling Moss. "I admired the skills needed for driving. I didn't want a crash derby."Lofton scouted the locations and came up with a plan, while Yates, McQueen and Fraker continued to develop other ideas as the film was shot. One plan took the chase over the Golden Gate Bridge, a trip the city denied. "Without the Golden Gate Bridge, it made us take advantage of the hills," says Fraker.

Bill Hickman, perhaps Hollywood's finest stunt driver, was chosen to drive the Charger. Hickman was a close friend of James Dean and pulled Dean out of his twisted Porsche the afternoon he died in the infamous head-on crash. Hickman and McQueen tested their cars at Cotati Raceway north of San Francisco a few days before shooting the chase scenes began. Action from Cotati can be found on the promotion short that accompanies "Bullitt" on the anniversary home video and the DVD, and you can see McQueen attempting smoking-tire, 180degree spins. One of the scenes in the final script called for the Charger to spin around and come back toward the Mustang The two cars just miss and the Mustang has to flip a U-tum to catch up again. Apparently a suitable location could never be found since there was no evidence in the Warner Bros. photo archives that such a scene was ever filmed.The 12-minute chase took two weeks to film--one sixth of the entire shooting schedule. McQueen definitely wanted to handle all the Mustang sturrt driving. Some accounts say it was pressure from his family and the studio that got him out of the car for the most difficult scenes. Eventually, it was McQueen's inability to pull off the stunts that forced Lofton to replace him with Bud Ekins, McQueens longtime friend who performed the famous motorcycle jump in "The Great Escape."McQueen was overly sensitive about stunt doubles, especially when it involved motorcycles and cars. The Hollywood publicity machine and McQueen stressed that he did all of his own stunt work in the chase and during the dangerous airport runway scene. In reality, three drives - McQueen, Ekins, and Lofton drove the Mustang in the chase scene and Loren Janes, McQueen's longtime stunt double, was undemeath those airliner wheels an the runway."The success of the car chase still had a lot to do with Steve even though he didn't do the dangerous stuff," says first assistant director Tim Zinneman.Indeed, McQueen's enormous contributions to the movie should have been enough to satisfy his ego without fabricating more stories about his involvement. He suggested Bullitt's turtleneck-and-open-jacket look He never overplayed the role, making sure Bullitt had the same expression whether he was driving 100 mph or romancing Jacqueline Bisset. Even when he arrived early in San Francisco to research his role, McQueen was thinking about the chase.

One evening, he went motorcycle riding with Don Gordon, who played his partner Delgedi. "Steve took a jump off one of the hills," remembers Gordon. "When he came back, he said this would be a great spot to see cars flying off the hill.""Steve was very dear," adds his former production partner, Robert Releya. "He always said that this movie was a westem in which he would strap on a car like a gun belt." The cat-and-mouse game between the cars after leaving the car wash was the first priority and help set up the rivalry. Again, no tricks were used. The wonderful shot of the Mustang appearing in the Charger's rearview mirror was Fraker's idea and it took a number of attempts to get timing and focus down. A pressure building jazz score from Lalo Schiffrin (he also composed the driving 'Mission Impossible" and "Mannix" themes) accompanied the cars on the prowl. But music isn't needed after Hickman crosses traffic and boils the tires up up a hill. In fact, virtually none of the traditional Hollywood tricks was used to emphasize the speed, danger, or intensity of the chase -no fake shots of a 100-mph speedometer, screaming passengers, or crashes through garbage cans: nothing to take the audience away from the cars.The early scenes of the chase show the cars building speed through the hills and taking turns at tire-screeching velocities. It took numerous attempts to get the right action at some locations as the crew worked with McQueen. Automotive journalist Nina Padgett, who conducted many interviews with Lofton, says McQueen knew he was having problems after watching the rushes (raw footage of the previous day's fihning) each morning. Finally, McQueen blew a turn once too often, and, according to Ekins, Lofton yelled, "Get him out of the car. Ekins, go to makeup and get your hair bleached." None of the crew members recalls the moment so dramatically, but Bud Ekins was eventually called on to handle the trick assignments. It's easy to tell when Ekins is in the Mustang. The watch is different on Ekins' right arm from McQueen's. Also, the rearview mirror is turned away when Ekins drives, otherwise it reflects McQueen's face. Ironically, mistakes, such as McQueen locking the tires and backing up in tirehopping anger (one of the only "speeded-up" scenes), play an important part in the reality of the chase. "That's what happens when you drive a car fast," explains Yates. "It was part of spirit of the chase. The near misses are what make it great."Hickman had his share of problems, too. He lost control of a four-wheel drift around a hard right comer and crashed into a '56 Ford, knocking out a remote camera mounted in front. You can tell it wasn't exactly planned, but footage from that camera was used in the movie. 'They told him to do it," proclaims Ekins.'We may have told Bill to hit the car," recalls Yates, "but we didn't tell him to take out the camera." The actual crash in all its glass-breaking, metal-crunching glory can be seen in the production short that accomparries the anniversary video and DVD edition. Ekins was in the Mustang when it made its aerial charge at the Dodge. The action was filmed from within both cars, giving the audience a pit-of-the-stomach roller-coaster ride unseen before m any movie theater.Pressure to finish the shooting schedule with a dramatic car chase was intense. McQueen had a horrid reputation for challenging directors, but he worked extremely well with Yates and the crew. This teamwork was never more apparent than when McQueen had an idea for Ekins. "He decides in the middle of the day to have me lie down on a motorcycle while the two cars come at me," says the stuntman. "I called a friend who had a motorcycle shop and asked him to send over a BSA 750 and a set of leathers."Despite the impulsive nature of scene, the continuity was magnificent. From the in-car shots of McQueen spinning brodies in the dirt to Hickman's smirk reaction as he sees the dust clouds in his mirror, the scene flows effortlessly.While the motorcycle scene was nearly flawless, other parts of the chase did have continuity problems in the final screen version. By one count, the Charger lost eight hubcaps. And, of course, that feisty VW kept showing up as film editor Frank Keller took full advantage of the great action and eight camera angles from the one take of the downhill scene. While these minor flaws generated criticism, they didn't keep Keller from winning an Academy Award for editing the film.

The chase continued on the outskirts of the city toward the airport. Speeds well over 100 mph required a special camera car built by Pat Hustis. McQueen handled much of the Mustangs high speed driving, but Ekins worked the bumping scenes with the Charger. Stunt driver Hustis got close enough at speed for Cinematographer William Fraker to record some dramatic shots, including the shotgun blast that was just inches away from the camera lens. For the final crash and explosion, a dummy gas station was constructed. Lofton set up a tow-and-release stunt in which the Charger was hitched to the Mustang. Balchowski dialed in as much front suspension caster as possible to keep the Charger in line as Lofton drove the Mustang, towing the Charger alongside. When the time was right, Lofton pulled a cable release and the Charger was sent into the station while explosives were set off. The Charger went behind the gas pumps but the special effects team ignited the charges anyway. Keller's editing saved the scene, and hardly anyone notices the tow bar sticking out of the Mustang's side (unless you're quick with the VCR's pause button). Lofton finished up with a few spins through the dirt, including a perfect spindle-breaking stop in a ditch just inches away from Fraker's camera.

After Keller and Yates finished editing the chase, John Kean went to work recording and mixing in the sound of the revving engines and squealing tires. Kean and Bud Ekins took the cars to Willow Springs Raceway near Los Angeles for the recording. Some critics complain that the Mustang upshifts so many times it sounds as if it has a six-speed transmission, but most of the sounds fit the scenes perfectly, including the tires barking during gear changes and the rpm shifts during speed changes. Kean was nominated for an Academy Award for his work on the film. "Bullitt" opened at New Yorks Radio City Music Hall Oct. 17, 1968, then was released nationwide in December, just days before Apollo VIII first circled the moon. It was a huge hit for Warner Bros. and solidified McQueen as a major Hollywood star."Looking back 30 years, "Bullitt" is a very important piece of film," says Assistant Director Walter Hill, who later directed action hits "Hard Times," "The Warriors," and "48 Hours." "It showed what could be done and how the possibilities of action cinema were greater than ever perceived. We were all part of a film that set the standards much higher."

By Mike Magda/Motortrend December 1998(www.motortrend.com)

Bullit - A story
Nearly all car enthusiasts remember the first time they saw the action drama Bullitt, starring Steve McQueen. Whether seen in a movie theater or on the small domestic screen, the images of a Mustang fastback roaring through the streets of San Francisco in hot pursuit of a black Dodge Charger remain in our minds (and stomachs!) for hours after the final credits roll.Bullitt was released by Warner Brothers/Seven Arts in the fall of 1968, and it set a standard for realism that was a highwater mark in filmmaking for years. The chase scene was not sped up to give the false impression of speed. And there were no speedometer shots to "prove" that it was a highspeed pursuit. Instead, director Peter Yates and cinematographer William Fraker used their considerable combined experience, along with the latest technology of the era, to put the realism of the chase right in our faces.The objective was to make Bullitt as real as possible. Real doctors and nurses were used, for example, in the hospital scenes, which were filmed in a real hospital. None of it was done on a Southern California back lot. Frank Bullitt's hot pursuit of bad guy - character Johnny Ross at the San Francisco International Airport was filmed amidst the scream of jet engines and wild- eyed passengers on departing aircraft, with real Pan American Boeing 707s out on the runs and tarmacs. Bullitt took the cinema where it had never been before.Through the years, there have been numerous rumors, legends, and erroneous articles written about Bullitt. One article claimed the surviving Mustang allegedly belonged to a police detective on the East Coast who didn't want its location known. Certainly we would all like to believe that one. Not enough of the rumors and stories have been true, unfortunately. So we're going to tell you, based on current information from reliable sources connected to Bullitt, what we know to be true. The most common question asked by enthusiasts is "Why a Mustang?" In spite of what we may like to think (for instance, that it was Steve McQueen's choice to use a Mustang), it is fact that Ford Motor Company has had a longstanding relationship with Hollywood. Nearly all of the "focus" cars in Bullitt were Fords. The Sunshine Cab driven by actor Robert Duvall was a '67 Ford Custom. Actor Robert Vaughn's limousine was a black Lincoln Continental. Most of the police cars were Fords of the era. Is it any wonder they put the bad guys in a Dodge? The Dodge Chargers (two of them) were purchased by the production company from a Los Angeles dealer. Dealer inventory stickers are visible on the rearview mirror during a Bullitt promotional trailer that originally ap-peared in theaters after the movie. In the Bullitt trailer, McQueen and stunt driver Bill Hickman are seen thrashing the cars around a racetrack. There has been much rumor and speculation over the years as to why the Mustang had no emblems. There may be some truth in "because McQueen wanted it that way" or "not to give Ford any free advertising" or "because the car looked better that way. But one important fact has been overlooked in most of these rumors - Warner Brothers needed to make the two Mustangs appear as identical as possible.Why? Because if you examine Bullitt closely, you will see that the Mustang varies throughout the film quite a bit. One had the GT Equipment Group and one did not. This would have meant that the emblems, grilles, gas caps, exhaust tips, and other important details would have been different on both cars. This being the case, many cos-metic modifications were necessary to achieve continuity throughout the film. Both Mustangs were void of their emblems. If you look closely, one had a rear GT valance and one did not. Neither had a Mustang grille. Both had wire-mesh grilles that would never be found on a Ford parts shelf.Veteran auto racer/car builder Max Balchowski modified the two Mustangs and Chargers for filming. While the Dodge Charger remained in virtually stock condition, the Mustangs, due to their marginal unibody underpinnings, had to be structurally reinforced to survive the huge jumps and other hard use during the chase scene. Although we can see boxed-steel framing underneath the Mustangs, this framing was actually installed to support camera and lighting equipment for the interior shots.Most of the modifications to the Mustangs involved strengthening the front end so the shock towers wouldn't fail when the car made those hard downhill landings. Balchowski experimented with various springs and shocks until he found a combination that would keep the Mustang from bottoming out too much. He also fabricated a shocktower brace that would reinforce the engine bay. Balchowski also had to do some tuning to the Mustang's 390ci High Performance engine to help it keep up with the Dodge's 440ci Magnum. Apparently, according to reliable sources, the stock Dodge would run away and hide from the Mustang. Balchowski used a few tried and proven racing tweaks on the carb and ignition, closing the performance gap between the two cars involved in the chase. Believe it or not, the chase scene took two weeks to shoot. Balchowski was on hand to keep the cars running and to do any last-minute modifications that were needed. In one hard downhill landing, the Mustang's oil pan was torn open and its contents spewed in a cloud of smoke (watch carefully during the chase and you can see this happen). Balchowski knew how tight the shooting schedule was, so he welded the pan while it was still bolted to the engine.As to the actual driving, there is often debate about that, too. Many of us have been led to believe over the years that Steve McQueen did all of his own stunt driving. However, there's more to it than that. McQueen did some of the stunt driving, but most of the toughest sequences were handled by professional stunt drivers.Bud Ekins, a veteran motorcycle racer, who did the fence jumps in The Great Escape, did the downhill jumps in Bullitt. He is also the unfortunate soul, who lays down a motorcycle later on in the chase when the Charger crosses the center line and runs him off the road. Another veteran stunt driver, the late Carey Loftin, did some of the other tricky parts. One quick way to tell who is driving the Mustang is to check the rearview mirror on the inside shots. When McQueen appears in the mirror, that's a good indication. However, when the mirror is turned slightly away, and all you can see is part of the camera support, it is likely a stunt driver.There is no question as to who is driving the Charger. The actor behind the wheel with the hornrimmed glasses isn't an actor at all, but a man named Bill Hickman. Hickman was at the top of the stunt driving profession at the time and could aim that big Dodge exactly where the director wanted him to. Hickman had small speaking parts in two later films that he also did the stunt driving for - The French Connection and The Seven Ups. At one point in the Bullitt chase, Hickman actually lost control of the Charger and smashed into a camera position. After the collision, the Charger's left front fender is damaged from the impact. Untold wheel covers from the Charger were also lost in the filming.Everyone always asks where the Bullitt Mustangs are now. No one had any idea that these innocent Highland Green fastbacks would be the Loch Ness Monsters of the automotive world. There are more urban legends surrounding their fate than the Lindburgh baby. The simple answer is not so simple. It depends on who you talk with. At one time, it was believed that one of the Mustangs was damaged at the end of the chase and was scrapped, while the other one was allegedly sold.Over the years, articles on the Bullitt saga have typically concluded, through sketchy second- or third-hand infor-mation, that a secretary or messenger at Warner Brothers purchased the less-damaged backup car believed to be the GT. Yet McQueen himself tried to find this car a few years later and was unsuccessful. One would think that with the success of Bullitt, an employee driving the star car to work everyday would surely have been noticed. But no one today can remember who that mysterious person was. This is certainly interesting to us.A few enthusiasts with '68 Mustang fastbacks have thrown on Highland Green paint and American Racing Torq-Thrusts to create their own rolling tributes to the coolest police lieu-tenant of the '60s. Max Balchowski has even helped out a few of those Bullitt buffs with advice on proper modifications. A few have probably changed hands as "the real car" to unsuspecting buyers, though we haven't seen any in our travels.But according to Robert Relyea, executive producer of Bullitt and a number of other McQueen films, all four cars - two Mustangs and two Chargers - were scrapped after the filming was complete. The reason for this was simple - liability. Obviously, one of the Chargers was destroyed in the crash and explosion that followed the chase. The remaining three cars were too great a liability risk for Warner Brothers and Solar Productions (McQueen's company). The cars were written off to budget, rather than take the financial risk. In short, it is likely none of the cars exists today.Despite what we do know about the Bullitt Mustangs, there is always the possibility that someone pulled one or both of them from the wrecking yard and put at least one of them back together. In a 1973 issue of Road & Track magazine, there is a classified advertisement for a "documented" Mustang from Bullitt with a New Jersey telephone number. The thing is, if one of the cars actually survived, where is it now? Why didn't McQueen buy it? Maybe the present owner is saving it for the Mustang museum. Yeah - that's it.

©By David Kunz (published in Mustang & Fords Nov. 99)

THE BULLITT MUSTANG IS NO LONGER LOST!
This page is based on an article I wrote for the April, 1990, issue of Mustang Illustrated. I was elated to finally locate the surviving Mustang Steve McQueen drove in the movie "Bullitt." Imagine how disappointed I've been over the last decade to still see other magazines reporting that the cars are assumed to have been destroyed. Even though I've got paperwork proof and the car's history of owners going back to Warner Bros. studios, other automotive journalists have never acknowledged my discovery. Oh well, I guess it'll just be between you and me. -- Brad Bowling

The Man Himself
The car was a 1968 Mustang 390 GT. The last thing in the world you'd take the green fastback for is a serious collector's item. Gifted with hindsight, it's difficult for us modern-day enthusiasts to consider owning the surviving Bullitt Mustang and thinking of it simply as transportation but, strangely enough, that's exactly how it has been treated by its three owners to this day.
Somehow, a great deal of controversy and misinformation has grown up around that car over the years. Several books and magazines have incorrectly reported the stories and facts behind this legendary vehicle and most of them have speculated that it was driven to death, then sent off to be crushed, simply because it had not been located. There has been a long-running debate concerning the number of Mustangs purchased for the movie, what engines they came with and how many were actually used for the strenuous jumping and crashing scenes.
Legends seem to spin off their own myths -- that is certainly true in this case -- but we were able to cut through the muddled facts and dead ends to bring you the real story, as told by the first owner of the car and the man who now owns it (that's right, kiddies, it's been found).
THE LEGEND BEGINS

This is the original letterof verification from Warner Bros.to the first owner.Click to view.
Steve McQueen was a hot property in Hollywood in 1968. He had just completed "The Thomas Crown Affair" with Faye Dunaway and he was enjoying the kind of star status leverage every actor works for. Because he wanted more control over the production of his movies, he signed a six-picture contract between his company, Solar Productions, Inc., and Warner Bros. Inc.
The first product of that collaboration was "Bullitt," based on the novel Mute Witness by Robert L. Pike. For the film (in which he plays an unconventional police detective), McQueen envisioned the most violent, realistic and dangerous chase scene ever attempted. It is a tribute to McQueen's persuasiveness and credibility that the city of San Francisco agreed to the mayhem he proposed creating on its streets. (It's easy to picture the meeting in which negotiations took place: "Okay, Mr. McQueen, you'd like to race two cars through our city at 100 miles an hour -- could we interest you in burning down some of our buildings?")
Whether the choice of the Mustang was McQueen's idea or not is unclear; all we do now for certain is that two of them were bought for the movie, both were Highland Green fastbacks sporting GT packages and 390/4V motors. Likewise, two new Dodge Chargers were purchased, reportedly with 426-cid motors, for the bad guys to drive.
"The man's name is Frank Bullitt. The last thing in the world you'd take Frank Bullitt for was a cop."
One Mustang was modified with extra welding, bracing and engine work to handle all of the heavy abuse -- the jumping and crashing -- while the other was used mostly during the high-speed scenes. Several pieces were removed from the cars, including the driving lights, running pony grille emblem, Mustang lettering and even the GT badges. Stock wheels were pulled in favor of sportier custom-made rims from American Racing.
The modified fastback (the jump car) also received a rollbar-mounted camera so that thrill-seeking moviegoers could get a taste of what it was like to fly through the air above San Francisco's hilly pavement. Not only did that Mustang get trashed performing the jump scenes, but it was also the car responsible for the fiery destruction of the Charger at the end of the chase. Special towing equipment was mounted to the passenger side of the Mustang and two dummies were placed in the Charger so that, through clever editing, it would look like the Mustang ran the Charger off the road into the gas station where it blew up.
Because the main Mustang was so damaged by the time shooting ended, it is highly unlikely anyone at Warner even considered selling it. Most of the people behind the movie recall that it was sent to a junkyard where it was eventually crushed.
But what about the second car?
THE FIRST OWNER
Here's the original registration card(with first owner's personal info blotted out)for the remaining Bullitt Mustang.Click to view.
An employee of Warner Bros., named Robert M. Ross bought the car after production was finished. When we contacted Ross to interview him for this story, he politely but firmly told us, "It will be a long time before I talk to anyone about the Bullitt car after the last time." Ross went on to explain that a previous interviewer had misquoted him and "printed pure b.s." about the car. Upon presenting him with the news that we had located the Mustang, he offered us some information but was still understandably reluctant to agree to a longer interview.
Bill Norton is a longtime friend of Ross' who now owns Valley Ford Mustang in North Hollywood. He is one of the few people who can claim to have driven the Mustang when it was new. "The car was not at all beat up like you might imagine," Norton recalls, "it was very nice because it had not been abused like the Mustang that did all of the jumping."
"It was a fun car to drive," he told us, "very powerful but also very squirrely, especially one rainy night on the Ventura Freeway when Bob and I were going home from a party. It was also really noisy because it didn't have any soundproofing -- apparently the movie people had used that car to make the 'live' recordings (that were later dubbed into the soundtrack)."
Ross only kept the fastback for a year or so, according to Norton, before he put it up for sale in Hemmings Motor News. "It was sold to a cop back east who wanted it shipped to him," Norton recalls. "I remember that it was sent by train because that was the cheapest way to transport a car back then and the guy was a little on the thrifty side."
It seems that Norton got more from the Bullitt car than just his driving impressions: in a cardboard box at Valley Ford Mustang sit the GT driving lights that were removed before filming. Apparently, they went to Ross along with the car but did not wind up with the second owner.
THE SECOND OWNER
No one seems to have a name for the second Bullitt car owner. Bob Ross did not supply it during our brief conversation; Bill Norton couldn't remember it and no other previously printed material mentions it. Ross thought that he might have been a detective (like Frank Bullitt, perhaps) but didn't mention the city or state, only that it was somewhere on the East Coast. Near as we can figure, the Bullitt car stayed with that owner for approximately two years before the third and current owner found it for sale in the newspaper.
THE THIRD OWNER
In 1977, Steve McQueen attemptedto buy the Bullitt Mustang back fromits current owner.Click to view.
In 1972, a 24-year-old man got the bargain of a lifetime when he happened upon the Bullitt car, with documentation, for what he says was "an unbelievably low price." Because he is now a successful businessman and has no intention of selling the car or considering any offers, we had to promise him total anonymity in exchange for his cooperation -- we'll just call him "Joe."
Why do we believe this is the bona fide product? Well, Joe sent us several pages of documentation, including copies of the first owner's card (registered by Bob Ross on Dec. 14, 1968, license plate VVE 590) and the latest (registered by "Joe" in his home state on March 7, 1978, license plate 850 IPZ). Both cards give the vehicle identification number as 8R02S125559, which matches the number from the Warner Bros. letter.
Joe told us that he had not actually seen the car in almost six years because it is stored in a relative's garage on the East Coast, several states away from where he now lives. He was surprised to hear that his car had been the source of such speculation. He is not a hardcore Mustang enthusiast and tells us that his initial interest in the car was a combination of the low asking price and the fact that Steve McQueen had driven it.
Joe's anecdotes about driving the car back up Bill Norton's stories about it being a real handful to drive and noisy at any speed. In fact, during a rainstorm, Joe did some Frank Bullitt-style driving when he lost control of the fastback and slid 360 degrees around, resulting in some minor body damage.
According to Joe, he has made no changes to the car but it was equipped with an aftermarket shifter and non-stock steering wheel when he bought it 18 years ago and that's exactly how it sits now, with approximately 40,000 miles on the odometer. "Otherwise," he told us, "the engine compartment, interior and paint all look original."
Despite the fact that he doesn't get to drive it much any more, he insists that it will never be for sale. Steve McQueen himself tried to buy it back in 1977 but Joe had already promised that it would not leave the family, flattered though he was by the offer.
What are Joe's plans for the car? Does he foresee a restoration? Steve McQueen's request not to restore the car matches Joe's own feelings about keeping it in original movie condition. Joe says that the fastback is protected from the elements and should be well-preserved for years to come.
NOT A HAPPY ENDING FOR ALL
Three years after attempting to buy back the Bullitt Mustang, Steve McQueen died of cancer and his collection of cars, motorcycles and antique toys was sold off.
BULLITT TRIVIA
*For his role as Frank Bullitt, Steve McQueen was voted World Film Favorite by the Hollywood Foreign Press Association.*Because "Bullitt" production cost much more than the budget allowed, Warner ended the six-picture agreement with Solar.*Many studio-owned cars were used in the film to interact with the Mustang and Charger and it is possible to see some of them over and over if you know what to look for. The most obvious repeats are: a yellow cab, a white '68 Firebird hardtop, a green Volkswagen Beetle, a four-door Cadillac and numerous Mustangs. Besides supplying realistic street scenery, company-owned vehicles were placed alongside the road to "catch" the Mustang or Charger in case they lost control.*Through the miracle of movie-making, the Charger loses a total of eight hubcaps during the chase scene.*Steve McQueen's letter attempting to buy back the Mustang is dated Dec. 14, 1977, one month after McQueen and his second wife Ali MacGraw divorced.

Follow in Frank Bullits Footsteps...
Google Map data - map created for Bullitt Nationals 2006, courtesy Greg Autry/Michael Gullery (see http://www.imboc.com/) for info on the Bullitt NationalsMap part 2 and 3 at the bottom of this page

1. Frank's Apartment, Clay and Taylor (C-10)
The apartment building looks the same, lower unit has been converted into a garage

1a. Corner market across street still there.
This is the grocery store were Bullitt buys the frozen food and bangs open the newspaper stand.

4. Cesar Chavez St.(formerly Army St.), just east of US101 (H-10)
This is where the chase scene begins. Unfortunately the car wash is long gone and a self-storage facility has gone up in its place. Hardly recognizable. Some ramps have been added to the freeway interchange as well. This is where McQueen pulls out and heads under the freeway with the Charger in tow. Go west on Cesar Chavez and it'll look familiar. 5. Cesar Chavez and York (H-10)
McQueen U-turns here and heads up a narrow hill (York). Gas station on triangular lot still there.The lower picture shows the continuation of York, where the Charger goes after losing the Mustang.

2003 Wheels and Wings Varberg

2008-11-02T06:26:00.001-08:00

In 2003 Me and some friends visited Varberg and the Auto and Air show called "Wheels & Wings".
And in this page you can see some images from that event. The really cool thing about this is all the cars, the people and also the air shows. All in one cool mix.
So if you have the time to spare and spend then this would be a good thing to attend.
See Ya all there next year perhaps....

http://www.wheelsnwings.se/Default.aspx

2008 Melleruds Cruising - Some Pictures

2008-11-02T05:35:00.001-08:00

My First Car in Life - A Volvo from 1968

2008-11-02T05:24:00.000-08:00

My very first car was the one you see in the image above. I purchased it the same year I got to be eighteen years old, 1985. I had worked for some months to save up and payed the man 2500 swedish kronor for it, which is about 250 Euros. It was originally red but the paintjob left quite a lot to wish for so I painted it black with a roller in my dads garage. The word "orange-paint" found its meaning on this car I think. Anyway it was a car - it was mine - and it moved. So even though it was very slow and actually consumed as much oil as it did petrol - it was real fun and I had some really good times in it.

The image here above is actually from my second Volvo. I had a few in those teenager days. Cheap cars that broke down as fast as one could keep up repairing them. Anyway in this one I actually tried to redo the interior as you might see from the image. Like it or not - In those days I thought it was rather cool. Perhaps not the way I would do it today but still - it was fun creating something.

Cheers Micke

My Old BMW 325i -1986

2008-11-02T05:19:00.001-08:00

My Old Kustom Amazon 1965

2008-11-02T05:03:00.000-08:00

My Old 1964 Ford Galaxie

2008-11-02T04:47:00.000-08:00

My Old 1983 Porsche 944

2008-11-02T04:30:00.001-08:00

This page contains pictures of the Porsche 944 -1983 that I owned between 1994 and 1997. I used this Porsche as a daily driver even during Swedish winter time. It was definately a fun car to own and drive even though it didnt have the same Porsche glamour as the 911 but still. The car really made you notice german craftmanship and quality work. So it is a good car with lots of qualities and propably one of the "best-value-for-money" sportscar you can buy...
The Story of Porsche 944

Renowned for it's fine handling characteristics, the Porsche 944 was a success right from the start.In 1981 Porsche produced a total of 28,000 cars. By 1983 over 26,000 944's alone had been built.Together with the earlier 924 and later 968 models this four cylinder water-cooled model accounted for one-third of Porsche's all-time production output.
In spite of some critics seeing these models as not 'real' Porsches, the 944 in particular is generally accepted as saving the company's dwindling fortunes in the late 1980's and early 1990's. The model was particularly popular in the USA.
The 924 enabled the motoring public to carve itself a slice of Porsche exclusivity, but it wasn't long before the model was under attack from the likes of Mazda which produced lower priced imitations even Datsun (Nissan) came out with a Cherry 1200cc which was a 2 door coupe with the 924 look-alike.body shape.
Although the 924 Turbo went some way to tackling the issue of under performance of the original 924, it was the arrival of the 944 that provided the answer.
The 'young upwardly mobile' wanted a young upwardly mobile transport, and what better than a 944? Porsche met the demand but at the expense of new model development. With the stock market crash of 1987 sales plummeted and left Porsche with showrooms full of unsold cars. Less tangible was the image Porsche now had as a brand that epitomized the worst of the 1980's excesses and greed.

The company was in trouble. Enter Wendelin Weideking who was given the job of heading up production at Porsche and latterly became CEO. Changing emphasis back to the 911, the front-engine water-cooled models were dropped. Even the fabulous new Porsche 968 had not halted the decline and production of that model ceased after only three years ready to make way for the Boxster which was to be the new "baby Porsche".
The 993 model generation signalled Porsche's return to fortune and the rest is of course history.
So where does that leave today's enthusiast? - with the opportunity to buy into the Porsche marque for a modest outlay and get a return on their investment measurable in pure fun and enjoyment.
The galvanized body ensures longevity and the robust engine which was originally developed from the Porsche 928's V8 should be good for mileages which run into six figures with out the need for major overhaul. A transaxle incorporates the final drive and gearbox in one housing enabling near perfect front to rear weight distribution.
The models history can be split in to two distinct periods. 1982 to 1989 and 1989 to 1991. A summary of the major changes are tabled below.
The superb 944 Turbo apart, the 944 S2 was seen by many as the ultimate 944 and the S2 was the 944 in it's final form as a coupe and as the lovely cabriolet.
Engine power was up to 211bhp, courtesy of the 3 litre, four cylinder engine. This was a large engine for only four cylinders but Porsche used a balancer shaft to even out any roughness in the engine's balance, as indeed it did had done in the earlier 2.5 and 2.7 litre engines. Compared to the 944 Turbo the S2 represented good value for a car that could be used and driven easily every day without the massive and sometimes unexpected power delivery of the 944 Turbo, although the 944 Turbo is seen by many sports car drivers as a relatively cheap 'super car' giving the performance of many cars that are two or three times the price.

The 944 is a high performance road car with predictable understeer due to the front engined, rear transaxle layout giving a near perfect 50/50 weight distribution so understeer can be transformed into oversteer progressively with accurate throttle control, thus making this one of the best and most predictable handling cars available.
The body design achieves a low drag coefficient and retains a beautiful classic GT line from the hidden pop up headlights along the flared front wheel arch back into the door panel then out again for that rear wheel arch which helps to give it it's aggressive stance. The power steering is progressive with full power assistance at low speed, which gradually decreases as the speed increases. In this way the traditional problem of apparent steering vagueness at higher speeds disappears. The car is a joy to drive cross-country, the excellence of the chassis revealing itself to the driver. Long inter-continental mileages can be consumed effortlessly making this a great touring car in the true sense. As always it is probably better to buy the best example you can afford which will hopefully result in lower maintenance and repair costs during the period of ownership. You would be well advised to seek the opinion of a respected Porsche specialist before parting with your money.
Many of the older 944 range will now qualify for classic car insurance so costs can be kept to minimum here with a little shopping around.
Don't skimp on servicing as this could be costly in the long run. These are strong cars but are after all performance cars and regular maintenance should ensure your safety.
Not all Porsches are renowned for comfort but the 944 is comfortable enough to easily be used as an everyday car.
If you would like to offer stories, facts or comments on 944 issues for this website about these extraordinary cars, please do get in touch by email. info'at'944uk.com

Model history 1982- 1989
June 1981 - 944 model announced with 2.5 litre engine
November 1981 - Production gets underway
April 1982 - Launched in the UK
May 1982 - US launch
August 1983 - Optional electric tilt sunroof and rear window electric release
August 1984 - Power steering standard. 'telephone dial' style wheels introduced
Feb 1985 - New oval dashboard and optional central locking.
August 1987 - All markets get the same 160bhp engine
August 1988 - Engine becomes 2.7 litres
July 1989 - Model discontinued
1989 to 1991
January 1989 - 944 S2 production starts - 16v 3 litre engine
July 1989 - 944 S2 Cabriolet production starts
July 1991 - 944 S2 production ceases to make way for the Porsche 968.

My Old 1966 Pontiac

2008-11-02T04:24:00.000-08:00

This page is about my old Pontiac Le Mans from 1966 specifically and my love to Pontiacs from 1966 and there about in general.Above you can se me next to my Pontiac that I bought in 1988 and sadly sold in 1991, due to studies.

And the same goes for the image just below....

My Pontiac had a 326 engine and a 350 gearbox under the hood. Also it had stuff like power windows, power steering and power brakes. All and all it was a car I really liked.
Loved the design and all the rest even though the paint job was far from perfect.
And I guess the condition could at its best be described as a good daily driver - I really miss that car the most of my pastly owned classic cars...

From Wikipedia 1964-67 Pontiac
The Tempest line was upsized to an intermediate-sized car on the new GM A platform in 1964, and the LeMans returned to its role of Tempest trim upgrade with a new 215 CID six-cylinder and a redesigned 326 CID VV8 (now actually 326 CID). Shortly after the start of the 1964 model year, the LeMans became available with a new performance package designated as the GTO, or Gran Turismo Omologato. The GTO option was priced at just under US$300 and included a larger 389 CID V8 from the full-sized Pontiac line that put out 325 or 335 hp, a four-speed floor shift Muncie manual transmissionwith Hurst shifter, heavy-duty suspension, red-line Tiger Paw tires, and GTO nameplates. GTO sales ended up at 32,000 for the first year, well beyond initial estimates of 5,000 units and accounted for a large share of Tempest/LeMans sales. The success and the image of the GTO helped increase sales of lesser Tempest and LeMans models in the coming years, placing the Pontiac brand into third place in total industry sales after Chevyand Ford.
The GTO became a separate model of its own for 1966, though retaining the same basic body as the Tempest and LeMans models. For 1966, all Pontiac intermediates got swoopier styling featuring tunnelback rooflines on two door hardtop and pillared coupes. While the GTO continued as a big-engined muscle car, the Tempest and LeMans models got a new SOHC230 cubic inch six-cylinder engine as the base engine. The new SOHC I6, the brainchild of Pontiac Chief Engineer John De Lorean (who became Pontiac's general manager in 1965), was available in an economical one-barrel carbureted, 165 hp version that was standard equipment on all Pontiac intermediates except GTOs. Optional on all Tempest and LeMans models except station wagons was a Sprint package that included a hopped-up four-barrel version of the 230 CID OHC six that also included higher compression ratio and hotter cam, resulting in 215 horse power, along with an "all-syncro" floor-mounted three-speed automatic transmission with Hurst shifter, suspension kit, and body striping. Those who preferred a V8 engine could get either the base two-barrel 326 CID V8 rated at 250 hp (the most popular Tempest/LeMans engine) or a 285 hp four-barrel 326 HO V8 with higher compression ratio, high performance cam and dual exhausts.
The Sprint-optioned Tempest and LeMans models were not very popular during the mid-to-late 1960s as they were greatly outsold by the bigger-engined GTO that was heating up the muscle car wars. Buyers of regular Tempest and LeMans models definitely preferred V8 power, as the 326 and later 350 CID V8s were the most ordered engines. The Sprint option and SOHC six-cylinder engine were discontinued after 1969 with an ordinary Chevrolet-built 250 CID OHV six-cylinder engine, becoming the base engine from 1970 to 1976 in most Pontiac intermediates.

This link goes to a really cool page for you people that love Pontiac GTO - go check it out
http://ultimategto.com/

From Nationmaster Encyclopedia

The Pontiac LeMans was an intermediate-sized automobile offered by the Pontiac division of General Motors from 1962 to 1981, replaced by the downsized Pontiac Bonneville for the 1982 model year after the fuel crises of the 1970s. Initially the LeMans was a top-line version of the compact Pontiac Tempest featuring sportier and more luxurious trimmings. When the Tempest line was restyled and upsized from a compact to an intermediate-sized car in 1964, the LeMans continued in that role with the same 215 cubic-inch six-cylinder and 326 cubic-inch V8s found in the regular Tempest. Shortly after the start of the 1964 model year, the LeMans models became available with a new performance car package that would take Detroit by storm. The GTO option was priced at just under $300 and included a larger 389 cubic-inch V8 from the full-sized Pontiac line that put out 325 or 348 horsepower, a three-speed floor shift manual transmission with Hurst shifter, heavy-duty suspension, red-line Tiger Paw tires and GTO nameplates. GTO sales ended up at 32,000 for the first year, well beyond initial estimates of 5,000 units and accounted for a large share of Tempest/LeMans sales. The success and the image of the GTO helped increase sales of lesser Tempest and LeMans models in coming years, cementing Pontiac's lock, stock and barrel on third place in industry sales standings behind only Chevrolet and Ford. Image File history File links Pontiac-LeMans-'65. ... Image File history File links Pontiac-LeMans-'65. ... A small variety of cars, the most popular kind of automobile. ... To meet Wikipedias quality standards and conform with our NPOV policy, this article or section may require cleanup. ... General Motors Corporation (NYSE: GM), also known as GM, is a United States-based automobile maker with worldwide operations and brands including Buick, Cadillac, Chevrolet, GMC, Holden, Hummer, Opel, Pontiac, Saturn, Saab and Vauxhall. ... 1962 (MCMLXII) was a common year starting on Monday (link will take you to calendar). ... 1981 (MCMLXXXI) was a common year starting on Thursday of the Gregorian calendar. ... To meet Wikipedias quality standards, this article or section may require cleanup. ... 1982 (MCMLXXXII) is a common year starting on Friday of the Gregorian calendar. ... The model year of a product is a number used to describe approximately when a product was produced. ... The 1970s decade refers to the years from 1970 to 1979, inclusive. ...
The GTO became a separate series of its own for 1966, though retaining the same basic body as the Tempest and LeMans models. For 1966, all Pontiac intermediates got swoopier styling featuring tunnelback rooflines on two door hardtop and pillared coupes. While the GTO continued as a big-engined musclecar, the Tempest and LeMans models got a new overhead-cam 230 cubic-inch six-cylinder engine as the base powerplant. The new OHC six, the brainchild of Pontiac Chief Engineer John Z. DeLorean (who became Pontiac's general manager in 1965), was available in an economical two-barrel, 165-horsepower version that was standard equipment on all Pontiac intermediates except GTOs. Optional on all Tempest and LeMans models except station wagons was a Sprint package that included a hopped-up four-barrel version of the 230 cubic-inch OHC six that also included higher compression ratio and hotter cam, along with a floor-mounted three-speed transmission with Hurst shifter, suspension kit and body striping. Those who preferred a V8 engine could get either the base two-barrel 326 cubic-inch V8 rated at 250 horsepower (the most popular Tempest/LeMans engine) or a 285-horsepower four-barrel 326 HO V8 with higher compression ratio, high performance cam and dual exhausts.
The Sprint-optioned Tempest and LeMans models were not very popular during the mid-to-late 1960s as they were greatly outsold by the bigger-engined GTO that was heating up the musclecar wars. And buyers of regular Tempest and LeMans models definitely preferred V8 power as the 326 and later 350 cubic-inch V8s were the most ordered engines. The Sprint option and OHC six-cylinder engine were discontinued after 1969 with an ordinary Chevrolet-built 250 cubic-inch pushrod six becoming the base powerplant from 1970 to 1976 in most Pontiac intermediates.
Initially, the LeMans line included a pillared coupe and convertible for 1962 and 1963 as no hardtops were offered in the compact Tempest line. For 1964, a hardtop coupe was added followed by a four-door pillared sedan in 1965, which was replaced by a four-door hardtop in 1966 and a four-door Safari wagon in 1968. Generally the four-door and wagon models were differentiated from the coupes and convertibles by featuring conventional bench seats or notchback bench seats with folding armrests as opposed to the Strato buckets seats standard in coupes and convertibles. Other LeMans upgrades over lesser Tempests included carpeted lower door panels, deluxe steering wheels, courtesy lighting and full wheel covers.

GTO 1966

Pontiac's intermediate line was restyled again for 1966,
gaining more curvaceous styling with kicked-up rear fender lines for a "Coke-bottle" look, and a slightly "tunnelled" backlight. Overall length grew only fractionally, to 206.4 inches (524 cm), still on a 115 inch (292 cm) wheelbase, while width expanded to 74.4 inches (189 cm). Rear track increased one inch (2.5 cm). Overall weight remained about the same. The GTO became a separate model series, rather than an option package, with unique grille and tail lights, available as a pillared sports coupe, a hardtop sans pillars, or a convertible. Also an automotive industry first, plastic front grilles replaced the pot metal and aluminium versions seen on earlier years. New Strato bucket seats were introduced with higher and thinner seat backs and contoured cushions for added comfort and adjustable headrests were introduced as a new option. The instrument panel was redesigned and more integrated than in previous years with the ignition switch moved from the far left of the dash to the right of the steering wheel. Four pod instruments continued, and the GTO's dash was highlighted by walnut veneer trim. The 1966 model year is viewed by many as the most iconic of all GTOs because of its independent model status and because it was the last year Pontiac offered the 389 Tri Power engine configuration.
Engine choices remained the same as the previous year. A new rare engine option was offered: the XS engine option consisted of a factory Ram Air set up with a new 744 high lift cam. Approximately 35 factory installed Ram Air packages are believed to have been built, though 300 dealership installed Ram Air packages are estimated to have been ordered. On paper, the package was said to produce the same 360 hp as the non-Ram Air, Tri Power car, though these figures are believed to have been grossly underestimated in order to get past GM mandates.
Sales increased to 96,946, the highest production figure for all GTO years. Although Pontiac had strenuously promoted the GTO in advertising as the "GTO Tiger," it had become known in the youth market as the "Goat." Pontiac management attempted to make use of the new nickname in advertising but were vetoed by upper management, which was dismayed by its irreverent tone

My Old 1963 Chevy Impala SS

2008-11-02T04:05:00.000-08:00

This page includes and shows images of a Chevy Impala SS from 1963 that I bought and used in the late eighties.When I bought it, it had recently been restored and was in beautyful condition.
It had a restored 283 engine with a powerglide gearbox. The interior was partially replaced and restored. The paintjob was brand new and the entire car had been in pieces and restored and painted in an original fashion. In fact one of my major concerns was to constantly tighten bolts that went loose on me...
It wasnt the satest car I ever had but it was a cool cruiser and you felt good driving it.
I have seen it around every now and then and I hope it will live on for a long time...

This was really a nice car but in the end I traded it and changed into a 1966 Pontiac LeMans mostly to get more horsepower I guess and a bit mor muscles on the car. However I still love this cruiser of a car.
Chevrolet Facts, Information, and Trivia
Production of Impalas and Corvettes
The approximate numbers are not exact, but show a good picture of how many Late Great Chevys were produced from 1958 - 1964. By 1963, the Impala was leading the way in production. A total of 832,000 Impala units were produced.

2-door sedan - 133,636
4-door sedan - 561,511
Sport Coupes - 198,542
(Impala)Sport Sedans - 194,158
(Impala)Convertible - 82,559
(Impala)Corvette Convertible - 10,919
Corvette Coupe - 10,594

More Impala Trivia
1958 - First year for the Impala
1959 - Impala largest tail fins
1961 - Only year the Impala 2-door hardtop, and 2-door sedan were offered
1961 - Super Sport Introduced
1961 - Impala SS was introduced
1963 - Impala Super Sport Convertible made 123
1963-1972 Largest displacement V8 available in 1964, 409
1963 - Impala Super Sport 8,656
1965 - First curved side glass on every Impala
1967 - SS 427 model introduced
1968 - Saftey belts became standard
1972 - Last year for the Impala Convertible
1975 - Radial tires became standard equippment on the Impala

Impala 1961-64
The Impala was restyled on the existing GM B platform for 1961. The new body styling was more trim and boxy than the 1958-60 models. Sport Coupe models featured a "bubbleback" roofline style for '61, and a unique model, the 2-door pillared sedan, was available for 1961 only. It was rarely ordered and a scarce collectible today. The rare Super Sport (SS) option debuted for 1961.
The 1962 model featured new "C" pillar styling for all models except the 4-door hardtop "Sport Sedan." Sport Coupe models now featured the "convertible roof" styling, shared with other GM "B" full-size hardtop coupes. This style proved extremely popular, and contributed to the desirability of the '62-'64 Impalas as collectibles. The "overhang" roof style of the sedans was replaced with a more attractive, wider "C" pillar with wraparound rear window. Engine choices for '62 settled down, the 348-cubic-inch (5.7 L) V8 discontinued and replaced by the 340 brake horsepower (250 kW) 409-cubic-inch (6.7 L), which could be ordered with any transmission. The small-block 283 was enlarged to 327 cubic inches (5.4 L), which added more engine choices for small-block fans. The Beach Boys produced a hit single, "409," referring to the Chevy, which became an iconic song for these cars. Impalas again featured premium interior appointments, plusher seats, and more chrome trim outside, including a full-width aluminum-and-chrome panel to house the triple-unit taillight assembly. Super Sport (SS) models featured that panel in a special engine-turned aluminum, which was also used to fill the side moldings, making the SS more distinctive in appearance. Due to reliability problems, the optional Turboglide automatic transmission was discontinued, leaving Powerglide the only autobox available until 1965.
Among collectors, the 1963 Impala is the most popular for its body style, even though it was almost mechanically identical to the 1962 Impala. The 1963 Impala's distinctive body style has crisp lines with pointed front and rear fenders which emphasize the long, low style of car design popular in the early 1960s. The rear taillight panel was aluminum, and was surrounded by a chrome border with the the engine-turned surface on SS models. Engine choice was similar to '62, with the small-block 283-cubic-inch (4.6 L) and 327-cubic-inch (5.4 L) V8s the most popular choices. The Sport Sedan featured a new, creased roofline that proved popular. A new "coved" instrument panel was good-looking, but replaced the temperature gauge with "idiot lights" for hot and cold engine conditions. An optional factory tachometer was built into the dash, just above the steering wheel. It was rarely ordered, but gave the Super Sport models an extra feel of sportiness.
For 1964, the Impala was slightly restyled, reverting to a more rounded, softer look. Out back, the signature taillight assembly had an "upside-down U" shaped aluminum trim strip above the taillights, but the lights themselves were surrounded by a body-colored panel. The 409-cubic-inch (6.7 L) returned as the big-block option, but the 4X2 carburetor setup was no longer on the option list. SS models continued to feature the engine-turned aluminum trim. Rooflines were carried over from '63 unchanged
.

IMPALA Essay
by "White Boy"
In 1950, Chevrolet released the Bel Air. The '50 Bel Air was America's first low-priced hardtop coupe. It was modeled after the Cadillac Coupe de Ville. The hardtop was exclusive to GM, and it was said the Bel Air had come just at the right time. In '51 and '52 there were slight changes to the Bel Air, until in '53 it took on an even more Cadillac look with its new body style. The Bel Air was now Chevrolets op-of-the-line vehicle. It came in coupes, sedans, and convertibles. In '53 power steering became an option, and in '54, power brakes, power windows, and power drivers seat all became options. The year 1955 was a big year for Chevrolet. Chevrolet released its first V8 under the hoods of its vehicles, and also in '55 Chevrolet unleashed the Corvette sports car. The release of this powerful V8 engine made the '55 Bel Air the new "hot" car. Many teenagers all across America now wanted one, and many adults had already loved them since their release in 1950. In '56 the Bel Air got a slight facelift, with new colors also available. It also had the option of an even more powerful 225 horsepower V8. It was said that few cars on the street could beat the '56 Bel Air in a race. The '57 Bel Air may be possibly the most famous Chevy ever. With its Cadillac-like fins on the rear of the car, and aluminum trim panel running along the side of the car, the ‘57 Bel Air was a huge hit. It was said, "'57 Chevrolet Bel Air represented the pinnacle of '50s automotive styling." It was also the first year of the Fuel Injection system which was a very rare and expensive option. The ’57 Chevy was nice, and very popular, but was not one of the nicest cars on the market because they were made to be very affordable and get good value for your money. In the 1950’s, the way America traveled began to change. The Federal Highway Act of 1956 was going to change America in a big way. The plan was to spend 24.8 billion dollars and build a 65,000 km national system of highways. With the creation of the highways, Americans would want faster cars so they could go to far off destinations comfortably, and quickly. It was also becoming a popular idea to drive to vacation destiny’s, and people would need better cars to do it. Chevrolet wanted to build a car more like a Cadillac so their customers who wanted more luxurious cars would not leave Chevrolet and go to a different brand. Chevrolet decided to build a new car to meet these needs of the country. There were two things that people were wanting. People wanted faster cars, and people wanted more luxurious cars. Chevy wanted to build something bigger, faster, and more luxurious than the popular Bel Air; that the middle-class Americans could still afford; that’s when Chevrolet decided to build the Impala. The Impala was first seen at a Chevrolet Motorama car show in 1956. These car shows used to be big events with live entertainment, and they would show off their new line of vehicles for the next year. In 1956 the Motorama car show hit New York, Miami, Los Angeles, San Francisco, and Boston. This first Impala at the Motorama show was a four-passenger coupe, with "a strong Corvette flavor," which was called the Corvette Impala. The Impala show car was made out of fiberglass, like the Corvette. At the time, the Bel Air was the nicest Chevrolet you could buy. The Impala changed this. The first Impala came out in the fall of 1957; it was the 1958 Impala The Impala was a great success. It was only offered as a sport coupe and convertible, giving it an image of sport. The Impala was over 9 inches longer, 4 inches wider, and 2 inches lower than the previous full-size models (Bel-Air). "Chevrolets had been slowly getting longer, lower, and wider--as directed by Harley Earl--but this was a leap." The new 1958 Impala came with some exciting options. It came with the new 348-cubic-inch V-8 and the Level-Air suspension system. With the new engine the Impala was much faster than previous Chevys, and with the new suspension system, the car had a smoother ride than ever before. One of the biggest changes was the new frame design on all 1958 Chevys. Chevy started building cars with an X frame. This was newer technology that gave the car a better ride. The new Impala came with chrome accents on the door and instrument panels, and a sport-style steering wheel. Things like that made the ‘58 Impala feel more luxurious than the ‘57 Chevy. 1n 1959 the Impala had a big change from the 1958 model in many ways. The body changed to a "faster, more agile, and most importantly, more modern" look. In reality the size, weight, engine and chassis layout, were the same from 1958. The big change was that in 1959, the Impala took over the Bel Air. In 1958 the Impala was only offered in two-door Coupe and Convertible, but in 1959 there was a full line of Impalas. It included two-door hardtops, two-door convertibles, four-door sedans, and four-door hardtops. In 1960 there were slight changes to the Impala. One change was the taillights going from Cats-eyes shape to six separate round taillights, which was on the 1958 Impala, and will become a landmark for the Impala. The fins on the rear of the car were made less radical, as fins were losing their style because they had been around since the 1947 Cadillac. In 1960 however, Chevrolet made some changes too. The Bel Air started making a two door model, but will still be a cheaper version than the Impala, and Chevrolet came out with the Corvair, which was a "economical small car." The Corvair sold 250,000 cars its first year, but neither the new 2dr Bel Air or the new Corvair put a dent in the sales of Impala. Impala was still the best selling Chevy. In 1961 Chevrolet decided to completely change the Impala again. The ‘61 Impala lost the rear fins completely, got a new instrument panel, and kept the 6 taillights. In ‘61, many buyers of the Impala wanted the options like Posi-Traction, a heavy-duty battery, plus heavy-duty brakes, springs, and shocks. This made Chevrolet to decide to make a Super Sport package for Impalas. The Impala was the first Chevrolet to come with a Super Sport package, which would later come on other models like the Camaro, Chevelle, Monte Carlo, El Camino, and 1500 Truck. In the summer of ‘61 Chevrolet released the first Impala SS. In ’61, an Impala SS could have been ordered in any body style, but in the future would come in only sport coupes and convertibles. Until the release of the Impala SS, the Chevy Corvette was the Chevy sports car, but now the Impala SS was right next to it. The Impala SS came with either a high-performance 348, or the new 409. The 409 was a monster 350-horsepower engine. SS Models also came with power steering, power brakes, heavy-duty brakes, shocks, and springs. In 1962, a new engine was added to the Impala SS family. It was the new 327 V-8. In ‘62 any Chevy engine could be used in the SS package, and the heavy duty suspension was removed from the package; because some people wanted the Super Sport looks without having to buy all the high-performance equipment. 1962 was a good year for the automotive industry, and the Impala SS was blowing up nation wide. Word was starting to spread of it and it was getting hot. In ‘61 less than 500 Impalas were SS models, but in ‘62 nearly 100,000 SS models were sold. New options also came available for any type of Impalas including air conditioning in standard and deluxe versions, power brakes, power steering, power windows, power seats, outside and inside rearview mirrors, and manual or push-button radios. New performance accessories included heavy duty clutch, radiator, dual exhaust, and temperature-controlled radiator fan. The ‘62 Super Sport was different from the regular Impala in that it came with bucket style front seats with a center console, a passenger assist bar, special emblems, wheel covers, side molding insert, rear cove molding, and bright metal transmission cover plate for four speeds. In 1962 Chevy also added another low cost economy car to its line-up; the Chevy II Nova. The Chevy II did not put a dent in the sales of the Impala, just like when the Corvair was first released. In ‘62, Chevys total sales reached nearly 1,600,000 and Impala sales reached over 700,000. In ‘63 the Impala sold over 832,000 vehicles; it was still America‘s car. "Its all-American image was right up there with hot dogs and apple pie." The Impala sales nearly doubles the sales of Fords most popular full-size vehicle, the Galaxie. In ’63 the Impala did not change much. There were seven new color choices added, which brought the total number to 15 colors plus 11 two-tone choices. One big thing was that the Impala was the only Chevrolet full-size two-door sport coupe in ’62, and the Impala was also the only four door sport sedan. Chevy’s old big-seller, the Bel Air, was now only available in two-door and four-door sedans. One new option was the vinyl top on the roof, which was only available on the two-door sport coupe. Mechanically, Chevrolets got alternators instead of generators. The SS model gained nicer emblems, wheel covers, and interior to make the buyers happy about what they were buying. In 1964 was the introduction to Chevy’s new intermediate-size car, the Chevelle. This was the third new line of cars Chevy had introduced since 1960, but important because this one had the potential to have an effect on the Impala. In ‘64 the Impala only changed several ways. It stayed in Cadillac style and got thicker bumpers which made the car seem lower and heavier. The ‘64 grille was much more flat than the ‘63 grille had been. In ‘64 the Impala SS became its own line, compared to being a package in the past. More than 185,000 Impala SS’s were sold. The regular Impala sold over 890,000, and the Bel Air only sold over 550,000. This shows how popular the Impala was, because usually the cheaper (Bel Air) version of a car outsells the more expensive version (Impala). Another big landmark was that Impala and Impala SS sport coupe sales reached over 442,000 and Chevy sold 536,000 four-door sedans in 1964. Usually sport-coupes never come close to reaching the sales of four-door sedans in the market, but the Impala was just too popular. Small upgrades were made to the ‘64 Impala like an electric clock, emergency brake light, and special steering wheel for Impalas. In 1965 the Impala sold more than any one car in the history of automotive history. Over one million Impalas were sold in 1965. The ‘65 was the last year of the big 409, and the first year of the 396. The roofline was lowered in ‘65 making the car much more sleek looking. The ‘65 kept the six round taillight theme, but lost side moldings for the first time. The loss of side moldings and use of lighter-looking bumpers made the ‘65 Impala look like a real sports car. In ‘65 the Impala switched to a new frame and suspension. It had a redesigned coil-spring independent front suspension and a link-type coil rear suspension which gave better maneuverability and level cornering. The new 396 engine was a monster, delivering 425 horsepower. In 1965 Chevrolet came out with a nicer version of the Impala. It was called the Impala Caprice. It was a luxury version of the Impala. It came with nicer interior and real wood grain, unlike the artificial wood grain in the Impalas. The Caprice was a success. In 1966 Caprice became its own line with a sport coupe, sport sedan, and two station wagons. In ‘66 some people stopped buying the Impalas because they moved on to the more luxurious Caprice, and younger people wanted the smaller, faster Chevelle. The drop in sales was nothing huge though, Impala was still doing great. Many people still wanted the Impala name that they were used to. In ’66 the Impala lost its famous 6 rear taillights, but gained a yet another new engine. This new engine was the 427. It was 425 horsepower just like the 396 was, but it had 45 more foot-pounds of torque than the 396. The big Impala was too big to race though, so many people were buying the Chevelles. In ’67 safety became an issue. Accident avoidance features such as windshield washers, two-speed wipers, anti-glare mirrors, and improved brakes were added. Also in ‘67 front disc brakes became available. The popular Impala in ‘67 was the SS427. Impala had lost its luxury to the Caprice and much of its performance to the Chevelle, so the SS427 was the real big thing going for the Impala. In 1968 there was a new addition to the Impala family. It was the custom coupe model. The custom coupe was a two-door hardtop with a squared-off roofline as compared to the fastback rooflines other Impalas. The custom coupe had actually started in 1967 as a Caprice, but its first year as an Impala was in 1968. In 1968 the SS became a sport package once again, instead of beings its own line. In 1968 the Impala also lost its famous 283 engine as an option. The 307 replaced the 283 on the option list. In 1969 slight changes were made. The 327 was dropped and replaced with the now-popular 350 engine. The SS line came back once again for 1969 and came in sport coupes, convertibles and custom coupes. In 1970 Chevrolet introduced the Monte Carlo. The Monte Carlo was a huge success. It was a two-door coupe midsize car which had characteristics of the first Impalas, in that it had a lot of engine and luxury for a small price. The Monte Carlo put a dent in Impala sales. For almost ten years the Monte Carlo was Chevrolet’s number one selling car. In 1970 a new big block was released. The new 454 could be bought with up to 390 horsepower. The 427 was no longer available, and neither was the Impala SS. In 1970 there was not even an Impala SS package. The Impala customs started to come with standard front disc brakes, and so did the Caprices. In 1971 there were not many changes to the Impala. Chevrolet kept making it look like a Cadillac. Many people today confuse old Impalas for old Cadillacs. In 1972, Chevrolet stopped making the Impala convertible. "People were more concerned about safety, they worried about getting hurt if the convertible rolled over." In 1972 the Impala reached its 10 million sold mark. The 1972 Impala was the biggest one yet, over 18 feet long, and wider than any Chevy before it. In 1972 horsepower rating system changed, so now the 365-horsepower 454 from 1971 is rated at 270-horsepower. From 1972 to 1976, the Impala outsold the nicer Caprice. However, convertibles were available in the Caprice model from 1973 to 1975. In 1973, the Biscayne was dropped from Chevrolet. The Biscayne was just like the Impala, Caprice, and Bel Air but much cheaper. 1975 was the last year of the Bel Air. After the loss of the Biscayne and Bel Air, it was thought that the Impala might be next. After 1975, there has yet to be a Caprice or Impala convertible. Between the years of 1971 and 1976 the Impala barely changed. Small changes like headlights, grille, bumpers, and taillights were made each year. The biggest change to the Impala was in 1977. At the time, there was the mid 70s Oil Embargo; Gas prices hikes, emission-control-regulations started, and the people wanted smaller more fuel efficient vehicles. The gas prices started to rise in about 1973, and consequently the 1976 was the last year of the "big Chevy." The Impala got much shorter, and even became shorter than the mid-size Chevrolet’s in 1977. The smaller Impalas got better gas mileage and they started coming with smaller engines to get better gas mileage. You could no longer get a big-block engine either. In 1977 the Impala lost almost everything that made it famous. They lost their great design, big engines, and big size, but many people still loved them. The late 70’s to 80’s were the years of these small "box" Impalas. Losing about 700 pounds from the previous models, the 1977 Impala was actually much faster than the previous models. They had many improvements in handling too. There were slight changes between 1977-1986, which became the last year of the Impala. The Caprice carried on until 1996. In 1994 Chevrolet re-introduced the Impala. It was only available in the Super Sport model. It was a big fast Impala once again. It was also the first time that the Impala was nicer than the Caprice. The Impala came with leather seats, air conditioning, cruise control, dual air bags, power drivers seat, power door locks, power mirrors, power windows, remote trunk release, theft deterrent system, tilt steering wheel, and tinted glass. It "had transformed an uninteresting Caprice Classic into a nasty-looking, sweet-handling modern muscle car." Chevrolet made the new Impala SS from 1994 until 1996 and then stopped. The Caprice also stopped in 1996. In 1999, Chevrolet introduced the 2000 Impala. Many people were upset when the 2000 Impala were released because they only came with six cylinder engines, and every single other year Impala had come with an eight cylinder engine. The new Impala only came in four-door model, like the earlier 90s SS model had. Another upsetting factor was that the new Impala was front wheel drive and every other Impala to date was a rear-wheel drive car. The new Impalas were said to have "a lot to offer, but at the same time, maybe not quite enough. The Impala image and heritage have not been completely fulfilled." The new Impalas just did not have the high performance like in the past. The Impalas from earlier in the 90s had Corvette engines, and the new ones have small fuel efficient six cylinder engines. "It makes no bold statements and easily blends into a parking lot full of modern and domestic and import sedan."

The 1950 King of CustomCars - The Merc

2008-10-29T09:37:00.000-07:00

Engine Specifications
RATING:
The 1950 Mercury 8 cylinder, V-type, L-head engine develops 110-hp at 3600 rpm. Maximum torque: 200 foot pounds at 2000 rpm. Taxable hp., 32.5. Bore, 3 3/16 in. stroke, 4 in. Total displacement, 255.4 cu. in. Three point rubber mounting. Compression ratio, 6.8 to 1. Counter-balanced crankshaft with 3 main bearings. Heat treated aluminium alloy pistons with steel struts. Two compression and two oil rings. Alloy steel exhaust valve inserts for long life. One piece valve guides.
LUBRICATION:
Gear type oil pump. Forced feed to all crankshaft and camshaft bearings. Heavy duty oil filter. Sludge traps in crankshaft. Positive crankcase ventilation to reduce moisture condensation. Oil capicity, 5 quarts.
COOLING SYSTEM:
Full flow system circulates all coolant through block and cylinder heads, for uniform cooling and longer engine life. Two high velocity water pumps. Long water jacket warms oil in cold weather - cools oil on long drives. Silent fan. Coolant capacity 22.25 quarts.
FUEL SYSTEM:
Fuel tank capacity 19 1/2 gallons. Camshaft driven diaphragm-type fuel pump. Automatic choke. Oil bath air cleaner*. New dual-downdraft "Econ-O-Miser" carburetor, concentric type, Checks vapor lock, saves fuel.
ELECTRICAL SYSTEM:
Battery, 17 plate, 100-ampere hour. High capicity generator with automatic voltage control. Automatic spark. Single breaker distributor.
Chassis Specifications
FRAME:
Heavy steel, cold-riveted and welded. X-member frame with K reinforcement bracing. Frame for convertible reinforced to provide even greater rigidity and strength.. Wheelbase, 118 inches. Over-all length, 207 inches; station wagon 214 inches.
BODY:
All steel., heavily reinforced with welded steel floor. Insulated against noise and heat. Roomy luggage compartment with counter-balanced lid.
WHEEL SUSPENSION:
Front, independent coil springs, with hydraulic shock absorbers inside. Stabilizer bar to reduce roll. Rear, extra-long longitudinal semi-eliptic leaf springs, with full length liners which require no lubrication. Telescopic shock absorbers mounted "sea-leg"fashion to reduce vertical shock and sidesway.
DRIVE:
Single dry-plate clutch with low pedal pressure. Standard 3/1-speed silent transmission with synchronizers to provide quiet shifting. Hotchkiss rear drive with semi-floating rear axle and hypoid-type ring gear and pinion. Gear ratio, 3.9 to 1. Integral hub and axle. rear wheel bearings permanently lubricated. Touch-O-Matic Overdrive* reduces enging speed 24%, saving engine wear, fuel, and oil. Axle ratio for Overdrive is 4.27:1

BRAKES:
"Duo-servo" type, four-wheel hydraulic brakes. "Auto-action" decreases pedal pressure required for quick straight line stops. Cable-type parking brakes on rear wheels.
TIRES:
Super-balloon 7.10 x 15 tires are mounted on pressed steel wheels with extra wide rims for safety and riding comfort.
* Optional equipment at extra cost. White side-wall tires and rear fender shields available also at extra cost.

THESE SPECIFICATIONS WERE IN EFFECT AT THE TIME THE BROCHURE WAS APPROVED FOR PRINTING. MERCURY DIVISION OF THE FORD MOTOR COMPANY, DETROIT, MICHIGAN, WHOSE POLICY IS ONE OF CONTINOUS IMPROVEMENT, RESERVES THE RIGHT, HOWEVER, TO DISCONTINUE OR CHANGE AT ANY TIME, SPECFICATIONS, DESIGN, OR PRICES WITHOUT NOTICE AND WITHOUT INCURRNG ANY OBLIGATION.

RedneX etiquette

2008-10-29T09:30:00.000-07:00

Coming from dalsland I sometimes get to hear that Im probably a redneck coming from the deep dark forests of dalsland.So to increase ordinary peoples understanding of rednecks Ive put together some of the rednecks code of etiquette....

Redneck Driving Etiquette.

Dim your headlights for approaching vehicles, even if the gun is loaded and the deer is in sight.When approaching a four-way stop, the vehicle with the largest tires always has the right of way.Never tow another car using pantyhose and duct tape.When sending your wife down the road with a gas can, it is impolite to ask her to bring back beer. Never relieve yourself from a moving vehicle, especially when driving.Do not remove the seats from the car so that all your kids can fit in.

Redneck Personal Hygiene.

Unlike clothes and shoes, a toothbrush should never be a hand-me-down item.If you have to vacuum the bed, it’s time to change the sheets.While ears need to be cleaned regularly, this is a job that should be done in private using one’s OWN truck keys.Plucking unwanted nose hair is time-consuming work.A cigarette lighter and a small tolerance for pain can accomplish the same goal and save hours.Note: it’s a good idea to keep a bucket of water handy when using this method.

Redneck Dining Out.

Remember to leave a generous tip for good service.After all, their mobile home costs just as much as yours.
Redneck Entertaining in Your Home.A centerpiece for the table should never be anything prepared by a taxidermist.Do not allow the dog to eat at the table … no matter how good his manners are.If your dog falls in love with a guest’s leg, have the decency to leave them alone for a few minutes.

Redneck Dating (Outside the Family).

Always offer to bait your date’s hook, especially on the first date.Be aggressive. Let her know you areinterested: "I’ve been wanting to go out with you since I readthat stuff on the men’s bathroom wall two years ago." If a girl’s name does not appear regularly on the bathroom wall,water tower, or an overpass, odds are good that the date will end in frustration.

Redneck Theater Etiquette.

Crying babies should be taken to the lobby and picked up immediatelyafter the movie has from talking to characters on the screen. Tests have proven they can’t hear you.

Redneck Wedding Etiquette.

Livestock is usually a poor choice for a wedding gift.Its is not okay for the groom to bring a date to a wedding.When dancing, never remove undergarments, no matter how hot it is. A bridal veil made of window screen is not only cost effective but also a proven fly deterrent.For the groom, at least rent a tux.A leisure suit with a cummerbund and a clean bowling shirt can create a natty appearance.Though uncomfortable, say yes to socks and shoes for this special occasion.

Redneck Etiquette for All Occasions.

Never take a beer to a job interview or ask if they press charges.Always identify people in your yard before shooting at them.Always say "Excuse me" after getting sick in someone else’s car.It’s considered tacky to take a cooler to church.Even if you’re certain that you are included in a will, it’s considered tacky to drive a U-Haul to the funeral home.The socially refined never fish coins out of public toilets, especially if other people are around.Always provide an alibi to the police for family members.

Tv Shows of The Fifties

2008-10-29T08:57:00.001-07:00

The first thing you need to know is that there wasn't much of it. Mostly, in the afternoons and evenings. The second thing you need to know is that it was black and white. Actually, it was various shades of gray. Dithered, sort of. And, ladies, just think of it, No Remote Control!!!!!!! We were enthralled. This was much better than radio. You became very popular, very quickly if your family had a T.V. And people would linger outside the windows of stores that sold this new wonder - hoping to catch a glimpse of the future. Our view of the world around us would forever be shaped by the images on the television. For those of you too young to know, it was as revolutionary a change as the world before and after the Internet. We all loved Lucy, and Ricky and Fred and Ethel and Desiderio Alberto Arnaz IV, the real, Little Ricky...

I Love Lucy ('51)

Lucille Ball as Lucy (MacGillicuddy)Ricardo Desi Arnaz as Ricky RicardoVivian Vance as Ethel MertzWilliam Frawley as Fred Mertz Keith Thibodeaux as Little Ricky

American Bandstand began as a local program in Philadelphia in 1952. Then it was called Bob Horn's Bandstand. In July of 1956 the show got a new host, a clean-cut 26 year old named Dick Clark. When ABC picked the show up, it was renamed American Bandstand, airing it's first national show on August 5, 1957. Weekday afternoons were spent with the kids in Philly, the kids on American Bandstand. I knew all their names. I knew when couples broke up. I imitated all the dance steps, sometimes with the refrigerator door as a partner. My mother thought I was nuts. To many of you, it was about the music and the artists. Forget that. I was a preteen, which is to say, I was a teenage wannabe. And, for me, the kids on Bandstand were all I aspired to be.

"It has a good beat and you can dance to it." Dancing was a major feature of Bandstand. The kids who showed up every day (Bandstand aired every weekday afternoon for the first six years) knew all the most popular steps. The Slop. The Hand Jive. The Bop. They even invented a few - the Stroll, the Circle and the Chalypso. These experienced regulars considered an infrequent participant or a first time visitor "an amateur." I wonder what they would have thought about a kid in TV Land, practicing the new steps in front of her bedroom mirror and praying to God her little brother didn't catch her at it. American Bandstand became the springboard for launching the careers of most of Rock's early stars. Among them: Bill Haley and the Comets, Buddy Holly, Connie Francis, Bobby Darin, Fabian and Ritchie Valens.

Dick Cark was inducted into the Rock and Roll Hall of Fame in 1993. Richard W. Clark was born November 30, 1929. He entered the music business as a sales manager for an upstate New York radio station at age seventeen. In 1952, Clark began doing a radio show "Caravan of Music" at WFIL in Philadelphia. The station's TV affiliate had a teen-oriented show called Bandstand which was hosted by Bob Horn. Taking over the reins in July of 1956, Dick Clark turned American Bandstand into a national institution.

Aw, shucks, pardner... Things were so simple in those golden days of yesteryear. Good guys wore white, bad guys wore black and none of the guns were fully automatic. See how many of these you remember....

('49) The Lone Ranger
Clayton Moore Jay Silverheels as Tonto *Who was that masked man? John Reid was a Texas Ranger who, after being injured in an ambush, was nursed back to health by Tonto. Remember kemo sabe? Means "trusted scout"

('57) Zorro

Guy Williams (real name: Armando Catalando) as Don Diego de la Vega Henry Calvin as Sgt. Garcia Gene Sheldon .... Bernardo George J. Lewis .... Don Alejandro de la Vega (Tornado - Horse) The note Zorro left behind with his signature Z: My sword is a flame To right every wrong So heed my name Guy Williams died in 1989 of a brain aneurysm

('59) Bonanza

Lorne Greene as Ben Cartwright (Big Buck) Pernell Roberts as Adam Cartwright (Beauty) Dan Blocker as Eric "Hoss" Cartwright (Ginger, Piute and Chubb) Michael Landon as Joseph "Little Joe" Cartwright (Paint and Cochise) Victor Sen Yung as Hop Sing Ray Teal as Sheriff Roy Coffee David Canary as "Candy" Canaday I loved this show, but ya just gotta wonder would it have killed them to have had a Cartwright daughter? The Cartwright's thousand-square-mile Ponderosa Ranch is located near Virginia City, Nevada, site of the Comstock Silver Lode. Life with Ben must have been tough because none of his wives survived it. Adam was born in New England and his mother was Elizabeth. Hoss' mother Inger was killed by Indians. She was Scandinavian and Hoss means "good luck" in Norwegian. Little Joe's mother, Marie, was a woman Ben met in New Orleans and she died from a fall from a horse. Dan Blocker died in 1972 after a surgery. Lorne Green died in 1987 of pneumonia. Michael Landon died in 1991 of pancreatic cancer.

Links To Cool Vintage Stuff

2008-10-29T08:18:00.000-07:00

Where Can I Find Stuff???

Shokus Videos - The TV
Connection
For all of you who want to find videos of vintage TV shows.
Plus, the site maintains a voice mail bulletin board for exchange of
information by collectors past and present.

e/p
Partners- Collectors of 50s & 60s TV
Ron Evans and Greg Prevost
have collected over 12,000 episodes of Classic TV shows. Go by and see what a
huge library they have amassed and maybe you'll find something to trade!

Jim's Television
Series and Movies
Jim also has many movies and TVseries available. His
site is growing - and so is his collection.

Life is a Movie
Daniel's
goal is to get to 30,000 titles of classics on video. So here's another
possibility for those hard to find tapes.

Whirlin' Disc
Need some
Oldies vinyl for your jukebox? Then Steve Blitenthal is your man.

Legends Concert
Posters
This site is a marvel. Concert, movie and show posters. Plus
oodles of 45's. They have so much stuff, you better plan a long visit!

The Jukebox Man
Info
and spare parts for almost all types of Jukeboxes.

Do-Wah-Diddy
An especially
well designed site of collectibles. Fun just to browse!

Sozio - Fabulous Fifties Casual
Dining
For everyone looking to do their kitchens "Fifties" style -
tables, chairs, assessories!

Moon Shine - Reproduction
Fiberglass Lampshades
They's got 'em at Graceland. And they're
reasonably priced. You got see these retro lampshades!

Old Time Candy Company

Karen and Donny are Boomers who remember well the sweets of yesteryear! Their
site offers a lot of variety and flexibility to make choosing easier!

Sparkle Factory

Especially well done site for retro collectibles.

Famous Farewells
This
is really unusual. Send flowers to your favorite dead celebrity. Clever.

Barkcloth
Hawaii
Hawaiian Tropical Vintage 50's Barkcloth Fabrics For Sewing or
Retro Home decor: Upholstery, Drapery, Crafts and Garments

Deadly
Nightshades
The coolest 50s lampshades which are handmade!

Doo Wop Shoo Bop Records &
Cds
This site has some of everything, including complete track listings
and some cool pics.

Oldies Music Fun

Rockin' Fifties
Go see
Roger. Not only is he an especially nice person, he has FULL LENGTH WAVS!And
lots of Fifties info :>)

Smick and Smodoo's
World
Wanna know where I go to feel good? Right here. It's a midi site
and a lyrics site and a kids site and...well, you owe it to yourself to go
see.

Oldies Music
Ron Smith's
Oldies Calendar, Top Hits, Battle of the Bands and approximately a zillion
links to Rock artists.

The
Connie Francis Pages
Michael Wright has done a superlative job of
chronicling Connie 's life and estimable career.

About.com - Classic
Rock
Patty Williams has assembled the very best set of Rock links. She
has been especially resourceful at finding great databases. And, for those of
you looking for Sixties stuff, Patty's found it!

The Coasters
Website
An amazing resource, not just for Coaster info, but for all of
R&B! Very informative.

Bobby Rydell Fan Club

Linda Hoffman a has done a wonderful job of capturing Bobby as a young teen
idol, and Bobby as a master performer today!

Paul Evans, Recording Artist and
Songwriter
Paul wrote many hits for himself and others - including
Elvis! And he tells great stories!

Rock and Roll Hall of Fame

The mother lode of Rock n' Roll info. Much more than just a virtual visit to
the Museum. If you are interested in a paricular artist - try the Search
feature to find additional information. Plenty of audio clips, as well.

Classic TV Sites

TV Party
Billy Ingram has
recreated a world of days gone by. All those shows that meant so much are
lovingly rendered at this very special TV Party!

TIm's TV Showcase
A personal
favorite of mine. Tim has done a terrific job of cataloging shows both past and
present. He has pics, info and more.

About.com - Classic TV

Guide Debi Jenkins is a classic TV enthusiast who has assembled a wonderous
list of links to Classic TV on the Net. But there's more! She has Chat and
message boards and trivia... you'll just have to go visit to see.

About.com - TV Comedies

Enjoy a good laugh? Guide Brian Uhl does too and he'll tell you where to find
'em! A huge area devoted to TV comedies. Chat too!

Whirligig - British
Televison Nostalgia
A wonderful resource. And remember, many of those
shows aired here as well.

Television
Heaven
Again, the Brits provide a very thorough look at classic TV. This
site is quite comprehensive.

Mousketeer - Lonnie
Burr
Lest you think Original Mousketeer Lonnie Burr has been idle
these many years, visit his site. His credits are most impressive! And he has
generously shared many endearing pics from his personal collection.

Official Bob Denver Gilligan's
Website
Created by Bob's talented wife Dreama, this is a great tribute
to a wonderful show.

Dennis the
Menace
Want to know something about Dennis? David's site has all the
answers!

Westerns and the Old West

Cowboy Pals
If my e-mail is
any indication, you want more cowboys! This site is incomparable for depth of
information and love of subject. Joe Konnyu, who runs this huge site, is a true
gentlemen of the Internet.

The Old
West
Jim Janke says, "...the Old West is not really a time or a place
but a state of mind. " And his site proves it. All manner of links to cowboys
real and ficticious. A great resource.

Broken Wheel Ranch - the
Fury and Joey Website
This wll take you back to some wonderful Saturday
AM moments!

Johnny Ringo
The place to
go for full show info (including episode guide) and scads of stuff about Don
Durant!

The
Rifleman
For all you Chuck Connors fans!A great site with lots of info
about that special Winchester, too!

General Fifties Stuff

Internet Movie Database
The IMDB
provides a wonderful, searchable database containing all things great and small
regarding movies and television. Want to know what other movies a director has
made and who starred in those flics? It's here. Mirrors available.

Boomer Baby
A great place
to share memories with other Boomers!

The History Channel

The History Channel gets voted "best all around." Links galore, This day in
History, scads of interesting historical information presented in a painless
way. From the cable channel.

Seniority.co.uk
From the
Brits - a wonderful site for the young at heart with 50+ years of life
experience!

Circa 1950
A great site
for fashion info! Also learn about tableware, collectibles and other areas of
50s style.

Colored Reflections

A stunning site which, through many personal recollections, tells the
story of the African American in the last half of the Twentieth Century. An
important source of American history.

Boomers
International
Attention all Baby Boomers. This site has so much
material of interest and links to even more. Boomers are COOL. Especially here
with Jeri Maier as guide.

The Baby Boomer
Times
Denny Jackson has the best pics from the 40s, 50s, 60s and 70s! A
nice trip back.

Triumph Mayflower
- Triumphs forgotten car (1949 - 1953)
British historian Coulman has
done a great job of defining this auto. Plus, you get to look at some great
pics of a classic.

The 1988 Trans Am GTA Review

2008-10-29T07:40:00.000-07:00

"The Pontiac Trans Am GTA is a car that needs no introduction and even less explanation. Any service station attendant who’s been around long enough to figure out where the nozzle goes has a clear concept of this car’s reason for being. People who have their names sewn onto their shirts just go crazy over the GTA; the car is such a clear-cut piece of Americana that no Average Joe can possibly resist it . But, surprisingly, the GTA also seems to strike a pleasant chord with a lot of people who have collars in hues other than basic blue . For your average thirtysomething professional type, the GTA fills the bill as the ‘60s /’70s musciecar that was too expensive to be feasible back when we wore bellbottoms — and worked as gas station attendants. The GTA gives you most of the classic V-8 musclecar fun without beating you up like the original would’ve. A couple decades of refinement on the basic musciecar concept have paid off with a car that is, overall, more satisfying than the original item. The GTA sits at the top of Pontiac’s Trans Am / Firebird line and comes - standard with almost everything that can be shoehorned into or bolted onto the base car. This platform is so loaded that the GTA buyer has few important decisions left to make. He can go with the standard 5.7-liter V-8 and its 4-speed automatic transmission, or opt for the 5-liter engine that can be had with a 5-speed manual transmission.

Highlights on the options list are leather upholstery or the notchback decklid. Our test car had the notchback lid, a little trinket that would set the buyer back about $700 and cost about 2.5 cu ft of luggage capacity, certainly not the most practical option, but one that’s hard to resist if you like the look. The GTA’s standard 5.7-liter engine is available only with the automatic transmission. If you just have to shift manually, then you’ll just have to go for the smaller engine. The power difference between the two is significant: the big motor has 225 hp, up 10 ponies from that of the smaller engine. The big engine has an impressive 45 lb-ft torque advantage when it reaches its 330 lb-ft peak at just 3200 rpm. The street performance difference between the two engines isn’t as large as those numbers would lead you to expect. We’ve put the two engines head-to-head in the past - one in a Firebird Formula and one in a Camaro IROC-Z, which are basically identical platforms. The 0-60 acceleration is about a half second faster with the big engine, and the quarter-mile time is about a half second and three (3) mph better. In a comparison of passing times from 40-70 mph, the small engine is actually quicker. While the automatic transmission is busy downshifting, the manual transmission is putting its engine’s power to the ground. The small engine accelerates through the test in 6.3 sec, while the big-engined car takes 7.1 sec. Our GTA turned in pretty respectable performance numbers. It covered the quarter mile in 15.88 sec with a terminal speed of 90 mph flat, and bolted from 0-60 in 7.38 sec. When you consider how much money you have to spend to go much faster than this, the GTA comes out looking awfully good. The V-8 is a load of fun to use; there’s a huge ground swell of torque in the lower half of the engine’s operating range that shoves you back in the seat and will light the rear wheels if traction is less than perfect.

The automatic transmission isn’t the world’s most sophisticated device; it can be fooled pretty easily. The engine’s generous power delivery encourages sudden bursts of throttle to dispense with unpleasant traffic situations, but your typical industry-standard 3-sec blast is often wholly unsatisfying. Imagine yourself rolling down the street at, say, 30 mph. You decide to jam the throttle through the firewall — strictly in the name of science, mind you. For about the first second, the transmission frantically downshifts; by the end of second No. 2, the transmission has selected a ratio (probably 1st, God forbid), the engine has built up the necessary rpm, and at last begun to put some power to the rear wheels. By that point, the driver (that’s you, pal) has already lost interest in the whole deal and pedestrians are wondering what all the commotion is about. Talk about much ado about nothing..... Greater driver finesse is required to avoid such undignified behavior. By squeezing on about half throttle gradually, the GTA surges forward immediately, as the transmission steps down smoothly into 2nd. The car pulls hard, just like a big V-8 should, and the car’s reason for being is validated. The GTA’s chassis and suspension is, shall we say, basic. The front end is supported by MacPherson struts, and out back there’s a good old straight axle. Pontiac has milked quite a high level of performance out of such mundane stuff, however. The GTA comes with the WS6 performance suspension package, which includes big anti-roll bars front and rear, special springs, gas-charged shocks, and quick-ratio power-steering.

The P245/50VR16 Goodyear Eagle GT tires don’t hurt, either. Together, all these pieces make the GTA a real threat on the skidpad. Our test car generated 0.87 lateral g, with mild understeer and a relatively small amount of body roll. On a swervy road, the GTA works wonderfully, provided the pavement is fairly smooth. The unsophisticated rear suspension has a lot of unsprung weight, and, as a result, is reluctant to follow sudden bumps and pavement lips effectively. So in smooth turns, the GTA feels balanced and accurate with mild understeer; in the bumps, the car’s tail end gets looser and looser in direct proportion to the severity of the bumps, while the front end stays planted. Not to worry, the Trans Am’s steering is quick and accurate, with just the right amount of assist. The car is great fun to work through a series of fast turns; it feels solid and forgiving. The Pontiac GTA really handles better than it has any right to, given its low-tech underpinnings. In some situations, the automatic transmission surprises you in mid-turn with an unexpected downshift; rowing the selector manually allevates that problem. The GTA is also a little short on braking power for protracted sessions of tight back road abuse. The quartet of ventilated discs can make a big stink and fade significantly if repeatedly called upon to haul the 3604-lb GTA down from speed. Given just a bit more time to shed heat, they hold up well. We’ve driven around roadrace courses with the same brake setup (on a Firebird Formula) without noticeable fade, and, for anything close to normal street use, the brakes are adequate. Life with the GTA is just what you’d expect, only a little better. First, the stuff you’d expect. Like any proper musclecar, the GTA is the model of classic American inefficiency.

The car’s external dimensions are comparatively huge, but of course there’s minimal luggage space inside, and the cockpit is as claustrophobic as the one in the lunar module. Fuel mileage can be pulled down into the 10-mpg range with a longer than standard right leg. Pontiac rubs your nose in it by providing just 15.5 gal of fuel capacity. At that rate, it’s hardly worth putting the gas card back in your wallet.
Just leave it out — you’ll need it again in a few minutes. What you might not expect from the GTA is a relatively high level of passenger comfort. The interior is tastefully appointed and offers front seat occupants of normal size plenty of room to get comfortable. The GTA’s front seats have electrically adjustable lumbar and side support. The other adjustments are manual and simple to use. The back seats are liveable for short stints, or for kids, particularly ones you’re angry with, and also flip down to provide more cargo capacity. The interior noise level is pleasantly subdued, although the wide Goodyears telegraph a fair amount of road noise into the cabin when the pavement is choppy. And the engine is always audible, though most GTA buyers would consider this an asset instead of a liability. The ride quality is definitely on the firm side, but it’s by no means abusive. Instrumentation is all analog, with big, legible dials that span half the dashboard. There’s a gauge for everything you might be interested in, as well as some functions you might rather forget about (like the fuel 1evel, for example). The GTA’s upgraded AM/FM/cassette stereo sounds pretty decent, but suffers from a bad case of button overload. There are no fewer than 45 separate controls for the system, split between the unit itself and the remote controls on the steer-ing wheel. The result is often confusion instead of convenience. Unbelievably, of the twelve (12) buttons on the wheel, only the two volume control buttons have any effect on tape deck operation. The rest are devoted exclusively to the radio. On our test car, the volume-down button on the steering wheel had an unpleasant habit of sticking, and occasionally would even activate itself. The detail finish on our test car was not impressive, either.

There was a squeak in the console and a creak in the decklid. One of the plastic trim pieces came adrift on a gas decklid spring. On the other side, a trim piece was missing entirely. Our right side door scuffed the "ground-effects” rocker panel every time it was opened or closed. When empty, the passenger seatback flopped fore and aft a couple inches under braking. Oh, well..... Given the GTA’s target audience, it’s hard to argue with the car's mix of attributes — or to complain much about its liabilities. It’s doubtful that the musciecar experience would be significantly improved with a more modern chassis design. General Motors already builds the Corvette to satisfy high-end, chassis-oriented V-8 buyers. For the the Trans Am GTA, price is probably as important a feature as its 0-60 time, and it scores well in both of these measures of performance. For about 20 grand, you can slide yourself, for better or worse, behind the wheel of a legendary musclecar. That’s cheap for a legend, don’t you think?"

Tech Data
GENERAL
Vehicle Mfr..................Pontiac Motor Division, General Motors Corp., Pontiac. Mich. Body type:.......... 4-passenger, 2-door Drive system:.......... Front engine, rear drive Base Price:.......... $19,299 Price as tested:.......... $19,999
ENGINE
Type:.......... V-8, cast iron block and heads, water-cooled Displacement:.......... 5736 cc (350 cu in.) Compression ratio:.......... 9.3:1 Induction system:.......... Multi-port EFI Valvetrain:.......... OHV, 2 Valves/cylinder Max. power (SAE net):.......... 225 hp @ 4200 rpm Max. torque (SAE net):.......... 330 lb-ft @ 3200 rpm Emissions control:.......... Catalytic converter, EGR, air pump Recommended fuel:.......... Unleaded premium
DRIVETRAIN
Transmission:.......... 4-sp. auto.. O/D Transmission ratios:.......... (1st) 3.06:1 (2nd) 1.63:1 (3rd) 1.00:1 (4th) 0.70:1 Axle ratio:.......... 2.73:1 Final drive ratio:.......... 1.91:1
CAPACITIES
Crankcase:.......... 4.7 L (5 qt) Fuel tank:.......... 58.7 L (15.5 gal) Luggage:.......... 351 L (12.4 ft) Range (at EPA combined):.......... 474 km (294.5 ml)
SUSPENSION
Front:.......... independent MacPherson struts, coil springs, hydraulic shocks, anti-roll bar Rear:.......... Solid axle, torque arm, hydraulic shocks, anti-roll bar
STEERING
Type:.......... Recirculating ball, power assist Ratio:.......... 12.7:1 Turns (lock to lock):.......... 2.26 Turning circle:.......... 10 m (32.6 ft)
BRAKES
Front:.......... 267 mm (10.5 in.), vented discs, power assist Rear:.......... 267 mm (10.5 in.), vented discs, power assist Anti-lock:.......... Not available
WHEELS AND TIRES
Wheel Size:.......... 16 x 8.0 in. Wheel type:.......... Cast alloy Tire size & Construction:.......... P245/50VR16 steel-belted radial Tire mfr. & model:.......... Goodyear Eagle
GT DIMENSIONS
Published curb weight:.......... 1505 kg (3604 Ib) Weight distribution, f/r:.......... 57/43% Wheelbase:.......... 2566 mm (101 in.) Overall length:.......... 4867 mm (191.6 in.) Overall width:.......... 1838 mm (72.4.in. ) Overall height:.......... 1270 mm (50 in.) Track, f/r:.......... 1541/1564mm (60.7/81.6 in.)
SPECIFICATIONS
Power-to-weight ratio:.......... 16 lb/hp Int. noise IvL (60 mph):.......... 71 dBA EPA (combined):.......... 19 mpg

My Old Pontiac TA/GTA -88

2008-10-29T07:18:00.000-07:00

These are pictures of my old Pontiac Trans Am GTA -88. Sad to say I sold it some year ago.This car had all the little special things that make a GTA to a nice car to drive and handle.The engine was a 5.7 litre 350 machine with a 4speed th700 automatic gearbox.The suspension was called performance suspension and where similar to the one you would find in a corvette.The stereo system was an original AC Delco tape recorder with remote controls in the steering wheel.It was also equipped with an alarm which, unfortunately is well needed these days.It also had central locksystem,electric windows,digital instruments,air condition,electrical seatings,cruise control,tilt steering wheel and so on...

Stuff that ive fixed and exchanged on the car was:distributor cap,spark plugs,spark plug cables,rotor,muffler,a reflector to the head lights and that was basically it...not much but well needed. Other than that I just drove and had fun with this care. It will be deeply missed and I do hope I get the chance of getting one more american classic in my life, before we all run out of gas...

The Music of the Fifties

2008-10-29T05:38:00.000-07:00

The music of the 50's, 60's and 70's holds a special memory for those who grew up with it.It was music you could sing along with, music you could dance to, music you fell in love with.

Different music periods
1. Bubblegum - 1950 to 1954
2. Early Rock - 1955 to 1964
3. Serious Rock - 1965 to 1974
4. Disco - 1975 to 1980
5. Beats The Hell Outta Me - 1981 to Present

Charts from 1956-1960,USA
1956
1. Singing The Blues - Guy Mitchel - Columbia
2. Don't Be Cruel - Elvis Presley - RCA
3. The Wayward Wind - Gogi Grant - Era
4. Heartbreak Hotel - Elvis Presley - RCA
5. Poor People Of Paris - Les Baxter - Capitol
6. The Green Door - Jim Lowe - Dot
7. Lisbon Antigua - Nelson Riddle - Capitol
8. My Prayer - Platters - Mercury
9. Memories Are Made Of This - Dean Martin - Capitol
10. Rock & Roll Waltz - Kay Starr - RCA

1957
1. All Shook Up - Elvis Presley - RCA
2. Love Letters In The Sand - Pat Boone - Dot
3. Let Me Be Your Teddy Bear - Elvis Presley - RCA
4. Tammy - Debby Reynolds - Coral
5. So Rare - Jimmy Dorsey - Fraternity
6. Jailhouse Rock - Elvis Presley - RCA
7. Young Love - Tab Hunter - Dot
8. Bye Bye Love - Everly Brothers - Cadence
9. Little Darlin' - Diamonds - Mercury
10. Honeycomb - Jimmy Rodgers - Roulette
1958
1. At The Hop - Danny & The Juniors - ABC
2. It's All In The Game - Tommy Edwards - MGM
3. Tequila - Champs - Challenge
4. To Know Him Is To Love Him - Teddy Bears - Dore
5. April Love - Pat Boone - Dot
6. Tom Dooley - Kingston Trio - Capitol
7. Witch Doctor - David Seville - Liberty
8. It's Only Make Believe - Conway Twitty - MGM
9. All I Have To Do Is Dream - Everly Brothers - Cadence
10. Sugartime - McGuire Sisters

1959
1. Mack The Knife - Bobby Darin - Atco
2. Battle Of New Orleans - Johnny Horton - Columbia
3. Venus - Frankie Avalon
4. Smoke Gets In Your Eyes - Platters - Mercury
5. Donna - Ritchie Valens - Del-Fi
6. Mr. Blue - Fleetwoods - Dolton
7. Stagger Lee - Lloyd Price - ABC
8. Lonely Boy - Paul Anka - ABC
9. Heartaches By The Number - Guy Mitchel - Columbia
10. The Three Bells - Browns - RCA

1960
1. Theme From A Summer Place - Percy Faith - Columbia
2. It's Now Or Never - Elvis Presley - RCA
3. He'll Have To Go - Jim Reeves - Decca
4. I'm Sorry - Brenda Lee - RCA
5. Running Bear - Johnny Preston - Mercury
6. Cathy's Clown - Everly Brothers - Warner Brothers
7. The Twist - Chubby Checker - Parkway
8. El Paso - Marty Robbins - Columbia
9. North To Alaska - Johnny Horton - Columbia
10. Last Date - Floyd Cramer - RCA

A Brief History of the Early Years
Light melodies, sweet lyrics, wholesome singers. Innocent and inoffensive songs.

All of this can be said about the music of the Early Fifties. Yet, all that white American complacency could not hold back the vitality of Black R&B music, so a whole new sound emerged - Rock and Roll.

Most of the songs of the Early Fifties were "feel-good" tunes, which genuinely reflected the mood of post World War II America. Artists like Pat Boone, Rosemary Clooney and Perry Como dominated pop charts.This bored the newly independent
life form known as teenagers. Mom and Dad's music wasn't, you know, "cool, Daddy-O." About this time, a Cleveland DJ named Alan Freed (Rock and Roll Hall of Fame inductee, 1986) began playing black R&B tunes. Freed moved his show to New York in 1954 and began including live performances, especially of the artists with the vocal harmonies he favored. His called this sound Rock and Roll.
Although gaining in popularity, these black artists originally did not sell as well as their white contemporaries, who had rerecorded the same songs as what is known as a "cover version." If you have ever heard Pat Boone's "cover" of Tutti Frutti you will understand why, thankfully, this practice of having whites "cover" black artists wasn't long-lived. In the South, where Country and Western had ruled the charts, Sam Phillips (Rock and Roll Hall of Fame inductee, 1986) opened the Memphis Recording Service - the first place a black musician could go to record.
In Chicago, two brothers, Phil and Leonard Chess (Rock and Roll Hall of Fame inductee, 1987) took the best of the black bluesmen performing in their nightclub and began recording them on their Chess label. Chess Records, a storefront on Cottage Avenue in the "Little Mississippi" area of Chicago, was already
home to the great Muddy Waters. Still, what both Phillps and the Chess brothers needed was a crossover artist - someone who had the energy of Rhythm and Blues and the marketability of say, Pat Boone. Someone who could sell records. Phillips found just such an artist - a 19 year old truck driver by the name of Elvis Presley. And the Chess Brothers, well, they found Chuck Berry.

In 1952 a band out of Chester, Pennsylvania began to enjoy some modest success with a sound that was part Country and part R&B. They recorded one song in 1954 that brought only modest success. Then the song was used as the theme for a movie, The Blackboard Jungle, and that got them a whole lotta attention. The song was Rock Around the Clock and the band was Bill Haley and the Comets. (Rock and Roll Hall of Fame inductee, 1987
These diverse factors influenced the music of the Early Fifties. The bubblegum sweetness would eventually fade away, like the blush of America's post war optimism. Whereas Rock and Roll, with its irrepressible energy - well, Rock and Roll was here to stay.

The 50 Fastest Muscle Cars

2008-10-29T03:33:00.000-07:00

These times are for the 1/4th Mile

Car/Estimated Time/Speed