deals on wheels - august 2014

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AUGUST 2014

DEALS on WHEELS for the Enumclaw Courier Herald, Bonney Lake Courier Herald, Federal Way Mirror, Auburn Reporter and Kent Reporter 2 AUGUST 2014

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DEALS on WHEELS for the Enumclaw Courier Herald, Bonney Lake Courier Herald, Federal Way Mirror, Auburn Reporter and Kent Reporter 3AUGUST 2014

By Mark McDonaldOne day I was standing outside the

showroom when a small, approximate-ly 10-year-old coupe came skidding around the corner at high speed and screeched to a halt directly in front of me. The driver, who was about 40 years old, long-haired, bearded, and wearing sunglasses, jumped out and did a little Vanna White routine, gesturing to his car with both hands as if it were a prize on “Wheel of Fortune,” and asked:

“Hey dude, how much can you give me for this?”

I’m thinking, “Did he just steal it?” But I said “Um...what is it?” I honestly didn’t know. It kind of looked like a Cavalier, but it could just as easily have been a Cobalt or a Mitsubishi. The man told me what it was and repeated his question. “What do you think I could get for it?” I told him I didn’t know, but if he had the time, I’d be happy to get an appraisal done for him. He looked at me with a disappointed expression that said, “Really, dude? You’re going to play that game with me?” But the truth was, I had no idea what his car was worth. He hadn’t told me the model, the year, the mileage, what kind of engine it had, the options, the condition, its history—nothing. Yet he expected me to spit out a number. When I told him I wasn’t going to hazard a guess until he gave my manager time to drive it and do a professional appraisal, he gave me a disgusted look, jumped back in his car, and sped off.

Folks, I’m sorry, but don’t ask me to put a number on your trade after look-ing at it for a total of five seconds. I may be in car sales, but that doesn’t mean I have an encyclopedic brain full of accurate values for everything produced in the last 20 years. There are zillions of cars out there, and a zillion differ-ent trim levels, and a zillion different option combinations.

Plus, if I give you a number, it has to be a number the dealer is prepared to stand behind. It won’t be a “suggested value” like you get on a website. It will be a number that we’re actually prepared to write you a check for. I’m talking cash money, dude. That kind of number can’t be arrived at with a glance.

That is just one of the questions you should never ask a salesman while you’re standing in the parking lot.

“What kind of interest rate can I get on that?”

People ask as if it depends on the car, not the buyer. “That depends on your credit,” I usually answer. “And your credit is far too important for me to guess at. But if you’d like to fill out a credit application, I can tell you exact-ly.” Of course, at the beginning, no one wants to fill out a credit app because they’ve heard it hurts their credit, and because they’re not ready to buy yet. So rather than get a real answer, they’d prefer to ask a total stranger who knows nothing about them—me—to use the WAG method and take a wild-ass guess. Don’t ask your salesman what your rate is going to be until you’ve settled on a particular car and you’ve filled out a credit application. He can’t give you a meaningful answer until then.

“What will my payments be on this?” Again, it depends on your rate, which

depends on your credit. And it depends on your final sale price, and the value of your trade, and the pay-off on your trade, and the number of months you’re willing to finance, and the money down—none of which have been dis-cussed yet. In short, there are too many

unknown variables to answer that so early. Later on I can tell you what your payments will be. But not now. So don’t ask.

“What’s the best price you can do on this?”

This is the worst question of all. I’m not sure why people ask this. They’re not ready to buy. They’re not even close to buying. But they want to know your best price, as if that’s going to be the trigger that causes them to buy. A varia-tion on this is “What’s the lowest you’ll go on this?” In other words, how much money are you willing to lose? This invites a smart aleck like me to fire back an equally silly question, like, “What’s the most you’ll pay?” And where are we then? Nowhere.

Questions like this put your salesman in an impossible situation. It’s a total lose-lose for me. Because no matter what I say, it won’t be the right answer. And customers know that.

That’s why they ask questions like that. Studies show that one of the big-gest complaints people have about buy-ing cars is the inability to get straight answers to simple questions. I agree that can be very frustrating. But here’s

the key: Customers must ask appropri-ate questions.

Any of these questions, if they’re asked too early in the process, leave a salesman no choice but to sound evasive, because he or she can’t answer them without more information. Much more informa-tion than I can gather from just saying “Hello” and shaking your hand. And if I do try to answer them without asking the proper questions, chances are I’ll be wrong.

And what happens when a salesman turns out to be wrong? Usually, it’s inter-preted as deliberate deception. I lied to you. I told you your payments would be “around $400 a month,” and they turned out to be $678 a month. Of course, when I said that it was before I knew about your $5000 negative equity, your fore-closure, and your desire to finance for no more than 48 months. But you won’t remember any of that. You’ll be thinking I knew from the get-go what it would be and I misled you. See what I mean? So if you want a direct, accurate, and detailed answer to any question, allow your sales-person to take you inside, sit down, and ask you a few questions. Otherwise, the answer you get is going to be worthless.

4 Things You Should Never Ask too Early – Car Salesman Confidential


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By Frank MarkusIn July 2008, I covered a new (to me)

technology that promised to let us drive a mile in someone else’s carbon footprint by scrubbing CO2 from the atmosphere and turning it into hydrocarbon fuels. But back then, the known processes required more energy input than the resulting fuel contained, rendering the exercise pointless.

Recent discoveries by chemical and biomolecular engineers working on catalysts for “artificial photosynthesis” have been made at my alma mater, the University of Illinois. Professor Paul Kenis and his team have been col-laborating with researchers at Dioxide Materials, a startup company founded by retired chemical engineering profes-sor Richard Masel to commercialize the process.

The biggest challenge is converting the CO2 into CO (carbon monoxide). Plants do it with sunlight and water. The systems I discussed in 2008 used elec-tricity at roughly a 28-percent conver-sion efficiency rate. The CO2 scrubbers

described also consumed a lot of water. Some researchers have proposed logisti-cally cumbersome solar approaches that involve filling miles of glass tubing with hydrogen and CO2. The Illinois solu-tion employs an ionic fluid (a salt that’s liquid at room temperature) containing ammonia-derived amines that do the CO2 scrubbing.

This ion juice also acts as a co-catalyst to speed up the transition from CO to syngas -- a brew of CO2, CO, and hydrogen from which the useful fuels are derived.

Collected CO2 gets run through a for-mic acid fuel cell running in reverse: CO2 is pumped into the fuel cell, volt-age is applied across a platinum anode bathed in sulfuric acid and a silver cathode in the ionic solution, a perme-able Nafion 117 membrane separates the materials, and you get hydrogen and CO at the anode and oxygen at the cath-ode. Because the liquid salt forms weak complexes with negatively charged oxy-gen and CO2 anions, dramatically less electricity is required to break the CO2,

Technologue: Pump the Sky Drill the atmosphere, baby – drill it

which boosts the CO-conversion effi-ciency to over 80 percent (industrial production efficiency without the ionic catalyst is typically in the 60s).

The team is currently working to find cheaper anode materials, and researcher Wei Zhu has applied for a patent on a catalytic liquid that is a natural byprod-uct of soybean production. According to Masel, taking into account all the energy input needed to make synthetic renew-able gasoline, the price should currently work out to somewhere between $5 and $8 per gallon at national-average elec-tricity rates. Build a dedicated solar farm for gasoline production, and it’s $10/gallon. Utilize surplus wind energy that can’t be absorbed by the grid, and it’s

cheaper than pump gas. Solar energy pricing should drop as

liquid-fuel prices continue to rise, so this technology could pull solar’s commercial break-even point forward. Furthermore, using large desert solar arrays to make liquid fuels could conceivably meet our stated national goal of producing 36 billion gallons of renewable fuels per year by 2022 without impacting the food supply at all--either by diverting food products or by starving crops of CO2 -- a local risk of large-scale atmospheric scrubbing. Collocating a plant to tap the CO2 output of a fossil-fuel power plant could help squeeze a bit more energy out of the CO2 we eventually release from those dinosaurs too. Go Illini!

By Michael ZakMore than three-quarters of licensed

drivers said they would likely consider buying an autonomous vehicle if and when they become available, accord-ing to a new survey released Monday. Nearly one-fourth of those surveyed said they would buy one tomorrow if they could.

When asked whether they’d consider buying an autonomous car if it led to cheaper insurance, 86 percent of driv-ers told Insurance.com, which surveyed 2,000 motorists.

“People are aware that they already drive cars controlled partly by comput-ers,” said Insurance.com managing edi-tor Des Toups. “An autonomous car is not science fiction anymore.”

Despite a completely computerized car sounding like something from The Jetsons age, the reality is that our vehi-cles are already well on their way to driving them-selves. Lane-keep assist, se l f -parking systems and a d a p t i v e cruise con-trol are just a few features that make the cars we drive to day at least partly autono-mous.

“We still don’t know how autonomous cars will communicate, who’ll be liable for failures, or how they’ll mix with old-fashioned cars,” Toups said. “But we’re already well down this road.”

Nearly a third of respondents, 31.7 percent, said they would cede driving activities to their car once an autono-mous vehicle was available.

Some consumers still demonstrated some trepidation in trusting the technol-ogy. Roughly a quarter, 24.5 percent, said they’d never consider an autono-mous car -- though that number dropped to 13.7 percent if respondents learned about insurance discounts and safety improvements.

Seventy-six percent of respondents said they would not trust a autonomous car to take their children to school, and 61 percent said they didn’t think a com-puter is capable of the same decision-making behind the wheel as a human.

Drivers Say They’re Ready For Autonomous Cars


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At the Academy Awards, it’s a given to find Brad, Jack, and Meryl hogging the front row while scores of lesser luminar-ies -- many just as fetching and talented -- pack the seats behind. And so it goes when you’re talking about the star cars of Tinseltown. The same gleaming grilles are always sipping premium fuel front and center: 007’s Aston Martin DB5, Steve McQueen’s Mustang GT fastback from “Bullitt,” Burt Reynolds’ scream-ing-chicken Trans Am from “Smokey and the Bandit.” These are the paparaz-zi-fleeing, entourage-ringed superstars

of the movie-car world. Humiliate your-self with enough groveling and sucking up, and one of them might deign to drive by your afterparty. Enough of the big shots. It’s time to bestow a little appre-ciation on those hard-working stiffs in the supporting cast. Without them, the superstar cars would have nothing to chase, nothing to outrun, nothing to bang fenders against or shove off 1000-foot cliffs. We therefore proudly present the unsung heroes of internal-combustion Hollywood, the Top 10 Movie Cars in a Supporting Role.

Casting Pearls: Top 10 Movie Cars in a Supporting RoleThese Top 10 Supporting Cars Deserve a Turn in the Spotlight

1968 Dodge Charger: “Bullitt” (1968)If there’s a more famous car-chase scene

in a movie than the one in Steve McQueen’s “Bullitt,” we’ve yet to see it. With two rip-roaring V-8-powered machines that helped define the term “musclecar” tear-ing up the hilly streets of San Francisco for real (no huge film trickery here other than a couple sped-up shots), the “Bullitt” car chase is Hollywood gold.

There’s no arguing that McQueen’s Dark Highland Green 1968 Ford Mustang GT 390 fastback is the scene’s hero, but the sinister black Dodge Charger was a splendid dance partner. Both cars were modified for film use by ex-race car builder Max Balchowsky, but, while the Ford needed heavy tweaking, all the Charger required were heavy-duty shocks and springs to cope with the jump scenes. Prototype Firestone tires were also fitted, and it’s possible to see two different-width whitewalls.

According to stories from those who worked on the set, including Balchowsky, the Charger and its 375-hp, 440-cubic-inch Magnum V-8 engine outgunned the

325-hp Mustang, requiring its stunt driver to slow down so the star car could keep up. It’s believed that one of the two Chargers used for filming was an auto-matic, while the other was a four-speed manual. Frequent cosmetic damage was covered up with black paint from a spray can.

Where are the “Bullitt” Chargers today? Well, (spoiler alert!) one of the cars met an obvious fiery demise in the movie and was subsequently scrapped. Most sources contend that the second car was damaged and also scrapped, but every now and then we hear a rumor to the contrary.

1955 Chevrolet 150: “American Graffiti” (1973)Mention director George Lucas’ iconic

riff on the fine art of cruising the strip, and the car everyone remembers first is John Milner’s “Piss Yellow” hot rod, a chopped ‘32 Ford Deuce Coupe. But the night’s idyllic tone sours when into the mix arrives a pretender to the Coupe’s “fastest” throne, an evil, black ‘55 Chevy driven by the smack-talking Bob Falfa (played by a virtual unknown named Harrison Ford). One dose of the Chevy’s stoplight thunder, and Milner knows his reign is at risk.

Three ‘55 Chevys were used for filming, two of which first appeared in the 1971 street-racing opus “Two-Lane Blacktop.” Before filming “Graffiti,” transporta-tion supervisor Henry Travers acquired two of the “Two-Lane” cars from the Universal Studios storage lot and painted them black. One, built with a fiberglass shell, was used to film exteriors and the actors inside the car. The other, the so-called stunt car, was used for the climatic drag-race crash. Travers, who drove the stunt Chevy for the Paradise Road finale, couldn’t roll the car as intended; it had to be heaved onto its roof by the crew.

A third, non-running ‘55 hardtop was acquired, fitted with a fake B-pillar to match the other two cars, and burned to film the crash’s aftermath.

After filming, the “burn car” was returned to the junkyard while the stunt car was eventually crushed. Only the main camera car remains. It has traded hands a few times and seen a few dubi-ous modifications, but in 2012 was sold to a private owner who plans to restore the car to its original “American Graffiti” appearance. Prior to buying the real deal, that same lucky new owner apparently narrowly avoided acquiring his own “burn car” -- a camera car fake built by, yes, George Barris.

1983 Ferrari 308GTSi: “National Lampoon’s Vacation” (1983)

There are few things that meant more to teenage boys in 1983, when “National Lampoon’s Vacation” was released, than the Ferrari 308 and supermodel Christie Brinkley. Put them both together, and it’s no wonder Brinkley’s little red sports car nearly outshone the movie’s star car, the Griswold’s Wagon Queen Family Truckster with the optional Rally Fun Pack (actually a George Barris-modified Ford LTD Country Squire station wagon).

The first scene with the Ferrari was shot in eastern Colorado, outside Pueblo on Highway 50. The mid-engine Ferrari 308, having been introduced to the U.S. in 1978, had moved from four Weber carbu-retors to Bosch mechanical fuel injection by 1983, which improved driveability and emissions, but caused performance to suf-fer slightly. The 3.0-liter, eight-cylinder engine produced 235 hp, down from 240

with carburetors -- it’s likely Brinkley wouldn’t have noticed much difference. The model used in the movie is a GTS, the S designating its removable Targa-style roof panel.

It’s worth noting that Brinkley returned in “Las Vegas Vacation,” passing the Griswolds in a four-seat Ferrari Mondial cabriolet with a baby in the rear seat. Astute viewers will also note the vanity license plate change from “LOVE ME” on the 308 to “MAMA” on the Mondial.

By Arthur St. Antoine, Rory Jurnecka | Photos By 20th Century Fox, Paramount Pictures Corporation, Spirit Level Films


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EnumclawC H R Y S L E R • J E E P • D O D G E • R A M

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726 Hwy 410 360-802-0200 Enumclaw www.enumclawcjd.com*All prices are plus applicable tax, license and a negotiable dealer documentary service fee in an amount up to $150.00 may be added to the sale. All vehicles are subject to prior sale and 1 at the sale price unless otherwise stated. No dealership employee purchases and/or other dealers. One advertised vehicle sale per household. Pictures for illustration purposes only. Dealer is not responsible for typographical errors. Manufacturer rebates in lieu of special APR’s* subject to manufacturer’s and � nancing institution’s requirements. Terms and conditions may vary by model.

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1966 Jaguar XK-E Convertible: “Vanishing Point” (1971)Many of today’s moviegoers probably

wouldn’t even understand the “Vanishing Point” tag line: “Tighten your seat belt. You never had a trip like this before.” But in the hippy, trippy early 1970s, the slogan fell on plenty of knowing ears. Enter actor Barry Newman as Kowalski, Medal of Honor winner, ex-race driver, ex-cop, ex-istentialist. His mission is the stuff of car movie legend: Drive a new 1970 Dodge Challenger R/T Magnum from Denver to San Francisco in record time. Pass the Benzedrine; turn up the Super Soul.

Naturally, Kowalski encounters all sorts of weird stuff out there in the wide-open West: rattlesnakes, sun-hardened old-tim-ers, religious prophets, pre-”Bette Davis Eyes” Kim Carnes music. But one of his most memorable meetings is vehicular: a ratty Jag E-Type piloted by a grin-ning, giggling, goggles-wearing desert mongoose intent on a little high-speed mischief. Said Jag driver practically begs Kowalski for a race -- hell, he even bangs his E-Type into the Challenger a few times to get the man’s attention. Naturally

-- this is Hollywood, after all—Kowalski takes the bait. Big time.

Challenger and Jaguar go at it, wire rims against mags, British esprit and ripping silk versus Yankee beefcake and torque. Up ahead: a one-lane bridge. Kowalski guns his V-8, gives the upstart an insolent fender swipe, and the Jaguar flies off the road in absolutely fabulous—uh, sorry, “horrifying”—fashion. After several flips and a huge drop, the car lands on its side in a mud-caked river. Man, it’s great...er, shocking.

The Jag driver is OK, of course, and after a quick check of his condition, Kowalski is on his speed-frenzied way once again. The E-Type was…not so lucky. This par-ticular Jaguar is now extinct.

1970 Porsche 911S: “Le Mans” (1971)Most of Steve McQueen’s cinematic

homage to the classic French 24-hour endurance race is a frenzy of howling pro-totypes, screaming sports cars, furious air wrenches, and cheering fans. But not the opening sequence. Here, before reaching the Le Mans circuit, McQueen’s character, troubled racer Michael Delaney, gently spurs his Porsche 911S across the French countryside and through a quaint village. It’s a dramatic interlude of calm before the storm. Soon Delaney will strap into a Porsche 917 race car to do hours of 240-mph battle with an archrival in a Ferrari 512LM, but for now it’s just the man, his trusty road steed, and his thoughts. The Slate Gray machine stands out in its timeless, understated elegance, a fitting accompaniment to McQueen himself. No wonder the movie star, after filming, took the Porsche home with him to California to join his growing sports car collection.

As McQueen already owned a nearly identical ‘69 example, though, he soon sold the “Le Mans” 911 to a Los Angeles-based attorney, and the new owner kept it largely hidden away for three decades. The car changed hands twice more, then in August 2011 it went on the block at the RM Auctions in Monterey. There it sold for -- hold on -- $1,375,000, the highest price ever paid for a 911 at auction.

Hope they threw in a free pair of Persol sunglasses.

1980 Lamborghini Countach LP400S: “The Cannonball Run” (1981)Remain calm and attempt to keep your

eyes, if you can, on the car. Not so easy to do, is it, when inside sit the Spandex-clad curves of Tara Buckman and Adrienne Barbeau? Obviously, when director Hal Needham and our auto-journo colleague Brock Yates cooked up “Cannonball,” a fictionalized version of the real, illegal Cannonball cross-country races of the 1970s, they knew only one car could divert a young movie-goer’s attentions from such copious cleavage: the wild, wicked Lamborghini Countach.

The entire opening sequence of “Cannonball” is an orgy of Countach wonderfulness: the winged black creature hovering across the limitless American prairie, V-12 shrieking up and down through the gearbox; the two fancy ladies inside stopping only long enough to lift a scissor door and spray-paint a giant “X” across a 55-mph speed-limit sign. Then they’re hard on the gas again, taunting a police cruiser by pulling up from behind, easing alongside -- and rocketing away into the horizon. Geez, no wonder this flick -- which Yates himself calls “a pretty

lousy picture!” -- has grossed more than $72 million in the U.S. alone. This is “Citizen Kane” on wheels.

Of course, Burt Reynolds (as J.J. McClure) and Dom DeLuise (Victor Prinzim), along with their fake ambulance, are the official stars of “Cannonball.” But don’t tell that to any wide-eyed teenage boy of the ‘80s lucky enough to witness this heady brew of Italian speed and femi-nine allure on the big screen.

After filming, the black Series II Countach was used for 28 years by Hawaiian Tropic as a promotional vehi-cle. Then, in 2009, a private collector in Florida purchased the car, restoring it to pristine condition. Wonder if that includes those Spandex catsuits.

1976 Mercedes-Benz 450SEL 6.9: “Ronin” (1998)The chase scene in “Bullitt” gets buckets

of well-deserved ink in the Hollywood history books, but truth be told, the multiple good guy/bad guy pursuits in John Frankenheimer’s “Ronin” make McQueen’s famous San Francisco blitz look about as exciting as a bus tour of Octogenarian Estates. Frankenheimer, the same speed hound who in 1966 directed “Grand Prix,” hired a horde of stunt driv-ers, including former Formula 1 pilot Jean-Pierre Jarier and sports car champion Jean-Claude Lagniez, and set them loose hurling beefy German sedans around Paris and Southern France at mind-blowing speeds and drift angles.

An Audi S8 and a BMW M5 grab most of the prime screen time, with Frankenheimer cleverly using right-hand-drive cars with fake left-side steering wheels so the human stars -- includ-ing Robert De Niro and the ravishing Natascha McElhone -- can pretend to “drive” while the real French wheelman terrifies them from across the cockpit. But not to be outdone is a classic Mercedes-Benz 6.9 sedan that, carrying De Niro with French actor Jean Reno at the wheel, stars in one of the movie’s most epic sequences.

The mayhem begins with a fabulous reverse 180 (in one of his only nods to camera trickery, Frankenheimer, usually a stickler for authenticity, here inserts a dose of laughably fake digital tire smoke). From there, Reno and De Niro run down the baddies (piloting a Peugeot 406) in the twisting mountain roads above the French Riviera. Truly pucker-inducing dicing and slicing ensues before De Niro stands up in the sunroof and, bazooka in hand, blows the 406 to merde. Post-explosion, things only get more berserk, as the 6.9 careens at insane velocities into the seaside vil-lage of Villefranche-sur-Mer, trashing market stalls and café tables in pursuit of still more evildoers and whatever lies inside that darn locked case everybody’s dying to get their hands on.



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1964.5 Mustang Convertible: “Goldfinger” (1964)While 007’s Aston Martin DB5 seems

to get all the fame from its starring role in the second James Bond motion picture, “Goldfinger,” it also starred alongside what is said to be the first Ford Mustang ever to be featured in a major film. In the movie, character Tilly Masterson drives a preproduction 1965 Mustang convertible and is run off a Swiss mountain road by Bond’s tire-slicing Aston after attempting to off Goldfinger and avenge her sister’s death. After a stray bullet nearly grazes Bond, he sets off in pursuit of Tilly’s Mustang, much to her chagrin.

Ford desperately wanted the Mustang to be featured in “Goldfinger,” and originally specified a fastback coupe for the movie. Unfortunately for Ford, fastback produc-tion would start too late in 1964 for film-ing purposes. Ultimately, the Goldfinger fastback was built wearing special gold metallic paint and featured a roof-mount-ed panel in its cabin with 007-inspired switches and dials for nonexistent gad-

gets. The car was subsequently used as a promotional vehicle and survives in pri-vate ownership. Several other Ford fam-ily vehicles can be seen in “Goldfinger,” including a Ford Thunderbird coupe driv-en by American Secret Service men and a Lincoln Continental famously driven to a wrecking yard by Goldfinger’s lethal assistant Oddjob, who has the car crushed into a cube with his boss’ dissatisfied business partner inside.

1969 Lamborghini Muira: The original “The Italian Job” (1969)If you love cars, the opening scene of the

1969 version of “The Italian Job,” starring legendary English actor Michael Caine, is beautiful and haunting. We see an orange 1969 Lamborghini Muira P400 making its way, along a picturesque road in the Swiss Alps with actor Rossano Brazzi behind the wheel, cigarette dangling just so from his mouth, sporting driving gloves and designer sunglasses. The exhaust note of the Muira’s 3.9-liter V-12 is accompanied by Matt Monro crooning “On Days Like These.” Things couldn’t get much bet-ter…but then they get much worse.

The Muira enters a tunnel at high speed, but comes out demolished at the other end in the bucket of an earthmover. A deadly roadblock set up by the bad guys is to blame. With that, the once-raging bull is dropped off a cliff to its final resting spot in the river hundreds of feet below.

So what’s the scoop? Was the Lambo that was destroyed the real deal? Well,

yes and no. Two Muiras were used for the scene, and the one running and driving is not the same car that was wrecked; it was simply a car Lamborghini had in inven-tory at the factory. The destroyed car was something of a mock-up. There was no engine installed, and it used new body-work over a crash-damaged frame. We hope that allows Lambo fans to sleep at least a little bit easier. Oh, and rumor has it that, when the film crew ventured down to the river the following day, not a piece of that Muira was to be found.

1963 Apollo 3500 GT Thorndyke Special: “The Love Bug” (1968)If you haven’t seen “The Love Bug”

since you were young, the movie is worth another look, mainly for its amazing supporting vehicles. In any given racing scene, the star Volkswagen Beetle, known as Herbie, is surrounded by the kinds of cars you’d see at your usual period SCCA road race, from Triumph Spitfires to Shelby Cobras. But the most memo-rable supporting vehicle is the car that villain Peter Thorndyke drives in the final El Dorado race.

After selling Herbie to the movie’s star, down-on-his-luck racer Jim Douglas, rac-ing rival Thorndyke finds himself with some tough competition from the little Volkswagen. Thorndyke drives a Jaguar E-Type and a Ferrari 250 GT Tour de France on his way to campaigning what he calls the Thorndyke Special. The yel-low and black car is an Apollo GT, a car that, for all its Italian styling, was manufactured in Oakland, California. Apollos started life in Italy, with the body/chassis construction subcontracted

to Intermeccanica. The units would then be shipped to the California facility where American engines -- mostly 350-cubic-inch Buick V-8s -- were installed, along with either a four-speed manual or three-speed automatic gearbox. Just 42 cars were produced between 1962 and 1964, when the company ran out of money.

Famous California-based road racer/engineer Max Balchowsky (of Ol’ Yaller fame) specially modified two for the movie and gave the cars their well-known paint scheme. At least one car still exists, with the restoration started years ago in Toronto, Canada.



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By Jan Tegler The Smithsonian has an auto collec-

tion?That’s the response -- my own and that

of most people -- that led to this Garaj Mahal. Yes, the Smithsonian does have an automobile collection. Part of the National Museum of American History’s (NMAH) broader transportation collec-tion, it’s comparatively small and rela-tively unknown. To understand why, and to get a rare in-person look at the collec-tion, we visited the Smithsonian’s Paul E. Garber storage facility in Silver Hill, Maryland.

Named for Paul Garber, the dynamic first director of the National Air and Space Museum (NASM), the facility was built in the early 1950s to house the Smithsonian’s growing collection of aircraft. In the 1920s, Garber recog-nized the historical importance of avia-tion and became its champion within the Smithsonian’s academic cloisters, single-handedly acquiring approximately half of the collection and advocating for a stand-alone museum for aviation. Thanks to his efforts, President Harry S. Truman cre-ated the Air and Space Museum in 1946.

Unfortunately, automobiles never had a champion at the Smithsonian. The muse-um’s first automobile (an 1894 Balzer) was acquired in 1899. Despite more than a century of history since then, the collection numbers just 73 cars. A smat-tering of trucks, buses, motorcycles, and other machines are among the transporta-tion collection’s 217 vehicles.

There are just five postwar cars among the vehicles displayed in the NMAH in downtown Washington, D.C., in the “America on the Move” exhibit. The bulk of the postwar collection (13 road cars, nine race cars) sits under archival covers in the same buildings that once housed the majority of the NASM’s air-craft collection.

Though preserved in climate-controlled conditions, the rest of the mostly non-functioning vehicles are haphazardly distributed among several buildings, crammed together and unavailable for public viewing. It’s a somewhat for-lorn assemblage. Why are automobiles so poorly represented at the institution known as the “nation’s attic?”

Roger White, the NMAH’s associate curator road transportation, says the rea-sons are many, including funding, the way the NMAH’s buildings evolved,

inaction by some of his predecessors, and the “first cut” mentality that guides col-lecting for the transportation collection in alignment with the Smithsonian’s broad-er mission as America’s public museum.

“We don’t think the way other muse-ums do,” he explains. “Every vehicle here has to do triple duty, representing some important turning point in design, manufacturing, or social history, and say something about the person who owned it. It has to speak very clearly about something that is a teaching tool. Every vehicle here is potential for future projects.”

Critically, the neglect also seems to stem from academic bias against the automobile. Noted collector and founder of the Revs Institute for Automotive Research, Miles Collier, argues that “the automobile was the greatest change agent of the twentieth century” but maintains that “the ‘academy’ pays no attention to the automobile.”

White acknowledges that automobiles have never had great support at the Smithsonian.

“Most curators think of American history as something you can hold in your hands. There is a bias against big-ger items, not just vehicles but heavy machinery, locomotives, and such.”

Looking ahead, White says the collec-tion will grow only slightly. Most imme-diately, he wants to add an example or two of the alternatively powered vehicles (hybrids especially) that now feature in American life. The current NMAH exhibit, in place since 2003, will remain for the foreseeable future. The vehicles included may change at some point, but there are no plans to make those stored at the Garber Facility accessible to the public.

“The collective decision was made to put the rest of the collection online,” he concludes. “Let the world see it on the Internet.”

Garaj Mahal: The Smithsonian Institution’s Automobile Collection

1948 Tucker SedanNumber 39 of the 51 Tucker

Sedans built, this 11,721-mile exam-ple passed through multiple own-ers before being transferred to the NMAH by the Drug Enforcement Administration, which had it seized in a 1992 narcotics investigation. Repainted and reupholstered, the futuristic rear-engine four-door car-ries a 334-cubic-inch aluminum flat-six derived from a Franklin 0-335 helicopter engine. The 166-hp unit drove the Tucker’s rear wheels via an electrically selected vacuum-actuat-ed manual transmission. Four-wheel-independent suspension gave the 4200-pound sedan competent han-

dling. Safety innovations included a windshield designed to pop out in a crash, a padded dashboard, a center headlight that turns with the front wheels, and a padded “crash cham-ber” ahead of the passenger seat that the passenger could duck into in the event of a collision.

1997 EV1The EV1 represents a controver-

sial chapter in modern automobile history. Launched in 1996 as the successor to GM’s 1990 Impact concept car, the lease-only, Saturn-retailed coupe was the first modern attempt at bringing a viable electric car to market. Powered by a 137-hp three-phase AC induction motor with a lead-acid battery pack initial-ly (later nickel-metal-hydride), the Smithsonian’s Generation-I example combined an aluminum space frame, aluminum suspension components, and plastic body panels with elec-tric power brakes/steering and mod-ern HVAC/audio features. GM built 1117 EV1s between 1996 and 1999.

Having determined the EV1 wasn’t commercially viable, GM pulled the plug on the program in 2003, repos-sessing and crushing all vehicles despite opposition from owners. One of approximately 40 remaining, the NMAH’s EV1 is said to be the only one fully intact.

1964 Chrysler Turbine CarThe NMAH’s Turbine car is num-

ber 45 of the 50 production units (five prototypes were also built) made between 1962 and 1964 by Chrysler to test consumer reaction to turbine automobiles. Styled by Ghia and pow-ered by Chrysler’s proprietary 130-hp turbine jet engine, the coupe could run on almost any type of fuel -- die-sel, unleaded gasoline, kerosene, JP-4 jet fuel, vegetable oil -- even tequila. The Turbines were test-driven by 203 people between 1963 and 1966, including four men in the Baltimore-Washington area who drove this car. Like GM’s later EV1, they were reclaimed and mostly destroyed.

Only nine remain. Chrysler donated this example to the museum in 1967. Fuel economy was comparable to that of contemporary cars on the highway but suffered around town. That and the Turbine’s high emissions killed production.


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Drawn QuartersAs a practical means of communi-

cation, photography is about as old as the automobile. But into the 1950s, automakers predominantly entrust-ed artists to idealize their products in advertising. Lincoln’s first all-new postwar design for 1949 (see ad below) drew criticism because the cars were difficult to distinguish from the Mercurys with which they shared architecture, so the advertis-ing art renders the smaller, sleeker cars to look longer and lower, back-ing up the theme “Nothing could be finer...or Newer!”

Mixed MessagesLincoln’s agency of record from

1948 to 1979 was Kenyon & Eckhardt, of Madison Avenue. Its “Mad Men” drew praise for the ‘55 campaign’s confident, eye-catching photography, but also criticism for the campaign’s lack of a consistent, coherent theme. Disparate ads stressed performance, refined elegance, or the pursuit of an active lifestyle. The unfocused cam-paign mirrored an internal struggle over which way to take the brand. Luckily, longer, lower, and wider would win the day.

Race ReadyAnother downsizing for 1952 had

Lincoln taking aim not at Cadillac, but at Oldsmobile, with mod-els “powered to leave the past far behind.” The emphasis shifted from poshness to performance, as evi-denced by the reference to four wins in the Mexican Pan-American Road Race. By 1953, when this Capri coupe was shot, Julia Meade was just starting her decade as the voice and face of Lincoln on Ed Sullivan’s wildly popular “Toast of the Town” TV show.

Trick PhotographyAt about the time this 1958

Premiere Landau was shot, Detroit’s Boulevard Photographic studio had devised a curved film holder that effectively stretched a car in the camera to appear longer and lower, providing the car was dead level with the camera. (Otherwise the car could appear bent, like a banana.) BP used the curved film holder for a few years before switching to an anamorphic lens that distorted the image by optical means, rather like a CinemaScope movie camera lens.

Embryonic FinsIn the ‘50s, styling tricks were

selling cars, and the tailfin, which got its start on the ‘48 Cadillac, was chief among them. This shot lets us take the full measure of Lincoln’s finlet, while the profile view empha-sizes the “tasteful use of chrome.” Lincoln’s minimal ornamentation earned the mid-century “modern liv-ing” tagline, while racing successes warranted the “magnificent driving” line. But Lincoln never managed to out-macho Oldsmobile, so it stopped trying and marched back upscale for 1956.

Luxury RedefinedAfter years of hollow hyperbole

about the trendsetting design of the ‘57-’60 models, the ‘61-’69 Continental truly delivered it: Elegance, minimal ornamentation, and “suicide” rear doors.Early ads described it as “a new kind of fine car,” and in a reversal of the perennial “longer, lower” lingo, ads now boasted “greater luxury with 14 inches less length.” Lincoln’s industry-leading 2/24 warranty also figured prominently in ad copy, in an effort to repair a tarnished repu-tation for build quality.

Classic Lincoln Advertising As ArtNothing Could Be Finer


Classic Lincoln Advertising As ArtNothing Could Be Finer

All AccessIn a rare return to illustration, this

spare image depicts what other ads spelled out: “Four doors mean you walk into the rear seat...instead of climbing around the front seat.” The Continental was indeed America’s first and only four-door convertible since the demise of the short-lived ‘49-’50 Kaiser Deluxe. As the copy alludes, this ‘63 model’s $6916 base price would buy two loaded Ford Galaxie 500 Sunliners, but the Fords would certainly be worth way less than the Lincoln three years later.

NeoclassicPhotographer Mickey McGuire was

directed to find “a smug, middle-aged, bald guy with a bad attitude” for this moody 1968 Continental Mark III ad, according to “Boulevard Photographic: The Art of Automobile Advertising.” The guy had plenty to be smug about when piloting this new personal luxury coupe, which was conceived to reclaim some of the original Continental Mk II’s exclusivity. Priced at $6585, it cost $615 more than the four-door Conti, but still undercut the 1956 original by more than $3000.

By Frank Markus


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deals on wheels - august 2014

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