Classic V8 Muscle Cars

Clean and Low Restomods at SEMA 2021

Muscle cars and Hot Rods have been the backbone of SEMA since the beginning. Year after year not only do they show up, they are some of the most immaculate and classiest builds the 2021 SEMA Show has to offer. As we were perusing the show floor, we happened to see some beautiful examples. Lets take a peek at what V8s are rumbling around SEMA. (none probably, we’d be surprised if anything actually ran at SEMA)

Right off the bat are a couple of Chevelles so clean and modded you can barely recognize them!

Next we have this gorgeous blue Fastback Mustang and this slick Camaro. Both retain that classic styling but have opted for much more modern trim pieces, bringing these old geezers into the 21st Century.

Next up we have a couple of Old Chevy Trucks done in two completely different finishes. One With a nice slick green paint job that highlights those 50s body lines.

The other finished in a patina paint so strong it looks like it was pulled out of a lake! But there probably isn’t a spec of rust on this Apache.

Update: The owner of the build reached out to us and confirmed that this Apache is indeed 100% real patina.

“My Apache literally burned to the ground in the 2018 NorCal Paradise Fire and was on live tv doing so […] No rattle can patina, pure fire, then rain.  […] It was important for me to build this ride so people wouldn’t forget the devastation of that fire and when they see the truck, they know something survived.”Jason Fonte

Picking Your Ride Height: Lifted vs. Lowered

In the world of custom pickups, trucks often fall into two distinct categories as far as suspension systems go—lifted or lowered. These two worlds are as divisive as modern politics given that the overall purpose and aesthetics go in completely opposite directions. Everything on each side is different—from the necessary suspension components themselves, right down to the cultural differences of both types of truck owners. While both methods of suspension alteration are equally cool to impartial onlookers, the height of one’s truck might say a lot about their preferred extracurricular activities. Off-road and autocross action both require different types of trucks, each equipped with specialized components and accessories.

Up VS. Down 

While there is no right or wrong side of the fence to be on, it all comes down to personal preference, really. How far is one’s desire to go higher or lower than factory ride height? Both cases do have mild routes—a few inches or so in either altitude level, that are fairly easy to revert back from just in case the urge to go back to stock becomes unbearably tempting (does that ever happen?) Whatever the case may be, let’s take a quick look at what it takes to set a truck apart from the crowd of the boring factory ride height stiff. 

Leveling 

Most new truck owners gravitating toward the side of lifted suspension do have one entry level solution that is oftentimes too good and too inexpensive to pass up—the leveling kit. Basic packages rarely cost more than a few hundred bucks, consist of nothing more than easy-to-install coil spring spacers and new hardware to lift the front end, (depending on year/make/model) and can usually be handled at home in the garage. Aside from the price and ease of installation, leveling kits also boast one more thing—the instant ability to run bigger, more aggressive tires due to the extra clearance up front. “Mild” may have never have looked so better, right? 

Lifted

The difference between a lift and basic front end leveling kit is that a lift is a lift of the entire suspension—front and rear. Off-road fans would argue that a jacked up truck is far more capable than any lowered vehicle to handle the roads less traveled. Given a lifted truck’s longer suspension travel and beefier tires, this argument does hold validity—a truck not equipped with the right suspension and tire setup pretty much hits an invisible wall wherever the paved road ends. 

While some hybrid leveling packages do include modest rear lifting components, a true lift kit will be much more noticeable at both ends. Instead of the more simple components used in leveling kits, premium lift packages consist of replacement spindles, control arms and leaf springs to get the height you want with optimum ride quality in mind. 

Raked

There’s nothing worse than an intentional saggy rear stance.

Factory trucks naturally come with a moderate “rake” (a slightly higher rear end to even out the ride height when hauling a heavy payload). Leveling kits are used to do just that—level. But what if you simply want to embrace the raked look while lifting the front end or still plan to use the truck’s bed to still haul heavy loads? There’s nothing worse than an intentional saggy rear stance. Attaining the perfect height for your truck is easily doable since there are so many suspension components and packages to dial in the desired ride height down to the inch. 

On the other hand, lowered trucks utilize more exaggerated rake positions at times. The stance just looks cool, especially on classic models with a set of extra wide rear tires. Whether it’s a performance thing at the track or just for a sportier appearance, it’s just a great way to play with suspension height and fun tire combinations that otherwise would just look downright weird at any other stance.  

Lowering 

Dropping the height of a truck can be done with common static suspension components such as spindles, control arms, and springs up front, and leaf springs, blocks and shackles at the rear. There is a limit to lowering before more drastic steps come into play such as cutting and notching the rear frame to make room for axle clearance. Most component manufacturers design their kits to be mostly bolt-on affairs that handy owners can manage to do at home with the right tools, making most lowering jobs attainable. 

Air ride is another facet of lowering that combines static components and specialized parts like air bags and compressors but can also feature full custom, high-dollar chassis that makes on-demand, adjustable ride height a legitimate art form. While that may sound like a lot of time and money to invest in attaining the ability to drop a truck’s frame on the ground (which it is), there’s nothing cooler and lower than this route. As with static lowering, tire selection is key since clearance shrinks, especially at the front, whereas much wider tires can be fit at the rear. 

Yet another way to lower a truck is by selecting coilovers instead of air bags. For those wanting to take their lowered pickup to the autocross track, this is really the only way to go. The more responsive suspension will make cornering and handling during abrupt changes in speed a breeze. Throw in a set of high-performance tires into the mix for a truly exhilarating experience behind the wheel. 

Bottom Line 

Think of your next factory height truck, whether brand new or used, as a blank canvas. Get a custom look and feel on the cheap and quick or go all-in for increased excitement and maximum curb appeal. Level it. Lift it. Lower it. There’s no wrong way to go as long as you stay true to what you want and need out of your daily driven or project pickup.    

This 1961 Chevrolet Impala Is Effortlessly Graceful

One of the things that distinguishes true craftsmanship is making perfection look easy – long hours spent behind the scenes to ensure every element of your work is flawless, but all the outside world sees is a masterpiece that demonstrates a subconscious flow that just seems right. Such is this 1961 Chevrolet Impala, built by Hill’s Rod and Custom.

For the 1961 model year, Chevy did a complete rework of the Impala, which had made its debut in 1958 as a top-of-the-line Bel Air. Just one year later, the second generation Impala became its own series, and in 1961 the third gen Impala received yet another complete redesign. The most visually striking aspect for the ‘61 was the “bubbletop” roof line, which replaced the preceding Impala’s substantial C-pillar with graceful, arching sheetmetal that was far less obtrusive. The 1962 model returned to a more conventional rear roofline and backlight, making the ‘61 visually unique among its siblings from the early Sixties.

Over the years, the bubbletop Impala’s popularity has never faded – among the many designs produced by the Big Three during the early muscle car era, the 1961 Chevrolet Impala’s visual language never really fell out of fashion. It managed to thread the needle between ‘forgettable’ at one end of the spectrum and ‘over-the-top’ at the other, earning a place as a timeless classic. When a car like that comes into one’s possession, the challenge is to respect the design while still having something new to say, and our feature car is a perfect example of how that can be achieved.

Curt Hill, proprietor of Hill’s Rod and Custom, was the right man for the job. When Dave and Jodi Matarazzo entrusted their Impala to him for this build, it was a work-in-progress, but to get it to where it needed to be, some backtracking was necessary. “It was a roller with a custom frame already built, and we went ahead and did the motor, the exhaust, the air suspension, the wheelwells and everything involved in the engine bay,” Hill recalls. “We took it from a car that was supposedly ready for paint (but wasn’t even close) to finishing it up and getting it done.”

“Part of it was that before we started, we had to knock all the Bondo off the car!”Curt Hill, Hill's Rod and Custom

As it turned out, that process became more extensive than was first anticipated, but the Matarazzos were committed to doing things right. Per Hill, “Dave had a really good eye for color, and to how he wanted things done, so he definitely had a vision of how he wanted it to turn out.” The hue you see on the finished car is just as specific as all the other details. “It’s a custom color. Jodi had seen something similar on another car and really liked it, so we were working off of a picture and refined it from there,” Hill adds. But before the first hit of primer could be applied, the “ready for paint” sheetmetal needed a considerable amount of TLC.

“Part of it was that before we started, we had to knock all the Bondo off the car!” Hill recalls with a chuckle in his voice. While they were at it, Hill and his crew fabricated the incredibly clean engine bay to showcase the modern LS3 crate engine like a fine piece of jewelry in a velvet box, and the suspension setup was refined via Ridetech ShockWave air springs and shocks controlled via Accuair ride height sensors.

To handle the horsepower of the 4L60E-backed LS3 and make the most of the suspension precision offered by the custom chassis, air springs, and dampers, modern low-profile radial tires were a must, and Milestar XP+ ultra-high performance all-season rubber in 20-inch diameter was chosen. With a tread compound formulated to remain pliable across a wide temperature range, an all-season asymmetric design with wide circumferential ribs, large shoulder tread blocks, and an inside tread pattern optimized for wet and winter traction, the XP+ was an ideal match for a car destined to be driven, not just admired for its good looks.

Once everything was straight, mechanically sorted, and body-filler-free, Valley Custom Powder Coat was turned loose on the chassis, the shiny bits went off to Sherm’s Plating, Plant Interior got to work on the upholstery and other passenger compartment details, and Altissimo Restoration was finally able to lay down color and clear. “I’m proud of how the engine bay turned out, and the stance on the car is just right,” Hill attests. “We tried really hard to achieve an overall look where it’s definitely a custom car, but everything really flows together, and nothing seems out of place.”

“It was a long build,” Hill admits. “Start to finish, it was probably two and a half years total. It spent eight months in the paint shop, and like two and a half for the interior.” It’s hard to argue with the results, though, and in the end, Dave and Jodi Matarazzo have a Chevy that’s a unique expression of their own personal taste and class.

Metallica’s James Hetfield Brings Heavy Metal to the Petersen Automotive Museum

Google World’s Largest Concerts and likely as not, Metallica will come up in the top five with 1.6 million people attending Monsters of Rock at Tushino Airfield, Moscow in 1991. The images from that concert are staggering and they form a juxtapositional backdrop to ‘Reclaimed Rust: The James Hetfield Collection’ a new exhibit at the Petersen Automotive Museum, Los Angeles, CA, featuring the cars of Metallica front man James Hetfield.

“I believe everyone needs or deserves a second chance or a third chance or a fourth chance. So knock the rust off and continue the story.”James Hetfield, Metallica

Prior to the opening, there was a fireside chat with Hetfield who talked candidly about his love of automobiles, and custom cars in particular. Hetfield was born in Downey, California in 1963, which at the time was the epicenter of the custom car culture saying about the exhibit, “It’s historic for me; as do our albums, these cars mark my life for the past 14 years and it’s great. I love that they are staying together and that youngsters will be inspired by them.” When asked what was behind the name of the exhibit, ‘Reclaimed Rust’ Hetfield said, “I believe everyone needs or deserves a second chance or a third chance or a fourth chance. So knock the rust off and continue the story.”

StateofSpeed was invited to the Media/VIP preview but we first encountered James’ amazing cars at the 2012 Goodwood Festival of Speed. The Duke of Richmond had invited a number of rock stars to display their cars including Hetfield’s 1936 Auburn Speedster ‘Slow Burn’.

Unfortunately, some typical shipping damage put a slight damper on the proceedings but the Auburn, built by long time Hetfield collaborator Rick Dore Kustoms, showed well alongside Billy F Gibbons’ CadZZilla and Jimmie Vaughan’s ’61 Cadillac.

Indeed, five of the 10 vehicles on display at the Petersen Automotive Museum were collaborations between Dore and Hetfield and they included a 1934 Packard-based custom ‘Aquarius’ and an unrecognizable 1948 Jaguar named ‘Black Pearl’.

Both these cars and particularly the Packard lean heavily on European styling of the thirties, specifically the French designs of Delahaye and coachbuilder Figoni et Falaschi. Both cars feature swooping, sensual hand-formed one-off aluminum bodies by Marcel’s Custom Metal, Corona, CA.

The other collaborations with Dore include the centerpiece of the exhibit, a 1953 Buick Skylark ‘Skyscraper’ that features, as do some of the other customs, what appears to be a solid but lift-off convertible top. These tops, created in the 1940s are known as Carson Tops, after the Carson Top Shop in Los Angeles that first developed them.

While not as outwardly radical as some of the other collaborations, the 1937 Lincoln ‘Voodoo Priest’ features more subtle modifications below the stunning Candy Apple Red paint by Darryl Hollenbeck, Concord, CA., including a fully hot rodded Lincoln V-12 by HandHFlatheads. The engine breaths through three classic Stromberg 97 carbs and note the one-piece curved windshield by Timo Tanskannen of Finland.

Not all the cars in the exhibit at the Petersen Automotive Museum are radical customs, some are more hot rod than custom. For example, ‘Iron Fist’ is a tough-looking bare metal, chopped ’36 Ford 5-window coupe that has no paint but attitude a-plenty.  Built by Scott Mugford’s Blue Collar Customs of Sacramento, CA., the ‘Fist’ is powered by a small-block Chevy V-8 and protected by a coat of clear by Darryl Hollenbeck.

Also completed by Blue Collar Customs is Hetfield’s ’56 Ford F-100 pickup known as ‘Str8 Edge’. Powered by a 455 cubic inch Oldsmobile engine, the ‘Edge’ features a 5-window, extended cab with a 2-1/4-inch top chop, a side-opening hood and a ’60-’61 Chrysler grille with Thunderbird trim. The wild paint was handled by Jason Haskin.

The other late-thirties custom in the collection is the 1937 Ford ‘Crimson Ghost’. More of a custom than a rod, the pan-draggin’ ‘Ghost’ is different because of its pillar less door opening and sweeping roofline that flows seamlessly down into the decklid.

The only real hot rod in the show is a quintessential ’32 Ford Roadster tagged ‘Black Jack’. Built in the traditional style by Josh Mills of Marietta, GA., it’s an original, all-steel 1932 Ford with no parts newer than 1949 on the entire car.

The rod, which is actually brown rather than black, appeared in the 2017 Grand National Roadster Show but did not win the America’s Most Beautiful Roadster Award. Instead, that went to Bruce Wanta’s Packard built by Troy Ladd’s Hollywood Hot Rods. As do some of the customs ‘Black Jack’ features a padded, lift-off Carson-style top and a flathead Ford V-8 under the hood.

‘Reclaimed Rust’ is a worthwhile exhibit especially if you are a fan of Hetfield and customs spelt with a ‘K.’

No doubt a little tongue in cheek, the final car on the roster was the 1963 Lincoln ‘Dead Kennedy’. Painted satin black and looking a little road worn, the side-piped Lincoln with shaved door handles was perhaps the black sheep of the show and did not express the workmanship of the other cars on display.

‘Reclaimed Rust’ is a worthwhile exhibit especially if you are a fan of Hetfield and customs spelt with a ‘K.’ Incidentally, all of the vehicles on display were donated by Hetfield to the Petersen Automotive Museum and the ‘Reclaimed Rust’ exhibit, sponsored by ESP Guitar Company, will run through October 2020. For more information visit Petersen.org.

The Best Cars of the Grand National Roadster Show 2020

Now in its 71st year, the Grand National Roadster Show in Pomona, California, is still alive, and very much kickin’. 

Roadsters from around the Nation show up at GNRS, the longest running indoor car show in the world.  

There is no shortage of Awards at the show, but the most sought after is America’s Most Beautiful Roadster, last year won by a ’36 Ford named ‘3 Penny Roadster’.

As you can see, some of these builds are crazy enough that they just work.

The show will continue to run through Sunday, 1/26, so grab a friend and check out some of the coolest Roadster builds around, you won’t want to miss it!

Barrett Jackson

Prep for the Gavel

Some of the most extraordinary cars you’ve ever seen are auctioned off at Barrett Jackson, and with the swing of the gavel, another pristine automobile goes off to the highest bidder, but not before some of the most extensive preparation.

There is more to the process than meets the eye, and a ton of patience and elbow grease goes into each vehicle that crosses the Barrett Jackson auction block.

From paint-correction and detailing to frame-off restorations, each car has a unique story and an owner that has put their blood and sweat into maintaining their cars legacy.

Days leading up to and even the day of the auction, the owners meticulously inspect and clean every nook and cranny of their prized possessions.

It’s no wonder the largest sponsors for Barrett Jackson are some of the biggest detailing names in the game, such as Meguiar’s, Mother’s, and Adam’s Polishes.

But it doesn’t stop at the exterior, every inch of these vehicles is polished to perfection.

Cars of all shapes and sizes enter the block at Barrett Jackson, but one thing they all have in common is the pure joy they bring to their owners.

Prepping a car for auction is more than securing the highest bid, but a final farewell.

Tony’s Top Ten SEMA Builds

At this time of the year there’s a worldwide buzz in the auto industry as it gears up for the annual SEMA Show. Today, the acronym stands for Specialty Equipment Market Association but back when it began in 1963 the letters stood for Speed Equipment Manufacturer’s Association. These were the boys that made cars go fast and to spread the word they formed a trade association and got together under Dodger Stadium to sell their speed secrets.

Now, almost 60 years on, SEMA has grown to be an international powerhouse with the largest automotive trade show in the world. Unfortunately, the show, held annually in Las Vegas, is not open to the public but through the wonders of modern technology the world can see what goes down in ‘Lost Wages.’ What happens in Vegas no longer stays in Vegas.

When I began working the show almost 30 years ago there were almost no vehicles displayed in the show. It was purely a trade event with sellers and buyers. Then vendors began to realize that displaying their products on a vehicle attracted attention and the concept of display and project vehicles began to explode. SEMA is now regarded as the largest auto show in the world with more than 1,500 custom vehicles on display.

As you would expect, there’s everything from the sublime to the ridiculous and everything in between. StateofSpeed.com was there to capture the craziness and here are my Top 10.

’53 Lincoln Capri ‘Golden Sahara’

Back in the fifties, George ‘King of the Kustomizers’ Barris created the ‘Golden Sahara’ from his wrecked ’53 Lincoln Capri complete with glowing tires. Restored, it’s now part of the KlairmontKollections.com

Datsun 510 ‘Brock Buster’

There were a lot of vintage Japanese cars on display and this Datsun 510 ‘Brock Buster’ created by Cobra Daytona designer Pete Brock even had a vintage 1979 Revell model of the car on the dash.

’61 Chevy Apache by Honda

It take cajones to put a different brand of vehicle in your corporate booth so I admire Honda for putting this vintage ’61 Chevy Apache truck in their display complete with a vintage Honda 50 and a CB160.

Webasto Electric Ford Mustang

I’m not big on eco design but this 900 hp electric Mustang caught my eye and won a Ford Design Award for builder Webasto.

Chevrolet ‘E-10’ Concept

Yet another electrified vintage vehicle was Chevrolet’s ‘E-10’ concept based on a ’62 C-10 pickup fitted with a double stack of Chevrolet Performance concept electric crate (eCrate) motors.

Rick Dore and Marcel’s Custom Metal Custom

The art of coach building automobile bodies is disappearing but Rick Dore working with Marcel’s Custom Metal continues to build outstanding automobiles, many for James Hetfield of Metallica.

Chopped ’59 Chevy El Camino

I love ’59 Chevy El Camino pickups but I’m not sure about this chopped, sectioned, shortened specimen complete with blown Chevy and side pipes. I might have preferred the uncut version.

#89 Mercedes-AMG GT4

It was almost too far in the air to see but once spotted you couldn’t take your appreciative eyes off the #89 Mercedes-AMG GT4 built by renntechmotorsports.com.

Dodge Charger Wrapped by Rastaman

Wraps and graphics are a huge part of SEMA because they can be easily removed when the show is over. Rastaman built this wrap design.

Ed ‘Big Daddy’ Roth Inspired “Bubbletop”

I’m not sure I like this but I do like the concept of a tribute to Ed ‘Big Daddy’ Roth whose  ‘Bubbletop’ creations of the 1960’s turned me on to the wilder side of auto customizing.

SEMA 2019: Impressions

SEMA 2019 is here and bringing the all-around automotive goodness we’ve come to expect. We don’t know if you’ve heard, but there were a lot of new A90 Toyota Supras out there. Despite this year being called “The Year of the Supra”, the show had an abundance of other fantastic builds that deserve some love.

Here are some of our Supra-free highlights from SEMA 2019.

IMPORTS

This Datsun 240z has a completely carbon fiber body and is powered by 5.3L Chevy V8 out of a Silverado. This truck powered beast is owned and raced by Shawn Bassett and is built to tear up the track at any time attack.

MUSCLE

Check out this ’72 Riviera by Gas Monkey Garage of Discovery Channel’s Fast n’ Loud. It’s powered by a Katech LT4 and boosted with a Magnuson Supercharger.

Koni showed off their heritage with a Shelby GT350 at their booth sporting the shocks they developed for the original release in the 60s.

OFFROAD

Milestar Tires displayed their newly released UTV/Side-by-Side specific Patagonia SXT tire.

CLASSICS/HOT RODS

The AMC Gremlin was once classified as one of the ugliest cars ever made, but that title definitely doesn’t fit this one. This custom Gremlin hot rod is built by Jacob Griffin and proves that these ugly little cars do have some potential.

EURO/EXOTICS

Eibach collaborated with Hot Wheels to present this clean BMW 2002 along with its miniature version at their booth. Some lucky attendants even got to take home their own Eibach x Hotwheels collectible 2002.

Billy F Gibbons’ ’58 Ford Thunderbird Mexican Blackbird

In the period immediately following World War II, there was a cultural explosion in Los Angeles as service men and women returning from the war sought escape and excitement. Many found it in the burgeoning custom car and motorcycle scene of Los Angeles. But why LA? Why not Detroit, Houston or any other city where returning soldiers settled? Well, LA had it all: Sun, sand and surf and as a consequence, a blossoming, eclectic car culture that ranged from drag racing and dune buggies to customs and low-riders. LA had it all.

LA also had a thriving art scene and, of course, it had Hollywood. Throw all that in a Petri dish, stir vigorously and you’ve got the gene pool that gave birth to the likes of Kenneth ‘Von Dutch’ Howard, Ed ‘Big Daddy’ Roth and Larry Watson. None of these guys were schooled in the automotive arts but they all had a cultural impact way beyond their Made-in-Detroit palettes. Dutch, of course, originated modern pinstriping, Roth went on to create some of the most outlandish and iconic custom cars ever built and Larry Watson wielded a spray gun like no other painting some of the best custom cars ever.

When he’s not rockin’ the world’s stages, Billy is cruisin’ low ‘n’ slow.

Watson’s trademark was what they called back then ‘panel painting’ as he marked out panels on the car that were painted in contrasting Candy colors over silver, gold, copper or pearl bases. His first panel job was on his own, brand new ’58 Thunderbird that he initially painted pearl before adding the burgundy candy panels.  It was an immediate hit and has been copied numerous times since not least of which by Billy F Gibbons, front man of ZZ Top.

Billy had owned the ‘Bird for some years and it was sitting in one of his storage facilities unused until he and the late-Pete Chapouris decided to de-mothball it and give it the Watson treatment and reference Billy’s song ‘Mexican Blackbird’ found on the band’s 1975 album Fandango.

Chapouris’ SO-CAL Speed Shop, Pomona, CA, began with some subtle fifties-style body mods that included replacing the front bumper overriders with bullets, ‘pancaking’ the hood (the removal of the factory scoop), the addition of a small peak along the hood centerline, and the removal of the five trim bars at the bottom of the doors along with a lot of other minor trim parts and doodads. Note, the door corners along with the corners of the hood were rounded in fifties’ style. Under the hood is a rebuilt factory 352 cubic inch V8 with chrome accessories.

Pinstriper extraordinaire Denis Rickleffs was then called in to lay out the panels over the new coat of deep black PPG two-stage paint applied by Mick’s Paint. The gold borders are actually House of Kolor Lime Gold Pearl over a white base with hand-striped accents. “Billy Gibbon’s ’58 Thunderbird pays homage to those classic custom cars of the fifties.” Said painter Mick Jenkins.

Other contemporary additions include the scalloped and striped Appleton cowl-mounted spotlights, the four-blade Dodge Lance ‘flipper’ hubcaps, and that chrome-plated mesh grille insert that was repeated in the rear panels.

After some judicious lowering—2 inches in front and 3 inches in back using Jamco suspension components—the Blackbird was fitted with 7 x 15-inch Wheel Smith steel wheels.

After the lowering, the car was shipped out to Gabe’s Custom Interiors, San Bernardino, CA, where they stitched up one stunning two-tone gold and black interior using Ultra black and gold leather to match the paint and the gold anodized dash inserts.

“Billy Gibbon’s ’58 Thunderbird pays homage to those classic customs cars of the fifties.” Mick Jenkins, Owner, Mickspaint.com

For an audio system befitting BFG, Chapouris turned to Alan ‘Hic’ Hickman at Audio Shoppe in Riverside, CA. Hic’ retained the stock radio façade but inside the glove box installed a plug-in for Billy’s iPod. Also in the glove box is the pre-amp tone and fade controls. The system then runs to two Arc Audio amps, one to drive the four Arc Audio high speakers (two 5-1/4-inchers up front and two 4-inchers out back) and the other for the twin 8-inch Arc Audio subwoofers mounted in a custom enclosure. Hic’ said: “It isn’t a thumper type of stereo system, but it delivers more performance-per-dollar than most systems.”

Although somewhat understated, Billy’s mild custom Blackbird was quite a hit appearing in various magazines and promotions. There was even a guitar made in the car’s honor by French guitar maker ‘Wild Customs.’ Mexican Blackbird also appeared on an episode of the TV show ‘Bones’ on which Billy has made several guest appearances playing a fictionalized version of himself, as the father of Michaela Conlin’s character, Angela Pearly Gates Montenegro.

When he’s not rockin’ the world’s stages, Billy is cruisin’ low ‘n’ slow.

Chevy Impala

What’s Not to Love?

If you’re like me, you often wonder at the origins of car names, until that is, the proliferation of alphanumeric nomenclature. But what of names like the VW Rabbit or the Beetle or the Chevrolet Impala? We know what a Rabbit and a Beetle are, but what’s a Chevy Impala? It’s actually a medium-sized antelope found in eastern and southern Africa that can run at 50 mph, however, in “Carland” it’s possibly the most popular Chevy brand of all time.

Introduced for the first time in 1958, the Chevy Impala came in a year when people were campaigning for nuclear disarmament; Elvis was called up into the Army and shipped to Germany. The big chart success that year in the U.S. was “At the Hop” by Danny and the Juniors that summarized the excitement coursing through American teenage life: Cruisin’ Main Street on the weekend, drinking root beer at an A&W, or eating popcorn at the drive-in; it was West Side Story on wheels and for them the Cold War was conducted on the back seat of a car—and what better car than the all-new Impala.

This era was immortalized in George “Star Wars” Lucas’ seminal 1973 movie American Graffiti that depicts a night in 1962 when kids cruise the streets before going off to college. Graduating senior Steve Bolander, played by Ron Howard, memorably loans his precious ’58 Impala to Charles Martin Smith’s character “Terry the Toad.” “When I was growing up, it was all about that car,” said NASCAR personality Ray Evernham, who recently restored the original movie car.

It was Chevrolet’s 50th birthday and the theme for the year was “Forward from Fifty.” To mark the occasion they had a complete redesign, and with performance de-emphasized, as a result of the 1957 racing ban, everything was lower, wider, and nine inches long. These cars were cruisers from the quad lamps to their gull-wings, with plenty of chrome in between. Chevy promised “the road smoothest, nerve-soothing ride imaginable,” and in doing so, entered the “boat race” to build ever-bigger cars.

“When I was growing up, it was all about that car.”Ray Evernham, NASCAR Personality

The automotive world was first introduced to the Impala under the Corvette brand in 1956 when GM unveiled a plastic-bodied, five-passenger, two-door sedan in the General Motors Motorama. This XP-100 “dream car” was a “big” Corvette with an emphasis on safety and sparing use of chrome, although that giant toothy grille belies that statement. Thankfully, it didn’t make it to production.

The production Impala for ’58 was more a progression from the ’57 Chevy, however, it was longer, lower, and wider. It was the first with dual headlights; the sharp fins of the previous year were now less aggressive and more sculptured, and to distinguish it from other models it had triple symmetrical taillights.

Under the hood, you could get a choice of 235, 283, or the whopping 348 ci W-series “Turbo-Thrust” V8 producing a max of 315 hp. A Ramjet fuel-injected 283 was also available but not popular.

The Chevy Impala immediately found a place in the hearts of Americans that was cemented when Chevy introduced the Super Sport (SS) to the market in 1961. The SS package was available on any Impala, including sedans and station wagons, and the power was increased with the 425 hp 409 ci V8 immortalized in the 1962 Beach Boys song 409.

Unfortunately, as often happens, the Impala and even the SS badges were affixed to some less than desirable automobiles; and while Chevy Impala remained Chevy’s best-selling model, the cars got bigger and the ’71 was the largest car Chevrolet ever offered. Newly introduced safety requirements increased the weight until sports models resembled Sumo wrestlers rather than sprinters.

The Impala immediately found a place in the hearts of Americans that was cemented when Chevy introduced the Super Sport (SS) to the market in 1961.

Eventually, in 1985, the nameplate was dropped, that is until 1992 when GM designer Jon Moss hot rodded a Chevy Caprice for the Detroit Auto Show. The four-door Caprice was a land yacht but Moss made it cool by lowering it two inches and throwing in an 8.2L 500 ci engine.

The Impala SS was an instant hit and went into production February 14, 1994, initially available only in black with a grey interior. It used the police 9C1 package including sport-tuned suspension, reinforced shocks and springs, a high-capacity reverse-flow cooling system and four-wheel disc brakes. In place of Moss’s 500 inches, Chevy installed a re-tuned 5.7L Corvette LT1 350 that made 260 hp and 330 lb-ft of torque. The big difference between the Corvette LT1 and the Impala LT1 was that the latter had iron rather than aluminum cylinder heads. It went zero to 60 mph in seven seconds which was not bad for a big car weighing in at 4,036 lbs—the cognoscenti loved it as did celebrities: you can count comedian Tim Allen, Billy F Gibbons of ZZ Top, Dexter Holland of Offspring, Jimmie Vaughan and many others as Impala owners.

The Impala has also inspired designers. For example, check out Thom Taylor’s Caprice wagon that he customized to represent a nineties version of a classic sixties Impala wagon. The old adage says: Build it and they will come, and it certainly applies to Chevy’s Impala.

Slampala

ZZ Top’s Billy F Gibbons’ Low ‘n’ Slow Impala

It’s hard to know what to drive when you’re a high profile musician such as Billy F Gibbons, frontman of that lil’ ol’ band from Texas, ZZ Top. Formed in 1969, ZZ Top is celebrating its 50^th anniversary this year but they were really catapulted to fame in the early eighties with their memorable MTV music videos Gimmie All You Lovin’, Sharp Dressed Man and Legs.

For many, the music was good enough but for many more, Billy’s ’33 Ford hot rod that featured in the music videos for Eliminator was the band’s calling card. The Eliminator album, with the hot rod on the cover, went on to sell more than 10 million copies in the U.S. alone.

Since growing up in Houston, Texas, Billy has always been a car guy; he even taught himself to pinstripe like the legendary Von Dutch. Unfortunately, touring the world and working on numerous music-related projects affords Billy little time to indulge his passion for cars. Nevertheless, there are some warehouses in Texas that contain a small, eclectic collection of rad rides. One such is “Slampala”, a fairly rare ’62 Chevy Impala SS two-door hardtop.

The ’62 Impala Super Sport (SS) featured what was then called “convertible roof” styling, wherein the hardtop looked like it was convertible. The windshield dramatically wrapped around with curving chrome-covered A-pillars. All SS models featured acres of engine-turned aluminum in the interior, in the side trim, and across the back where there were triple taillights. It made quite the statement in ’62.

Although Slampala looks stock, it is subtly modified including the lowering job that is actually a Firestone air-bag system installed at the SO-CAL Speed Shop in Pomona, California a couple of years ago when Billy’s friend Pete Chapouris was alive. In fact, Billy and Pete were good buddies and built several cars together.

Billy has always been a car guy; he even taught himself to pinstripe like the legendary Von Dutch.

At the time, the Impala was riding on some 14-inch steel wheels fitted with accessory caps, MOON spinners and “pinner” whitewall tires so-called because the white stripe is ½-inch or narrower like a pinstripe. There’s also an ECI power-assist disc brake conversion replacing the stock front drums.

Under the hood, things are not quite as original as it might appear. Gone is the stocker replaced by a ’67 327 ci small-block Chevy that was optional in ’62. Billy’s looks stock but is fitted with chrome valve covers and a Cadillac-style air cleaner from Bitchin Products along with factory air and power steering.

The interior looks similarly standard but as you would expect there are some subtle differences. For example, the center console contains the switches and gauge for the air-bag system. Also, a new two-tone cream and mint steering wheel was cast along with some custom dash knobs by J.B. Donaldson in Phoenix, Arizona in the style of fifties’ custom knobs originally developed by Bob Hirohata.

Slampala is one of those timeless rides that transcends the trends.

The rest of the dash, including the push-button Delco AM factory radio, is stock, however, a more modern stereo head is hidden in the glove box. The split seats are beautifully upholstered in pearlescent ice-blue vinyl with patterned inserts.

Slampala is one of those timeless rides that transcends the trends. It was a good looking car when it was new in ’62 but it’s a better-looking car today. Consequently, it was featured in Super Chevy magazine, on the cover of Custom Rodder magazine and on the cover and inside Billy’s book Rock + Roll Gearhead.

Mooneyes Over Yokohama

Anybody who has been around the motorsports industry knows the name Moon or at least the Mooneyes logo, which is one of the world’s most recognized logos. The company was founded right after World War II by Dean Moon who ran moonshine as a teenager and bussed tables in Pop Moon’s Café among the oil rigs of Santa Fe Springs, California.

Like all kids back then, Dean was enamored by automobiles and after a stint in the Air Force as a photographer he opened his own shop and began making parts for the hot rod fraternity. His first products included fuel distribution blocks for multi-carb assemblies, aluminum fuel tanks, gas pedals in the shape of feet and Moon discs that found their way onto racecars from Bonneville to the Indy Brickyard.

Back then, Dean was all about the industry.

The discs, made of spun aluminum and held on with Dzus buttons, or screws, are an aerodynamic aid that actually works—I’ve tested them in a wind tunnel—and they are still the wheel cover choice for land speed racers.

Back then, Dean was all about the industry. The very first Shelby Cobra was built in his shop in 1962. He was one of the founders of the Specialty Equipment Market Association (SEMA) and in 1964, became its second president. He was also instrumental in helping establish European drag racing when he sent his Mooneyes dragster to compete in England in 1963.

Dean passed away in 1987 and the company languished until Japanese enthusiasts Shige Suganuma and Chico Kodama purchased it in 1992. Shige and Chico have been exemplary custodians of the Moon brand restoring the original facility in Santa Fe Springs, putting all the original product back into production, developing thousands of new products and hosting some of the best car shows on the calendar.

Now, almost 30 years old, their one-day, yes, one-day Hot Rod & Custom Show in Yokohama’s Pacifico Exhibit Hall is Japan’s largest indoor car show attracting car builders from around the world including Indonesia, Korea, and the U.S.

“There are no lines to divide us or define us, simply a great appreciation for the custom culture of any time and place.”Bobby Green, Old Crow Speed Shop

At the most recent event celebrities included bike builders Roland Sands, Shinya Kimura, Ryan Gossman, Hawke Lawshe, ‘Dynamite’ Joe Kerivan and many others. Car builders included Bobby Green of Old Crow Speed Shop, Victor ‘Reno’ Sevilla, Coby Gewertz, and Jack Fields and Edgar Hernandez of Starlite Rod & Kustom.

As you would expect, besides a huge array of cars and motorcycles there’s a wide range of entertainment from live bands such as the El Caminos, The Minnesota Voodoomen and Jackie and the Cedrics. New this time was a Pinup Girl contest that proved very popular along with the annual pinstripe extravaganza where artists were asked to decorate frying pans. It’s a little different from a skateboard and therefore all the more challenging.

There are parties galore from welcoming parties to the farewell “Thank You” bar-b-que. And I’ve never met anybody who went who didn’t have a great time. Indeed, Bobby Green said, “The Mooneyes Hot Rod & Custom Show is so much more than its name implies. There are no lines to divide us or define us, simply a great appreciation for the custom culture of any time and place.”

Besides the big, one-day bash in Yokohama, Mooneyes also host a lot of other shows both in Japan and the U.S. For more information on the Japanese shows visit: https://www.mooneyes.co.jp

For information about the U.S. Shows such as their Xmas party at Irwindale Speedway visit: www.mooneyesusa.com

Bias Ply vs. Radial Ply Tires: What Is the Difference?

When it comes to your standard driving tires, bias ply hasn’t been a term used in decades to describe the latest and greatest tires coming out on high-performance cars. In the racing, trailer, and even motorcycle worlds we still see bias ply but, even then, it’s quickly being displaced by radial tires. So, what is a bias ply and why has it been replaced by radial ply tires?

What’s being referenced when you talk about bias ply and radial ply are how the cords that make up the carcass of the tire are run from bead to bead. You’ll never see it until you wear the tread beyond its rubber layer. The term “bias” and “radial” are describing how the patterns of the ply are done.

A bias ply tire has its plies in a crisscross pattern as they overlap each other. So, one ply will lay in one diagonal (between 30- and 40-degrees from the direction of travel) while the other will lay in the opposite direction and would make an “X” if you were able to see through them. You can have multiple plies in a bias ply tire, too, usually in 4, 6, 8, or even 10 plies.

Most will be 4 plies, though. Bias ply tires also use far more rubber to create both the sidewall and tread as well as being supported by the plies. This was how tires were done from the 1930s all the way into the 1970s, with the last few cars coming with a bias ply in or around 1974.

A bias ply tire is far more flexible, so they can make for great off-road tires and drag radials where sidewall flex is beneficial. They also exhibit better traction at low speeds and in straight-line travel.

[Bias ply] treads wear faster and exhibit more rolling resistance, so you go through more money as you use up the tires and your gas far more often.

Because so much rubber is used, they are far more resistant to cuts and punctures. However, because they use so much rubber and are more flexible, they lose traction in cornering because they tend to roll-over on to the sidewall.

The treads wear faster and exhibit more rolling resistance, so you go through more money as you use up the tires and your gas far more often. This also means you’ll get flat spots if you allow a bias ply tire to sit on the vehicle’s weight for too long. You’ll also feel like your wandering due to cracks, ruts, and bad driving surfaces as these tires tend to follow those deformations.

While the tread isn’t directional, the way you rotate bias ply tires for maintenance is specific to them. You’ll take a left rear tire and move it to the left front, left front to the right rear, right rear to the right front, and right front to the left rear. Well, unless you have five tires (where you can use the spare as a normal driving tire) and then the left front becomes the spare and the spare moves to the right rear.

A radial tire, however, has its plies in a 90-degree pattern from the direction of travel from bead to bead (or radially from the center of the tire and where they get their name from). They have been around longer than most people realize, with tire patents dating back to 1915 by Arthur Savage in San Diego, California (the patents expired in 1949).

In France, Michelin designed, developed, patented, and commercialized a radial design by their researcher, Marius Mignol, in 1946 and Michelin X radial tires were installed as a factory standard tire for the 1948 Citroen 2CV.

…[Radial ply tires] have been around longer than most people realize…

The first factory standard radial tire for the US is credited to the 1970 Lincoln Continental Mark III after the August 1968 issue of “Consumer Reports” showed that they had better tread life, better steering characteristics, and less rolling resistance.

What makes the radial superior to bias ply tires (outside of high-load capacity) is that those radial cords allow better flex. It makes a tire act more like a spring and improve riding comfort even as load capacity rating increases. This also increased tire life as the flexing required was easier than bias ply, which would resist and begin to overheat the tire. Because of its radial pattern and using less rubber, you’re able to run a much wider and flatter tire footprint.

These tires will also have a rigid set of belts to reinforce the tread, usually made of steel, Kevlar, polyester, Twaron, or sometimes even a combination of them. That means that your sidewall and tread function as two independent part of the tire instead of one like a bias ply.

These belts can also be added between plies to meet specific design goals like reinforcing the sidewall for puncture resistance, increasing load capacity, and many other objectives.

Because of that and the expansion of rubber compounds using silica, we’re starting to see more and more applications that use radial tires over bias ply. In racing, many tires are now radial over bias because of the advantages of feel and character of the radial.

Much like the carburetor, the bias ply won’t go away but it will be only around for the niche.

Even drag radials are offering more straight-line grip and sidewall flex needed for powerful launches on the strip with the added benefit of not needing inner tubes.

For off-road, radial tires offer better flex and more grip on the rocks and sand. Trailer tires have even begun to make the switch to radial, even in higher load capacities typically reserved for bias plies. If you’re trying to look period correct, there are even radial tires for you.

The short story is that the areas where bias ply dominated are no longer solely for them. Radials have become an acceptable replacement in those areas. As ply and rubber technology continues to improve, the need for any type of bias ply will be left for those who are just in it for numbers-matching correct restoration. Much like the carburetor, the bias ply won’t go away but it will be only around for the niche.

Classic Tri-Five

1955 to 1957 Chevrolet Car History

It’s not actually a single car, but when you say “Tri-Five,” people know you’re talking about that classic “shoebox” style Chevrolet automobiles from 1955 to 1957. Their revolutionary designs spawned a legendary history and full-on industries that cater solely to them. What made these cars special?

It’s not hard to see the Tri-Five as part of Americana, the idealized vision of the 50s and 60s in the United States and its car culture. The name comes from the three years these cars came about 1955, 1956 and 1957. Each year, the cars changed radically to match the looks of Cadillacs of the time. It was a huge effort, costing Chevrolet millions of dollars in 1950s money to make it happen. But, make it happen they did and spurned off one of the most recognized and desired set of automobiles the world has ever seen.

Prior to 1955

While we recognize the Tri-Five as a specific idea in our heads, the reality is that prior to 1955 Chevrolet had the One-Fifty, Two-Ten, and Bel Air models built and in production. All three started earlier with 1950 for the Bel Air and 1953 for the One-Fifty and Two-Ten. It was the Bel Air that set the tone for all three models and any Chevrolet until 1975.

It started as a two-door convertible with a hardtop, but that hardtop couldn’t be removed. It was a very sleek looking roof design and the Bel Air wouldn’t get a real convertible until 1953. That same year, it became a high-end model with the One-Fifty and Two-Ten being the lower trims.

…parts that made that 1940s era of cars unique to themselves was now gone…

It was also where Chevrolet evolved from pre-WWII automotive design. Torque tube drives, splash-feed six-cylinder engines, knee-action suspension, split windshields and parts that made that 1940s era of cars unique to themselves was now gone and replaced with modern designs. There was also the addition of more chrome to bigger exterior trim parts, too.

1955, The 265 V8, and The Nomad

Then came 1955 and a quick series of evolutions began for the full-size Chevrolet cars. The biggest thing that brought this about was the introduction of the 265-cubic-inch Small Block Chevrolet V8 known as the “Turbo-Fire” and the original SBC. That displacement was made by the 3.750-inch bore and 3.00-inch stroke.

It was the combination of high-compression with that short stroke that produced 162-horsepower with a two-barrel carburetor. However, it was the “Power Pack” and “Super Power Pack” options that lit the fire with 180-horsepower in the Power Pack and 195-horsepower with the Super Power Pack. What made these different were the use of four-barrel Rochester carburetors and dual exhausts.

While impressive, there was an issue with the 265 in 1955: there was no oil filtration built into the block. It was an add-on option mounted to the thermostat housing. For that reason, the ’55 265 is only desirable to period correct, numbers matching builders.

However, this engine was backed by the equally legendary Powerglide two-speed automatic. It wasn’t the only option for 1955, though, as the base One-Fifty model cars were available with the 235-cubic-inch I6.

…Harley Earl, said the Corvette-based Nomad was one of his dream cars…

’55 was also the introduction of the Nomad. It was introduced in its mid-year run with the Bel Air trim and V8 standard as a two-door station wagon. It was also the higher-end option as it came with upscale carpeting, two-tone paint, headliner trim, and other features to separate it from the One-Fifty Series. What helped set its distinction, though, was its roots from the General Motors Motorama show car with the same name.

The Motorama shows were where the public could see prototype vehicles of the time like the Corvette, Pontiac Bonneville Special, and the Oldsmobile F-88. Head Stylist at GM, Harley Earl, said the Corvette-based Nomad was one of his dream cars and followed the introduction of the 1950 Ford Country Squire, also a two-door station wagon.

1956

These are considered “carryover” models, with a few changes made. The one everyone paid attention to, however, was the bump in power and include an oil filter in the 265.

Aftermarket and tinkers, hot rodders, had already started making huge power gains in the 265 and Chevrolet was right there with them. The standard 265 went from just 162-horsepower to 225 while the Super Power Pack version upped that to 240-horsepower with that Rochester four-barrel carburetor.

The Bel Air model, though, received some interesting changes to its grille. It went from its “Ferrari-inspired” front end to a full-width grille, which more people liked. The tail lights became incorporated into their housings and were single piece save for the left-hand side. That used a Cadillac-inspired feature of housing the gas filler behind it.

Oh, and only 7.4-percent of Bel Air owners ordered seat belts.

The Bel Air also got a new model known as the Sport Sedan and was a pillarless four-door hardtop. There was even the option for a rain-sensing automatic top that was seen on the 1951 LeSabre concept car but was never believed to have ever been installed. Oh, and only 7.4-percent of Bel Air owners ordered seat belts.

1957 and the Turboglide

1957 would be the last year for the Tri-Five. All cars now got those large tailfins that made them spectacular and the “twin rocket” hoods. Cars would get a tricolor paint with even more chrome outside and in.

The horsepower wars were heating up between the Big Three and Chevrolet gave owners a choice of seven different V8s. These ranged from the original 265 to the then new 283-cubic-inch SBC—some of those even coming with early Rochester Ramjet mechanical fuel injection and produced 283-horsepower.

This was also the introduction to the Turboglide automatic transmission. Instead of being a two-speed transmission, the Turboglide was a form of continuously variable gear-ratio transmissions. The way it works is like how a sequential-dual-clutch box works. Sort of.

Usually, an automatic has a torque converter with three elements inside it: the impeller, the turbine, and the stator. The impeller pumps fluid through the turbine with the stator directing oil so it hits the back of the impeller blades. This action also gives the torque converter that multiplication ability.

How A Turboglide Works

The Turboglide is different and, if you think a regular automatic is witchcraft, you’re not ready for this. The Turboglide has three individual drive turbines with each connected to a different ratio inside of the gearbox. Transmission fluid goes from the impeller pump to the first turbine blade, striking it and engaging the “first gear” ratio.

That first turbine then acts as a stator and causes the fluid to strike the blades of the second turbine and “second gear” ratio. Finally, the second turbine acts as the final stator and the fluid strikes the blades of the third turbine and it goes into “direct drive” ratio.

This is directly connected to the output shaft of the transmission. Once the low turbine matches the pump speed, it freewheels on a one-way sprag clutch while the second turbine begins to match the speed of the impeller pump. Eventually, it does and that’s how fluid will pass through it and fully drive the direct drive.

…if you think a regular automatic is witchcraft, you’re not ready for this.

It also still has a stator which can switch between two positions and that’s controlled by the driver through the accelerator pedal. It works like a transmission kick-down in a conventional transmission to engage a “passing gear” or drop down to the next lowest gear to increase power going to the rear wheels.

The most interesting part about this, the engine stayed nearly at the same RPM through operation, changing only to accelerate. At normal operation, the Turboglide operated the engine between 3500 and 4000-RPM in roughly a 400-RPM window.

If you’re thinking this sounds like the operation of the modern Continuously Variable Transmission (CVT), you’re not far off but the Turboglide was fully hydraulic and could be geared to multiply engine torque at any speed whereas CVTs are nearly all mechanical.

The other advantage was the use of the Grade Retarder range, which allowed the engine to “engine brake.” You could use the engine to slow you down just like you would in a manual. That’s why a Turboglide selector goes P-R-N-D-Gr.

The End of the Tri-Five Era, but Not the Bel Air

After 1957, Chevrolet did away with the One-Fifty and Two-Ten models and began the longer, lower, and the heavier era of car design. These cars were replaced by the Delray (One-Fifty) and Biscayne (Two-Ten). 1958 not only marked the beginning of the Chevrolet Big Block engine with the 348-cubic-inch V8 but also making the Bel Air into the “halo car” for Chevrolet with the Impala.

This meant that the Impala Bel Air was only available in a hardtop coupe and convertible for its first year. While it had similar design cues from other models, the Impala had a different roofline, a vent above its rear window, unique side trim, and triple tail lights housed in broader alcoves.

The last of the Bel Airs would be manufactured in 1975 for 1976, but a brand-new trim would be born and create an even more exciting, performance orientated trim line. The 1961 to 1969 Impala Super Sport, the SS.

Hollywood Movers and Shakers

A recent cover of SEMA News featured the face of Troy Ladd, owner of Hollywood Hot Rods, under the headline “How Famous Builders Grow The Industry.” Indeed, there are few more famous builders than Troy who recently moved into a new space and continues to garner accolades with his own take on traditionalism.

Unlike most hot rod builders, Troy began his second career after studying business and obtaining a Bachelor’s degree from Vanguard University in Costa Mesa, California. While he enjoyed building cars in his spare time, he was not happy in a white-collar corporate job and consequently took the plunge in 2002 to hang up the white collar and open his own shop in “Beautiful Downtown Burbank”.

Naming it Hollywood Hot Rods was all part of Troy’s big plan as he knew that selling T-shirts and other merchandise containing the word Hollywood made marketing sense. And, he was right. His shirts were the number one selling brand in the Petersen Automotive Museum in Los Angeles.

Troy’s first shop in Burbank had an unassuming facade located on a small street that ended at Interstate 5. Unfortunately, that building, like so much of Los Angeles is slated for redevelopment and Troy spent has the last couple of years looking for a suitable building to buy. Eventually, he found a 4,300 square foot facility not too far from his old shop at 2617 N. San Fernando Boulevard, Burbank.

Troy first came to the public’s attention when he won the 2005 Goodguys “Rodder’s Pick” with “Big Sister” a ’32 Ford built on the Rides TV show. Two years later he was a finalist in the Grand National Roadster Show’s America’s Most Beautiful Roadster (AMBR) competition with “Respect Tradition,” a Hemi-powered Deuce Roadster. The copper lowboy went on to win the “Best 1932 Ford Roadster” award at the Goodguys Del Mar Nationals.

The somewhat untraditional traditional roadster was followed by a string of projects that just continued to enhance the reputation of Hollywood Hot Rods.  One that garnered attention was actually a full-size version of the Monogram “Black Widow” plastic model kit.

This is not a mere hot rod; it is a true coach-built car.

Several more roadster pickups (rpu) followed including the road-race inspired, Ardun-powered “El Correcaminos” (Spanish for The Roadrunner) and the stack-injected, Coyote-powered rpu giveaway car for Raybestos Brake Corp.  That went on to win the SEMA “Showstopper Award” in 2010. Other significant Deuce roadsters included the “Platinum Bomb” and the “Brooklands Special”.

Besides the more traditional hot rods, Troy has also built some notable later-model customs including a ’63 Mercury S-22 Comet convertible and a ’60 T-Bird called “Hammered”. Also to show the shop’s versatility there was even a late-model Mustang convertible powered by a 700 hp-x engine. It was a supercar designed for the track yet retained all of the comforts of a streetcar.

In 2012, Troy was named the LA Roadsters’ “Builder of the Year” and, the accolades didn’t stop. Check the list and he received a significant award almost every year up until last year when the ’36 Packard convertible he and his team created for Bruce Wanta won a string of trophies including the AMBR Award, the Custom D’Elegance Award, the Sam Barris Award and the Goodguys Del Mar Street Rod D’Elegance Award.

2017 was a busy year for Troy as that was the year he finally found a building and moved shop, however, it was Wanta’s “Mulholland Speedster” that became a game changer from its hand-fabricated chassis to it’s retractable, cantilevered top that folds down into the trunk. This is not a mere hot rod; it is a true coach-built car.

The new Hollywood Hot Rods is compact but there’s room enough for offices and meeting space above the workshop that accommodates about eight cars. We’ve visited several times recently and there’s always cool stuff to see and Troy welcomes visitors. All of the projects are interesting but I particularly liked the Italian-bodied tribute to Edsel Ford’s 1934 boat-tail speedster.

Both had more tricks than a magician.

Four cars share that space and they include a Hemi-powered Model A roadster and a highly modified ’32 3-window with a split-windshield. In the adjacent shop found a chopped ’57 Plymouth wagon having its roof pancaked 1-1/2 inches. Attached to the workshop is a well-equipped machine shop containing lathes, a mill, a plasma cutter, and more.

At this year’s GNRS, Troy displayed two very distinct, bare-metal roadsters that were an Art Deco-Steampunk mashup with lots of hand-formed brass accouterments. Both had more tricks than a magician.

As if that all is not enough, Troy recently teamed up with the original host of Overhaulin’ and Power Block on Spike TV, Courtney Hansen, for a new build show called The Ride That Got Away. It’s a feel-good show that builds and reunites deserving people with their lost ride. It’s airing now. For more information visit: hollywoodhotrods.com

The Big 70

As Mark Twain once famously quipped, “The reports of my death are greatly exaggerated.” The same can be said of hot rods and custom cars if the recent Grand National Roadster Show (GNRS) was any indicator. Now celebrating its 70th anniversary, the 2019 GNRS, held annually at the Fairplex Pomona, was huge, very well attended and a great show.

There are literally hundreds of vehicles of every shape and size on display but the coveted award is for America’s Most Beautiful Roadster and this year there were no less than 14—yes—14 cars competing for the 9-foot trophy. In 2018, the big trophy went to the Martin Special built for Dave Martin by Scott Bonoski’s Hot Rods and Hobbies in Signal Hill, California.

…there were no less than 14—yes—14 cars competing for the 9-foot trophy.

No show rod, this handcrafted roadster was based on a ’31 Ford which competed in the 2017 Silver State Classic, averaging more than 100 miles per hour for more than an hour. After the GNRS, it was shipped to Europe where Octane magazine road tested it before it went on to compete in the Bernina Mountain Climb outside St. Moritz, Switzerland. If that’s not a hot rod then I don’t know what is.

This year’s winner was a very different roadster but nonetheless a stunning example of amazing craftsmanship. Based on a 1936 Ford Roadster, the so-called  ‘3 Penny Roadster’ was built for rodder and land speed racer George Poteet, Memphis, Tennessee, by Eric Peratt’s Pinkee’s Rod Shop, Windsor, Colorado. Incidentally, George is one of the world’s fastest men having gone over 450 mph in his ‘Speed Demon’ land speed racer.

George is one of the world’s fastest men having gone over 450 mph in his ‘Speed Demon’ land speed racer.

Another well-known name in the world of hot rodding is that of Chip Foose of TV’s “Overhaulin’’ who was honored at this year’s GNRS with the ‘Builder of the Decade’ award. Chip had half a dozen of his most famous cars on display including his rear-engined “Hemisfear.”

Over in Building 9, there was a fantastic display of more than 100 Model A Fords celebrating the car’s 90th anniversary. To some a 90-year-old Model A Ford might appear archaic nevertheless, watching them all drive out of the building was magical.

…the trend is slowly shifting away from early Ford-based hot rods to muscle cars…

Finally, as you would expect because the trend is slowly shifting away from early Ford-based hot rods to muscle cars, the show floor was littered with muscle cars of every shape and size. Two of the most interesting were the ’69 Nova fitted with ’69 Camaro fenders from Steve Strope’s Pure Vision Design and the Dodge Charger of Speedkore Performance Group that had a complete carbon fiber body.

The GNRS has something for everybody and this year did not disappoint. For more info on this and other shows go to www.rodshows.com

Living the Dream: The Impala SS

Raymond Ernandez’s 1962 Chevrolet Impala SS is the Fulfillment of Childhood Desire

Cars have inspired songwriters for decades, from the ‘30 Ford Woody in Jan & Dean’s Surf City to the epic battle between Ford and Cadillac Chuck Berry sang about in Maybelline, and of course Prince’s eponymous Little Red Corvette. But if you had to think of a song inspired by an engine, there’s only one that comes to mind: the Beach Boys’ 409. Chevy’s original big block V8 in its 409 cubic inch version didn’t just earn its reputation through displacement alone; it was rated at one horsepower per cube, the magic number for engine output in that era. Tonawanda built more than 15,000 of them in 1962, and they found their way into a select few factory performance packages, including the 1962 Impala SS.

That big Chevy with its now-iconic styling loomed large in Raymond Ernandez’s imagination as a child, and as an adult, owning a ‘62 Impala (and in particular, one with a 409) became an aspiration that had to be fulfilled. “As a young man, I grew up around Impalas,” he explains. “It was always one of my favorite cars and I always hoped to someday own one.” Fast forward to ten years ago, and the opportunity presented itself, but Raymond almost let it slip away.

“The guy who had it had a whole bunch of muscle cars, and he was doing some resto-mod stuff with them, putting in new engines and suspensions,” he explains. “We talked about the car, and I thought he wanted too much money because I didn’t really know what these cars were worth. I was interested, but I told him it wasn’t in my budget,” he recalls with a chuckle.

“With that motor, though, it was really worth what he was asking. So I just left it alone, but he ended up calling me back.” Eventually, a deal was struck, and Ernandez ended up acquiring the Impala for a relative bargain price. “Years went by and I worked on it, did the disc brakes and things, but until I started taking it to car shows where people recognized the car I didn’t really appreciate that motor. I had thought about putting in a 350 crate motor, and the guy at the shop I took it to just said, ‘I don’t want to pull this motor out…’”

That was definitely a wise choice, as the 409 under the hood wears the correct stamp for the car, adding to the authenticity of the big-block Impala. Due to issues with producing a transmission that could endure the 409’s torque, 1962 cars that were so equipped were only available with four-speed manual transmissions or the bulletproof Powerglide two speed automatic, but Ernandez’s SS has been tastefully upgraded with a TH400 built to handle the power. Other small changes have all been made with the goal of maintaining as much of the original car without over-restoring it, but still making it a practical, reliable, fun-to-drive classic.

A big part of that formula is the rolling stock — 17-inch five spoke wheels from Coys wrapped in Milestar MS932 Sport tires. These high-performance all-season radials are designed for a well-balanced response, excellent tread life, and superior all-weather traction, not that the Impala sees a lot of wet pavement, of course. A competent, comfortable touring tire like the MS932 Sport makes perfect sense on a car that’s intended to be driven, not just looked at, and the low-profile tires and retro-mod wheels are the perfect finishing touch to this Impala’s stance.

“It’s not like a perfect build, and it’s an older build,” Ernandez attests. “I don’t take it to big national shows, but I like going to local shows, and it’s won a lot of best-of-show.” Imperfect or not, in the end, the Impala is doing exactly what it should – making a kid’s dream come true every time the key is turned.

Hoodbilt

Kingston, New York – a city in Upstate New York sitting South East of the world-famous town of Woodstock. The Stockade District, located in the heart of Kingston, was New York State’s original capital back in the late 1700’s. Shortly after its founding, the capital and most of the surrounding buildings were destroyed by the British. Preservation has therefore been, and continues to be, a key part of its history as it says in the district’s Preamble:

“…it is in the public interest to ensure that the distinctive and historical character of this Historic and Architectural Design District shall not be injuriously affected, that the value to the community of those buildings having architectural and historical worth shall not be impaired…”

It’s no surprise then that both the district and Woodstock boast one of the largest populations of Hippies known to man – the modern day preservationists. It’s where the counterculture was born, comprised of musicians, artists, and environmental conservationists.

Ironically enough, The Stockade District was also the home to an arguably environmentally unfriendly thing: The very first Cadillac dealership in all of New York State. During the 1960’s, Cadillacs were being shipped to, sold at, and repaired in a building on the eastern border of the district – one that’s still standing today.

HOME TO AN ARTIST

Devin Larson, founder, and owner of Hoodbilt Co. grew up in a town close to Kingston. At an early age, he’d get dropped off at The Landesmans – family friends of the Larsons – and would be recruited as a helper on one of the many car projects the family was working on.

As a kid, Larson didn’t initially understand why he was doing these things or appreciate the value of what he was doing with the Landesmans until he started Hoodbilt. At only 28 years old, and with no formal automotive technical training, Devin learned nearly everything about working on cars from The Landesmans, to the point where they repeatedly send him work to do for their clients.

You could say that there was definitely a mutualistic relationship between them, but that’s only the beginning of it. Their relationship would further cement when Hoodbilt was in its infancy. Larson’s work was becoming more steady and required a dedicated space for all of it. Of all the people that could’ve bought the former Cadillac dealership, who would’ve thought that it would be his childhood family friends?

It’s no surprise then that, when Devin was offered the opportunity to share space in the building now owned by the very people he learned so much from, he jumped at it. Devin jokes that he and Will Landesman are often physically in the building together at the same time working separately on their respective projects on different floors without actually seeing each other for months on end. It would be at a show months later that the two get to “hang out.”

WORKS IN PROGRESS

When I first met Larson, I observed an old soul living in a young man’s body. His work process is slow and methodical, with builds taking an average of a year to complete. Contrary to the popular belief of our social media-centric generation, “Doing things quickly never gets you good results,” Devin explained. This holds true for client projects like the ‘51 Chevy 3100 pickup truck he’s currently working on. The task at hand? Combining the subframes, suspension, engine, and ECU from a C4 Corvette with the Chevy cab and his one-off, custom chassis to create a working and driving truck.

“Everything we’re doing is so different, you know? We’re changing so much,” he explained. For these kinds of vehicles being rebuilt essentially from scratch, “You have to pay attention to every aspect of the car,” measuring hundreds of times and cutting or welding once. “You want to give [a finished product] to somebody so that they never have to worry again,” Larson explains. “My ultimate goal is to finish it and never see it again.”

As much as this explains why personal project vehicles like his Nogaro Blue Audi S4, Pontiac Catalina, and ‘69 International 1300 remain on the back burner, it also sheds a light on the methods to his madness of pushing the boundaries of what can and can’t be done. In the early stages of ownership of the S4, “Stance” and “Fitment” were relatively foreign concepts in the automotive world, and pushing these limits was more-or-less unheard of. So fitting wider-than-normal, 17-inch wheels to a static Audi was a feat that few had accomplished before let alone dreamed of.

Challenge accepted. Mission accomplished.

“I love being an artist with it,” Devin explained regarding his reasons for ultimately choosing to build custom cars full-time. It’s as much about the builds themselves as it is about putting his personal touches on things, like lowering the front half of a 60’s Ford F100 pickup’s roof an inch to give it more attitude. For the most part, his clients give him the total creative freedom to do these kinds of things.

The F100 is one of many client projects that eventually found their way into Hoodbilt’s possession, with personal touches including (but certainly not limited to) a procharger and custom intercooler that have both been fabricated to a big block motor – one of the many challenges he successfully completed once the truck was his. “I like when diehard chevy guys come to me thinking they know what it is,” Devin said after giving me the build breakdown.

Oh, and don’t worry, he’s got plenty of one-off touches that have either been completed or begun on his other vehicles too. For instance, Devin’s dream work truck couldn’t merely be revived as a bone stock restoration. No, he’s already made his own Beadlock wheels for it using Hummer wheels in front and Duallies in the rear. And the Catalina? The chassis is fully channeled with air-ride suspension allowing the car to sit on the floor.

But make no mistake, doing what you love as a career doesn’t always equate to being stress-free. It also doesn’t always mean that the traditional path is the only way to a goal either. Sometimes you have to take “the road less traveled,” as they say and, so far, that journey seems to be paying off for Devin and Hoodbilt. 

Mooneyes Open House

The Mooneyes Open House was an intimate gathering for those who love nostalgia. Everywhere you looked around the Santa Fe Springs, California shop, you saw incredible cars, motorcycles, and the tools used to manufacture their unique products since Dean Moon opened the location in 1962. You could see the history, feel it, and hear it, thanks to “The Hot Rod Trio” who were jamming rockabilly tunes during the show.

The many traditional hot rods, customs, and 2 wheeled works of art fit right in with the vintage speed parts, and memorabilia that occupy every open space available. It’s amazing to see a working shop that doesn’t use computer-controlled machinery or automated processes. The Mooneyes shop still utilizes manual machine tools and skilled operators like they have for over 60 years.

Founder Dean Moon was right in the thick of the Southern California Hot Rod scene. He and his Brother Buzz built hot rods and worked on customer’s cars from a small garage behind his father’s café. Too young to enlist during World War II, he still spent time in the South Pacific as a Merchant Marine towards the end of the war. Years later he got his chance to serve in the Air Force during the Korean War where he learned photography. He used his photography skills in the many articles he contributed to automotive magazines. His articles helped to spread the word about his products. Dean was also instrumental in helping to form SEMA, the Specialty Equipment Marketing Association, and served as the second president in 1964. Dean developed several products that addressed fuel delivery, throttle linkage, and ignition systems to make cars go fast. After acquiring Potvin Cams in 1962, the company had many high-performance parts available for racing engines like intake manifolds, valve covers, gear drives, and supercharger accessories.

One Moon product that was just plain cool, was the barefoot gas pedal. Anyone who grew up in the 60’s or 70’s is familiar with the cartoonish gas pedal design that looks like a bare foot. You can find them in hot rods, VW’s, Mini Trucks, even boats. Extremely popular to this day are the spun aluminum wheel covers, and gas tanks that the company produces. They look fantastic but are also strong, and lightweight. The spun aluminum wheel covers were so iconic, that any spun aluminum wheel cover was known as a “Moon Disc.” The smaller covers were called “Baby Moons.” The distinctive Moon logo could be found on everything from speed parts and dress up items to clothing of every type. You could even get Mooneyes fabric by the yard, and make your own clothes. The unique Moon logo was designed for Dean by a Disney commercial artist and became a worldwide sensation. 

The company’s offerings were successful and extremely popular for decades. After Dean’s passing in 1987, the company was in somewhat of a limbo without its leader; that’s when Moon dealer and family friend, Shige Suganuma entered the scene. He purchased the company and changed the name to Mooneyes USA. Suganuma continued to run his locations in Japan and put Chico Kodama in charge of USA operations. Kodama was a great fit. A racer and mechanic, he is a land speed racer with the Eliminators SCTA Club. Together, Suganuma and Kodama have continued to grow the Mooneyes brand; capturing a whole new generation of fans.

The Mooneyes open house demonstrated their mass appeal with fans of the brand from several generations. It looks like the distinctive Moon logo will continue to be an icon in the automotive world for decades to come. The intimate setting at the shop did not allow for many cars, but those on display were stunning. For those who want more, the annual Mooneyes X-Mas Party Show & Drag on Dec. 8th at Irwindale Speedway in Irwindale, California is a much larger venue and will have tons more cars on display.

Astoria Park Alliance Car Show

When people think about iconic, scenic, New York City backdrops, the list usually starts with either the city skyline, the Brooklyn Bridge, or The Statue of Liberty. But Astoria Park, in Queens, New York, is one that isn’t always readily thought about, but definitely should not be ruled out. Located across from Randall’s Island and the Robert F. Kennedy Bridge, the one lane roadway running adjacent to the East River makes for the perfect backdrop to display some of the most well-kept classic cars in New York.

This year’s Father’s Day, the Astoria Park Alliance hosted their first-annual car show to raise money to help restore the park. When I spoke to the creators of the show, I couldn’t help but chuckle at the fact that they openly admitted to not knowing much about cars (after hearing my credentials, they asked if I wanted to help judge the show), but noticed that there were beautiful cars driving around the neighborhood whenever the weather was nice. “Meeting all of the wonderful people in the classic car community was really the highlight of the experience for me. These men and women put so much love and care into their cars, and were willing to share their prized possessions with our community in Astoria,” said Vice Chair of the Astoria Park Alliance, Anthony Liberatoscioli. “When my colleague Miriam Fodera and I were first brainstorming about the event, that notion of bringing different communities together is exactly what we were hoping to achieve, and the Father’s Day Classic Car Show exceeded our hopes.”

APPRECIATION BY OWNERS AND SPECTATORS ALIKE

As someone who’s lived in New York all his life, the appreciation for and ownership of a wide variety of vehicles never ceases to amaze me. The number of roads within the five boroughs that are less than ideal for even “normal” cars to drive on is pretty depressing, and the indescribable amount of cracks, potholes, and bulges in our roads makes even a stanced car owner like me wonder how anyone could keep a car together here.

But to my surprise, when I arrived at the show, the strip was filled from end to end, and late show competitors were getting turned away left and right. The owners that did make it in showed off a wide variety of American, European, and Japanese classics. As I walked towards the bridge, I was quickly reminded about how each one of these cars had a different story to tell. Unfortunately, I didn’t have time to hear them all but I did learn, for example that, although this ‘67 Mustang Coupe was resprayed, the brownish cream color was actually offered by Ford for that model year (apologies to all the classic Mustang enthusiasts that knew this already). And that gorgeous Copper Nissan 280Z… that was purchased by the original owner and currently only has about 50,000 miles on it.

What made the show just as enjoyable was the amount of appreciation the owners had for their cars. When I walked up to this immaculate Saleen Foxbody Mustang (which, by the way, I had never seen in my 32 years of life), the owner made sure to point out that it was signed by Steve Saleen himself on three different parts of the car (It’s also worth noting that an ASC McLaren Foxbody was parked directly in front of it). Although I didn’t get to meet the owner of this ridiculously clean 240Z, I did notice the signature from Yoshihiko Matsuo on the passenger sun visor–something I’m sure most Z owners can’t brag about.

“While the Father’s Day Classic Car Show was created with only a commitment to be a one-off event, it was such a massive success that I think we will almost certainly be bringing it back in 2019,” Mr. Liberatoscioli explained. He went on to say that it was the last car to make it in, an absolutely stunning Impala, that took home Best Of Show. All together, the show raised $1,320 and, after covering the show’s expenses, the remainder will be put towards improvements for the park.