My favorite CARtoonists... - Originally published on 1UP - March 12, 2009

The artists featured today are people that should be studied by any artist that is a fan of the car and cartooning. When I was younger I poured through the pages of CARtoons absorbing as much detail as I could and picking up new things every time. Artists like Carl Kohler, Pat Rea and Bob Hardin all had their own distinct style. Even legends like Alex Toth contributed to the magazine. They were capable of presenting an engrossing story or made a single frame gag work equally well. 

There were a handful that I would consider my absolute favorites. Each of these artists brought something unique to the magazine and in my book had as much style as the comic book greats. Dave Deal would contribute on and off to the book, but there was actually an artist whose passing I lamented before Dave's passing. Shawn Kerri was an artist that had a rock solid cartoon style. One of her biggest influences was the iconic Tex Avery. Shawn's black pen work was a very fluid and animated. She could also switch up into a very respectable painting style depending on what she wanted to say. She was plugged right into the teen psyche as she knew more about the readers than their own parents. This became more and more obvious in each issue of CARtoons that she worked on. I'm sure that I wasn't the only boy growing up in the 80's with a crush on Kerri.

Sadly she passed away much too soon and left an amazing legacy in comic and even punk rock art. Now I, like all of her fans are left to wonder how many hilarious or uncompromising pieces she would have created if she were still with us.

CARtoons was also the home of a fantastic artist named Steve Austin. Unfortunately for you he shares a name with a wrestler and the Six Million-Dollar Man, which makes finding more of his work online or current whereabouts impossible. Austin had the traits of a cartoonist and illustrator. He also had an intimate knowledge of the cars, the drivers and their personalities. If Shawn Kerri knew what teens in the late 70's and 80's were like then Austin understood the mind of the original hot rod pioneers. He was comparable to Dave Deal with his style and background. These observations were always presented in a lighthearted fashion and never snarky.

His cutaways of classic cars made me realize that the best artists don't always see the world in two dimensions. When trying to draw an object the artist should know the inner workings or at the very least imagine how much space and depth is inside the object. Even today I owe the majority of my cutaway art inspiration to Austin. The majority of his work was in black and white but when he painted in color his work had no equal. I've still yet to find a cartoonists that can color with as soft a touch while keeping his signature proportions intact.

 

The final contributor that I would like to mention was the one filled with tremendous potential. Joe Borer began contributing to CARtoons in the mid 80's and would appear from time to time until the final issue published in 91. Every time his work appeared it was even better than the last. He was becoming exponentially better at cartooning the automobile from month to month. I was very drawn to his style near the end more than any other artist that contributed to the magazine. I dare say that he was on his way to approaching Dave Deal greatness. If Joe had a weakness he was not as good at cartooning people as Dave was. Borer's cars were amazing nonetheless. He began tinkering with weight and motion through his illustrations. Tires were glued to the pavement while you could swear there was realistic body roll pulling his cars off the page. Sadly the magazine closed its doors and Borer was once again a freelance artist. The last things with his name on them were Tonka books from Scholastic. Those books were published a few years ago, I only wish I knew what had become of Joe and his amazing talent.

Such was the thing with a good deal of artists that appeared in CARtoons. Thankfully there is somebody from the CARtoons family keeping the flame burning, but what of the rest? The contributors might not be known outside of the magazine but they should be remembered for their dedication. The volume of work featured in the pages of CARtoons, Hot Rod cartoons, CYCLEtoons and Drag cartoons over the decades amounts to more than a footnote in comic book history. These were the annals of the comic art community as much as they were of the hot rod community. The work of the writers and artists every bit as relevant as the people writing for traditional automobile magazines.

They all followed the trends with a close eye, monster trucks, mini trucks, muscle cars, sport cars, racers, ATV's... on and on. It's a damn shame that more people, especially those into comics and cars aren't more familiar with them. The contributors might never been called up to receive an Eisner however we should never forget them and the work that they've done. Tomorrow I have the pleasure of interviewing one of the legends from the magazine.

Did you ever try drawing cars? Who were some of your favorite cartoonists? Let me know in the comments section please. As always if you would like to sponsor me please visit my Patreon page and consider donating each month, even as little as $1 would help make better blogs and even podcasts!

The Hot Rod Influence on Cartooning - Originally published on 1UP - March 11, 2009

Since its earliest days the hot rod was changing and influencing the cartoon world. There was a lot to say about the culture, the cars and the participants. Two of the funniest and heartwarming animated shorts released in 1952, more than 50 years before the Pixar movie Cars, was the Tex Avery-directed One Cab's Family and the Clyde Geronimi-directed Susie the Little Blue Coupe.

The Tex Avery animated short was closer to the heart of hot rod culture so I'll focus on that film for now. On top of the comedic value there was a very earnest message abut coming to terms with the next generation. This generation scared parents with their obsession for speed. They were afraid that their kid's natural tendencies to experiment and push their limits would cause somebody to get killed on the road. Of course the harder parents fought against something the more the next generation embraced it. Rather than continue demonizing the culture the best parents could hope for was that they had done enough to raise their kid right and earn a bit of trust along the way.

Tex Avery understood that hot rod culture would not lead to the decline of western civilization. He and many other cartoonists used it as a way to share a story that cut across the generations. Like the longest-lived cartoonists he did so to entertain as much as to educate the masses. In the print world there was one cartoonists whose span of work extended even longer than Avery or Ed Roth. His name was Pete Millar and in the car comic world he set the standard.

Pete Millar and Carl Kholer began an automobile humor magazine in '59. Their book was called (what else?) CARtoons, it was very much a MAD magazine for the hot rod culture. It stayed relevant to the American driving scene, changes in trends and culture for 40 years until the final issue in 1991.

Millar was a prolific contributor to CARtoons, as both an artist and writer. He was an amazing storyteller that was capable of writing fictional adventures as well as sharp commentaries on the politics that were quickly brewing behind drag racing. Sadly Millar left CARtoons a few years into production to start up a rival car humor magazine called Drag cartoons. CARtoons succeeded despite some questionable changes in management. The Petersen Publishing empire had become a bit too corporate for some contributors. What was once a place to celebrate the culture and spirit of hot rodding had become a very strict business environment. Creative ideas had to be filtered through management for a while.

Thankfully those in charge loosened the grip on CARtoons and began trusting the senior writers and artists to run things again. Many fans saw this as a renaissance for the magazine. Over the next few decades some amazing talent was published in the pages of the magazine. It was a chance to get some starving artists a steady gig and give them some exposure in the competitive world of cartooning.

I will always hold Pete Millar in high regards for staying true to the artform. He enjoyed more creative freedom on his magazine but had a hard time competing against Petersen. The Drag cartoons magazine would find problems with printing and distributing and would come out infrequently due to a lean budget. The magazine also suffered by narrowing down the genre. Fans of cars in general could always find something worth reading in CARtoons, but only hardcore fans of drag racing would be able to understand the satire that was Drag cartoons magazine. The quality of the content was never in question.

Millar was credited in Hot Rod magazine's History of Cars in Cartoons for starting the revolution. He had an encyclopedic knowledge of the dealings within the industry and personalities that shone in public. No bit of drag racing drama escaped his eye as he covered the culture for over 40 years. He remained passionate about illustrating all his life and put together the most comprehensive list of car comics and magazines ever. A CD database of his work was published just before his passing in 2003 and is a must get for comic fans searching for rare issues. All of his work is available via his website Laffyerasphault. The site is maintained by the Millar family and is worth visiting for those that are interested in the art of cars.

I will also say that while it lasted CARtoons magazine was one of the best written and illustrated magazines that I had ever had the pleasure of reading. The writers and artists that contributed to the magazine were at many stages in their development. Some were amateurs at best, appearing in only one or two issues. The regular faces were very dedicated to their craft. Writer / artist / editors Tom Marnick and Dennis Ellefson stayed with the magazine for decades. You could always could on them to find something new or funny to work on. Sometimes it was a short story and other times it was a series of longer arcs.

The artists that passed through CARtoons are almost all forgotten by history. They are artists who were, and many remain, loyal to their craft. It was hard to make an all automotive humor magazine published quarterly that remained fresh and new. Magazines like MAD are welcome to cover any topic as long as they make it funny, the people on CARtoons had to somehow tie their work into the automotive world. Sometimes the panels were based all on comedy, other times they were social commentaries, short stories, fantasies or even science fiction tales.

Keeping things moving was a task that required nonstop work and nonstop imagination. Writer / artists like Don Lomax would crank out surreal tales, in the fashion of the old Crypt Keeper comics, then he would turn around and adapt an opera like George Bizet's Carmen into a tale about a man obsessed with a car. Other artists like Randy Richards, John Larter and Jim Lawson honed their trademark cartooning style on the pages of the magazine.

The other contributors all put their signature style on the magazine as well. They helped shape my appreciation of cartooning and taught me the subtleties of character art as much as car art. Tomorrow I will mention some notable names and their contribution to CARtoons. I hope to see you back.

Did you ever read Cartoons magazine? Do you have a favorite car-based cartoon? Let me know in the comments section please. As always if you would like to sponsor me please visit my Patreon page and consider donating each month, even as little as $1 would help make better blogs and even podcasts!

The Baron Flies Again, the Tom Daniel Interview. - Originally published on 1UP - March 6, 2009

Tom Daniel is a living legend and possibly the most influential artist and designer of hot rods ever. Those from my generation remember him best for two things. His wild toy, the "Red Baron" a hot rod based on a polished kaiser helmet and WWI airplane machine guns. But also for his "Munster Koach" as was featured on the TV series the Munsters. But to sum up the career and contributions of Mr. Daniel through two cars is a bit lopsided. It would be akin to saying that Michael Jordan helped the Chicago Bulls win a few championships in the 90's. Tom Daniel, like Michael Jordan, excelled in his respective field, changed the face of culture and had an influence that extends to this day.

Like many artists who were car lovers Mr. Daniels went into his studies hoping to become a designer for the Big 3. He got his wish but the cold Detroit winters proved too much for the family so he moved back to the west coast. It was then that his portfolio and style caught on in the magazines. He could render some very realistic hot rods, however when he let his imagination fly then no one on this world or the next could touch him. His designs were mind-bending, bizarre and sometimes macabre. His rods were all very wicked and the people into the movement couldn't get enough.

Skeletons, dragons, tanks and even steamrollers got the treatment. He inked a deal with Monogram to design models. Monogram was bought up by Mattel and all of the models were then turned into Hot Wheels, reaching further to the masses. He's never lost his passion for the automobile and even designed a contender for the land speed record for his friend Gary Gabelich. Unfortunately Mr. Gabelich passed away and the "American Way" was left unfinished. However Mr. Daniels persists as does his legacy.

Many of the show rod builders that came out of the woodwork (bandwagoners) poached a lot of ideas from Mr. Daniels. The show rod phenomenon had reached the mainstream and in doing so had gotten out of hand, effectively smothering hot rod culture during the 70's. Hanna Barbera studios even produced a series of cartoons called Wacky Races which was targeted at kids that loved the show rods and models. In recent years that cartoon series has been made into several videogames.

Today Mr. Daniel is still highly regarded in the "kustom" car culture and by designers in the pro ranks. He was very recently inducted into the hall of fame at the Diecast Space Super Convention held in Las Vegas. His designs are timeless because they capture an era of early hot rodding culture and are still wild and original to this day. Many of his model kits are still available in reissue form, as well as in Hot Wheels format. These cars even went on to influence various fan projects for videogames. When SCI made tools available for fans to modify and build their own cars for the game Carmageddon the first and most outlandish rides that hit the internet were based on Mr. Daniel's work.

I was fortunate enough to get a quick interview with him and talk to him about his work and experiences. I hope you enjoy this glimpse at a hot rod original. 

EDIT: Sadly Google shut down their YouTube alternate so my interviews, and early videos were erased. There was something that Mr. Daniels wanted to expand on but didn't get a chance to do so on the interview. Here is the rest of his quote: "One answer I didn't fully follow up on was your  question of my estimation of the so-called 'Big Three' and their chances of survival.  I did mention the astronomical liabilities of UAW (United Auto Workers) pensions and health care costs, but didn't  get to the fact that as it stands today, the very high salaries of the UAW (when all 'perks' are added in, the average approaches almost a hundred grand per worker), and that cost added to the basic manufacturing costs puts Big Three vehicles at a very large disadvantage - price wise - to so-called imports. .. even when they are manufactured here - such as Toyota is."

Did you ever play with Hot Wheels, or other toy cars? Let me know in the comments section please. As always if you would like to sponsor me please visit my Patreon page and consider donating each month, even as little as $1 would help make better blogs and even podcasts!

The sports car versus the lead sled... - Originally published on 1UP - March 10, 2009

The sports car has been the most consistent performance car in the US car culture. It was neither a hot rod nor muscle car but a different class of ride. These were cars built for racing. They weren't daily drivers with excess horsepower or family cars converted into performance cars. The sports car has excelled at doing one thing well and the formula has gone unchanged for decades. Typically priced out of range for casual drivers the sports car says something about the dedicated men and women that demand excellence from their rides, what is says about them and their appreciation of solid engineering. However these cars rarely cross over into the hot rod world because they are already finely tuned machines. Some of the early hot rod pioneers didn't have the money for sports cars yet also couldn't bring themselves to chop up a classic coupe.

After restoring the family ride and perhaps building a better engine who would have the heart to knock off the fenders and hood? A large number of rodders were unwilling to do just that and created what many lovingly called the "Lead Sled" movement. Large coupes were lowered just a little, sometimes getting a trim to the roof but nothing as drastic as removing entire body parts. Curves were exaggerated, seams covered up and lines simplified. The cars were rolling works of art. The engines were still tuned and some changes were made to the suspension and interior details. Making these cars as much DIY as the hot rods. The coupes and sedans would find favor with several generations of builders as they were production rides that anyone could afford. They weren't muscle cars but daily drivers. The coupe would evolve over the years, not quite going full circle as the hot rod had, but still making steady progress over the years. 

Southern California had not only been the birthplace of the hot rod movement but also the Low Rider movement. When the lead sled found favor in East LA many too wanted to be part of the movement. Those builders that couldn't find or restore classic coupes simply worked with the cars of the day. Impalas, El Camino's and anything else that could double as a family car. These cars had nice engines but the purpose was about looking good rather than going fast. Cars were tricked out with hydraulics, allowing them to bounce and almost dance down the road. Cruising low and slow became a mantra which hasn't changed in 40-odd years.

While the coupe has evolved over the years, making major steps in performance and styling, the only thing it has lacked was a period of retro-inspired styling. As the muscle car relaunches from the past decade captured some of the classic themes none of the coupes had gotten the same treatment. But that is not to say that it almost didn't happen. While the hot rod and muscle cars were finding new life as the Plymouth Prowler and Dodge Viper there were a few holdouts pushing the Big 3 to revisit the lead sleds. Holden, a subsidiary of General Motors in Australia created a concept car called the Efijy.

Shaped very much like a 1950 Mercury Coupe the Efijy represented a third option for the pricey car market, neither muscle nor rod. It was tricked out with all the modern conveniences and packaged it amazingly well. Unfortunately the car never got further than a few auto show presentations. The market for these pricey cars wasn't as willing to invest as the Big 3 had hoped. The Prowler was discontinued years ago. Only the Viper has managed to stay away from the chopping blog.

These cars, their shapes, cultures and growing popularity seemed too much for authority. At least in the early days. Tomorrow I'll spend some time talking about how the hot rod influenced the cartoon world. 

Are you a fan of the sports car, or the lead sled? Let me know in the comments section please. As always if you would like to sponsor me please visit my Patreon page and consider donating each month, even as little as $1 would help make better blogs and even podcasts!

Ed Roth, the original Rat Fink - Originally published on 1UP - March 5, 2009

Welcome back friends, I hope you are enjoying this series so far. Today I'll be talking about another of the hot rod art pioneers and one of my personal heroes "Big Daddy" Ed Roth. Big Daddy was one of the reasons I was inspired to write the entire series. Roth passed away a few years ago, and Von Dutch passed on a decade earlier. If you remember I mentioned that artist Dave Deal has passed away last year. A good number of artists in the automotive world were leaving us too soon. While their legacy was celebrated in the car circles it seemed that very few outside even knew or cared. I felt that their passing should be honored and remembered, especially on 1UP where sometimes the community isn't focused on this culture.

Ed Roth was a character and a half. Like Von Dutch he had his hands in everything within rod culture. Always the showman you could expect to see Roth show up at car shows sporting a suit with tails, a top hat and monocle. His custom rods were some of the first built specifically with the show circuit in mind. Not content with chopping and painting an older-model coupe, Roth and his friends created rolling works of hot rod art. The frames and engines sometimes chromed and polished themselves with a body sculpted by hand. Roth rarely bothered with a measuring tape while applying plaster of paris over a mock-up frame made of plywood in order to create his outlandish fiberglass bodies. Each of these rods were more innovative and mind bending than the last.

The "show rods" that Roth helped pioneer were part of a new rodding movement. Most of Roth's work were functional cars, no matter how outlandish they were they could at least move under their own power. Some show rods by other artists were non-functional and had to be pushed out. They were artistic statements extending beyond the traditional hot rod culture of converting old cars into racers. These artistic rods were made out of everything from a telephone booth to a tank, ultimately turning up everywhere in pop culture, from films and television shows to comics and cartoons. The hand-built cars from Roth, although not always the most popular in car circles during the 60's eventually became highly-sought collectors items. In recent years an original, restored Roth car, has earned over a million dollars at auction. One of the most interesting Roth stories of recent years was the discovery and restoration of his Orbitron. However show rods were not the only major influence Roth held over the culture. His biggest legacy was arguably from his airbrushed monster shirts.

In the early 60's Roth and his contemporaries would airbrush shirts for car clubs and fans at conventions. Roth worked alongside legendary art and car visionaries such as Dean Jeffries, Richard Ash, Stanley "Mouse" Miller, Ed "Newt" Newton and Gary Olsen. After drawing countless shirts the men started changing up their renderings to stave off boredom. What came from the experimentation were the caricatured cars and the cartoon-style hot rods that we've all seen associated with the genre. These would be the seemingly flexible cars with gigantic motors in the front and balloonish tires in the back, doing a "wheelie." Often-times a bug-eyed monstrous character would be driving these rods. In some cases the shirts featured only the monsters themselves. The majority of Roth's famous characters and rod designs were actually created by Ed "Newt" Newton. The monsters proved wildly popular with teens and created a phenomenon.

Youngsters, especially young boys and teenagers in So. Cal., were drawn to the gross-looking characters and their monster rods. They were looking for a symbol that skirted the sterilization that the Comics Code Authority placed on comic books. While the monsters were covered in warts or had razor sharp teeth and bug-eyes, at no point were they committing acts of sex or violence, hence they weren't in violation of the decency laws. Many say that the inspiration for the monsters was based on Basil Wolverton's Lena Hyena in the pages of the Li'l Abner comic. Lena Hyena worked so well for shock value that Newt and his boss would refine the style and make it their own. Eventually they produced trading cards and stickers with their monstrous creations.

The covers of the Rat Fink comic books, published in the 90's, were not misleading, the adventures of Rat Fink, Cupcake, Drag Nut and the Junkyard Kid really were all G-rated. The adventures were nonsensical, stream-of-consciousness storytelling with some of the craziest black and white panels ever committed to print. As manic as they were the stories and situations were also filled with plenty of comedy and earnest good fun, they were never violent nor gory so could be picked up by anybody. The shocking characters were abhorred by parents which made the youngest members of the counter-culture identify with the monsters even more.

While many people think that Rat Fink was the antithesis of Mickey Mouse his origins are actually a sort of homage to Mickey. In an interview Roth was asked where the inspiration for the grotesque monsters came from. He explained that they were simply de-evolved cartoon characters. Roth produced an illustration of Mickey Mouse circa his Fantasia years. He mentioned that while we knew this was how Mickey looked, the character didn't always look like that. He then drew a version of the mouse from the earliest black and white films. Very rough but still recognizable. He then drew a rat monster and said if you go back far enough maybe Mickey's dad looked like that. He put the drawing away for the rest of the interview but returned to it soon after. He thought that this monster rat had something unique going for it and reproduced it on a shirt. Rat Fink was born from Roth's love of the Disney character, not as many believe an anti-commercialism rant against the mouse. It would be hypocritical to say that Roth was against the business since he sold tons of products with his characters and gladly signed deals with Revell to produce models based on his cars.

It is safe to say that a major influence on the underground comix scene from the late 60's was through Roth and Newt. The iconic "lowbrow" painter Robert Williams even spent time as an art director at the Roth studios. Williams was heralded as a pioneer of a new artistic movement alongside people like Robert Crumb and Bill Wray. Their odd comics and figures were definitely unlike anything produced by the mainstream comic book companies. This counter-culture art movement was more than a fad, like the rod culture itself, it would continue to grow and evolve until it found acceptance in the mainstream.

Decades later the gross art style that Roth made popular returned with the phenomenally successful Garbage Pail Kids trading cards. It seemed that no matter how far hot rod art was from popular consciousness it could not completely escape its pull. The monster characters and monster hot rods have now been part of American culture for at least 40 years. There is no sign of the culture slowing as it spreads across the globe and has strong following from places like Finland, South Africa and Japan. As for the man himself there are plenty of books about Roth and his influence plus a documentary film. If you are an artist and looking to learn the monster art style then look no further than this How to Draw book by Thom Taylor and the master Newt himself. But I'm not done talking about the art of rodding, tomorrow I'll talk about an artist that forever changed the world of hot rodding.

What do you think about the intersection of crazy looking cars, and grotesque monsters? Let me know in the comments section please. As always if you would like to sponsor me please visit my Patreon page and consider donating each month, even as little as $1 would help make better blogs and even podcasts!

The originator of hot rod art, Kenny "Von Dutch" Howard - Originally published on 1UP - March 4, 2009

I am fortunate to live in the birthplace of what many consider the hot rod movement. The greater Los Angeles area is credited with a majority of the trends and important events from the 40's up. Even the smaller towns of Long Beach, Lakewood and Compton have their own links to that legacy. As a kid reading about speed shops where a donut shop or laundromat now existed really made me nostalgic. It made me want to have seen those early hot rods and it helped inspire my lifelong obsession with cars. Fortunately I was able to catch plenty of car races and drag races on TV during my formative years. I'll try to sum up a lot of history in a few paragraphs. I am going to skip over a lot of history, notable names and their contributions. I apologize in advance. This is just to get you familiar with the origins and influence on rodding culture in America.

Hot rod culture saw a number of changes within the half-century. Fueled by America's newfound obsession with the auto, and a healthy dose of post-war prosperity, the after-market-parts industry boomed. Advances in engine components and tire technology propelled auto speeds to new records. When the car first created many wondered how long it would take until a production car could be faster than a horse, needless to say by the 30's that question was answered. By the 50's people were wondering if a car could keep pace with aircraft.

This was because the first rodders were obsessed with two things, looking good and going fast. The former I'll talk about in a minute, the latter led to the development of the SCTA and NHRA who set up the foundation for timekeeping, drag racing and record breaking vehicles. Engines got bigger and meaner, the natural tendency towards competition led to many epic battles in the early days of drag racing. Lines were drawn, sides chosen and the victor was always the fastest. The seeds for the bitter Ford and Chevy rivalry were planted then. I only wish I had been there to have seen those dangerous days of tube metal frames, exposed engines and asbestos-filled fire suits.

The rodding mentality was the same in the streets as it was on the racing circuit, albeit homebrew rodders had to try and keep their monsters under the guise of everyday drivers. These "sleepers" which could actually haul were the foundations of the muscle cars. But I'm not talking about muscle cars just yet, these were hot rods, invented by mechanics and hobbyists. These cars were partly to go fast but also partly as a form of expression. No two rods were exactly alike as most of the design and fabrication were made up by the people putting them together.

Those partaking in the culture needed further ways to differentiate themselves from the regular crowd. They began dressing a certain way, talking their own language and listening to their own music. In typical anti-authoritarian reaction many of the younger generation (often times the little brothers and sisters of the hot rod pioneers) began emulating their hot rod heroes and sought ways to push the envelope even further. One of the ways they did this was by seeking out artists they could identify with. Artists who were influential in the building and expression of the rods themselves. The guys that not only built fast cars, but made them all look so good.

Kenny "Von Dutch" Howard was one of the biggest names working in hot rod culture yet also had his sights on many other pursuits. He approached life as a series of chances for remaking everything with his own style. He might be better known as a pinstriper but that would be akin to calling Leonardo DaVinci just a painter. The pinstripe is a time-honored technique, one of the earliest artistic movements made popular by rod culture. For many the car is an object of affection, the shapes, angles and curves can make them brutal or sexy or sometimes both. A good paint job is like a fine suit for the rod, but a pinstripe is more like a tattoo, a tad risque'. They are there to accentuate the curves, compliment or contrast the colors and draw your attention all over the beautiful piece of Big-3 engineering and do-it-yourself technology. However Von Dutch was not content simply pinstriping cars and bikes, he often fabricated his own parts, including many of the associated details. It didn't stop in the garage either, going so far as to paint his own jackets and custom make guns and knives to his liking. That creative outlet of his lead to the foundation of kustom kulture, which essentially took the hot rod DIY mentality and applied it to the everyday world.

One of Von Dutch's friends and contemporaries was Ed "Big Daddy" Roth. Big Daddy was one of the persons who sparked a hot rod art revolution with his own mad creations and characters like the infamous Rat Fink. Come back tomorrow to learn more about the man as well as the secret origins of his hideous green monster rat.

Did you ever own any Von Dutch items after Ed Hardy bought the license? Let me know in the comments section please. As always if you would like to sponsor me please visit my Patreon page and consider donating each month, even as little as $1 would help make better blogs and even podcasts!

6 Seconds to Glory - Originally published on 1UP - March 3, 2009

Southern California is a curse for car lovers. Rush hour traffic is easily the worst in the nation. The gridlock that people drive through day in and day out can take their toll on even the cheeriest person. I get the feeling that even the Fred Rogers would have snapped at the idiots, bottlenecks and unexplainable delays that litter even the shortest commute. However despite all of these things So Cal is also a blessing for car lovers. We have almost year-round perfect weather. Perfect for driving, cruising or just staying out at night. Even on the coldest winter days I can still hear the ice cream truck driving through the neighborhood.

Thursdays are the best days, especially now. Winter has given up the ghost and spring is creeping in. But that is not why people, even those on the freeway, are moving with a certain amount of energy and almost giddiness. I look out the window while traveling east on the 110 and see somebody else already on their way. To the rest making the commute it's just a really nice 55 Chevy that's passing by. To those that know what Thursday night means it's more significant. Thursday nights are special in So Cal because they mean a break before the weekend. A chance to take in the atmosphere of the birthplace of hot rodding. To reconnect with our racing roots.

I get off a congested 110 and head north on a miserable 605 interchange. With gas prices slowly climbing I ask myself if the trip is really worth it. The thought passes as the lanes open up. Here and there I can spot some nice cars headed north as well. Most trained eyes can pick them out. They seem invisible to the rest of traffic. Just different shells all on the same road. Before too long I'm well past the 5 and 10 freeways. I'm in Irwindale, the boonies to some, Thursday night paradise to the rest.

You can't miss it from the freeway. Lit up like a football stadium lies the Irwindale Speedway. But like everybody else tonight isn't about NASCAR or any type of track racing. Tonight all of the true car fans break out of the routine to live. To feel alive. The Irwindale Drag Strip hosts an open venue for hot rodders, tuners, gearheads, mechanics and drivers with gas in their blood.

Better known to locals as Thursday Nights Under the Lights the strip is the best place for miles to get a taste of real Americana. Where else can you find legacy cars lined up one right after the other? A Ford Mustang from the double-zeros, ahead of a 5.0 from the late 80's ahead of the oldest brother from the 60's. These were just the first I came across that night. These were just the types of rides that make the commute every Thursday night, weather permitting, to light the fires.

It's a bargain really. General admission is $10. Bring a few extra bucks for tacos, hamburgers and the always awesome funnel cake. Movies cost about that much but last far less than a night here. Movies are also locked into one format. If you want drama you'll find it on the track. Comedy, in the stands and action in both places. If you are racing then it's $20, bring a license, sign a waver and the drag strip is yours all night. Drivers can pick up their timeslip on each pass, proof that their ride is as fast as they say, proof that their reaction time hasn't aged a minute. The only downside is getting back in line after each pass, but that is part of the experience. Part of a tradition that goes back before World War II.

 

You'll see cars and drivers from every facet of life. Those that are rich, poor or just getting by. Rides that are pure muscle, all attitude or a way to escape the day-to-day. It's the communing that people do best. It's the communing that keeps bringing them back, like a church with a good pastor and welcoming parish. These people are part of a community. One that embraces and appreciates what they do. When they are lined up there is no division of what you have or where you came from. The motto has always been the same, "run what you brung." They are all in this for the love. The egos are left outside, on the streets where the wannabe's think they reign supreme. It's the people I really want to talk about. The ones who do this week in and week out. The ones that keep the movement going. Handed down by the gospel of racing.

Out in the parking lot you could see them getting their cars ready. The best, or at the very least loudest, are all trailered in. Semi-pro's, shop owners or mechanics with decades of experience that will never be satisfied with standing still. The first I met that night was a guy appropriately named Rod. He was looking over some blackened spark plugs. He said that had just put them in earlier, something wasn't right. He fussed over a beautiful blue, Mopar blue, 69 Dodge Dart. It's his pride and had just been profiled in Car Craft magazine. April 2009 for those non-believers.

Rod was working alone in the parking lot, as were many of his brethren. Some had friends and family accompanying them. Hanging out at the trailer, or taking it easy in a truck or RV. Those that were ready were in a rush to get their cars in line. Roger Conley had a sick 67 Camaro, yellow with flames. Drivers with real beasts, cars well over 500 horses, had welded rollcages holding everything together. He, like many wore a firesuit and helmet to make sure he came back in the same condition he left. Many others like Walt Brandt and his orange Olds 442 took the line in a racing jacket. Nothing fancy but still something to shows his colors. Like those others Walt was eager to show what his car was capable of.

Those that worry about their gas consumption, like me, would shudder at how much fuel these monsters could swallow in the span of a few seconds and an eighth of a mile.

Cars and drivers from every make and model were well represented. A yellow 1974 Karmann Ghia, still an awesome-looking ride by any standard and her owner / driver Lance Munger. My doppleganger Omar Felix and his 91 Civic running an Integra motor. There wasn't anything fancy about the ride, no fat tires or sponsors but a genuine sense of pride in his ride.

They all lined up three rows wide for their chance. As they had been doing every Thursday night for years. The energy in the air was palpable. The lights got brighter the closer each car got to the head of line. It was like a Hollywood premier, showtime for the cars and their drivers. There were no red carpets waiting their arrival, only glassy tarmac stretching off into the horizon. The sounds were thunderous. I don't mean thunderous as a metaphor either. The fastest cars of the night could be heard for a long ways. The roars of their engines deafening up close. They sent vibrations through the parking lot. Even while idling these cars could be felt through your bones. 

Racing has been a sport embraced by the masses. Ledrian was eager to put his 68 Camaro through the paces. Friends learned the racing harness in his seat was not for show. For Denise, a teenager, this was a chance to show her dad that the 67 Chevy truck was rightfully hers. The old man was right there with her, showing off the handful of timeslips. His truck wasn't a sleeper, his experience obvious. The engine tuned far more than stock, the tailbed open to minimize wind resistance. All the subtle tricks of going a fraction of a second faster.

Kendell and Chéri were a lock for the Girl Power trophy and they were also contenders for the King of the Hill tournament. Or so many thought. Nothing was guaranteed to the duo even with the awesome 65 Nova they were running. Unlike other sports that continue to have a division of the sexes for racing the glass ceiling was shattered ages ago. Those holding onto the mentality that girls couldn't drive weren't in attendance, only the racing fans were. There was a good number of women in the crowd as were racing. The youngest girls supporting all of the drivers and discovering role models.

Another clean ride was waiting to race right behind the ladies, a jet black import. I asked Frank what was brought him out to Irwindale on Thursday nights. He shook his head, wasn't it obvious? "I love racing."

Not to be outdone by the kids, the "old-timers" showed they still had plenty of runs left in them. Freddy Steger brought a thunderous 72 Vega Wagon, yes a wagon, to the track. He's been racing since 18, he's over 50 now, his youthful appearance and enthusiasm beguiles his age. Maybe racing is the fountain of youth? His car is capable of doing the 1/8-mile track in under 6 seconds but he isn't going to push it further. He plans on coming back again and again in perfect running condition. Interestingly enough I caught up with the 55 Chevy that I had seen on the freeway. Dubbed Quicksilver, the driver / owner Bud says he's only been racing a "couple of years."

Yeah, right.

Wading through the rows of cars in the staging area I came across an amazing blue 1964 Pontiac GTO. To those unfamiliar with the legacy, the GTO (short for gran turismo omologato) was considered the first "muscle car" because it was the first to shoehorn an engine meant for a full-size car into a mid-size body making it a grand touring car. It is an even grander specimen when you hear the driver / owner and president of the Roaders Car Club, Dennis Jewell tell the story. He's owned the car since 78 and "married this sweetheart after divorcing his two wives." Among the line were some very serious racers. Running a power generator to recharge the batteries on their cars while waiting for another run.

The strain on all the parts of the cars was unimaginable. Getting a car to reach thousands of RPMs in under a second meant that the spark plugs had to be firing faster than the fastest machine guns. Draining the energy from the batteries as fast as the engine was capable of drinking the gas. Those batteries had to be kept up or the car could suffer a disastrous shutdown in the middle of the track, destroying a transmission and possibly injuring the driver.

Not far from the GTO were some truly memorable rides. The early dragster "Purple Heart" was rebuilt recently by driver / owner Chuck Erickson. It had been out of the circuit for near a decade. This night was a "shakedown" to make sure the rod was in running order for the nostalgia races. Sadly he couldn't get the wild 650 HP ride to come together that night. Better luck next time Chuck! As for the black Volkswagen Beetle, it didn't have a problem running that night. The little car was a real crowd pleaser, posting some of the fastest times.

Below is a picture of a Camaro. There's no story behind it. The car cuts such a mean profile that nothing about it needs to be said.

Of course not everybody could afford the luxury of running a beast like the Camaro. What they brought shouldn't be scoffed at either. The Datsun 280 Z was a bold statement from Japan. They too could build a fast car with European styling yet at the fraction of the cost of something like a Porsche. It could be overlooked in the sea of cars but should never be slept on. The same thing went to the highly tuned-Jeep Compass sitting in line. People in the stands didn't know what to expect. It tore through everything it was placed against, including some cars. Soccer moms been hiding a secret with this one!

The track was no place for posturing. The whole debate of rice versus muscle that seems to be popular on message boards and YouTube videos was completely absent here. The web and popular movies would have you believe that it's gang warfare on the streets should the two cross. People racing that night never had beef and were never anything but courteous to each other like friends that hadn't seen each other in ages. The legendary Buick Grand National, considered by some to be the last muscle car released, ran against anything it was put against. The original owner, a man named Paul, was there to have a good time with his friends and family, nothing more than that.

The 93 Honda tuner that ran behind the Grand National belonged to Chris Eimer. This import was a crowd favorite, with its cartoonish name and fast passes. Chris said the nitrous "funny gas" was the gimmick. The gimmick turned out to be a play on the original way it was tuned, running nitrous and now switched to turbos and faster elapsed times.

For some the night is filled with bad luck. Despite all that goes into getting the cars ready, Murphy's Law dictates that the worst will happen when you least expect it. Such was the case for Mark Mendez's Civic. The fat tires on the front-wheel-drive have taken him into 5-second passes at the speedway. But when his turn came around something went astray and he didn't get the car past the starting line. Better luck next time Mark! For "Jerry" things went much better. Chalk it up to experience but his passes were buttery smooth all night long and his older car didn't seem to give him any worries.

Thursday nights aren't all about cars though. Much love is also given to those running their motorcycles. Most were exceptionally tuned and a few had wild looks to them. Gregory Williams brought his yellow stretched ride, a 73 Honda with a turbo, nicknamed "Gigolo Racing." These brave men and women each took passes on the strip, undoubtedly much safer than opening up the rides on the streets or freeways. Of course up until now I've only mentioned a few of the cars and bikes that showed up that night. Watching the races, hanging out with the crowd and joining in on the banter was the best part of the show. Ask anybody that's been to a professional sporting event and they'll tell you the same thing. Television will never, ever compare to being there live.

The stands will fill up with friends of the drivers. Many are there just for the show. Teenagers out late, sneaking smokes in the huddle, making sure the ushers aren't watching. Guys and girls on dates, rowdy boys doing a whole lot of sh-t talking, entire families stuffing themselves with tacos and nachos and little kids waving to their favorite cars. Clapping at passes that go down to hundredths of a second, lamenting the rides that break down. All watching the black Beetle disappear in the blink of an eye.

The best commentaries always come from the teenage girls in the audience. Girls that were not in the malls flirting with the boys still found time to make snide, but hilarious, comments about racers. Part gossip, part social deconstruction, these girls would approve of a solid run with a slight nod or turn their heads and brush their bangs away from weak performances, offering critique along the lines of "oh, I feel so sorry for you, just leave out the back where nobody can see your car." Proof that girls with sharp claws don't save their best lines for school.

On occasion there would be one or two rides that grab the audience's attention. It happens every time. After a dozen muscle cars, bikes or imports have had their fun something comes along completely unexpected. When it happens everybody stands up, waiting to catch something memorable in their mental DVR. Such was the case for two wild rides. One was an ATV converted to run the track, like this one it held its own against the other motorcycles and blew away audiences. The other ride that the audience stood up for was a goliath of a truck running against much smaller trucks. Some of the trucks running were already large turbocharged diesels but none had brought a GMC C6500 to race. Those trucks dwarf even the largest consumer trucks. They were meant for heavy hauling duties and towing jobs. The clean white truck was used to tow in a racer but did double duty on the track as well. Smoking its enormous tires in the burnout and possibly winning a trophy just for that. When it went to the line people were stomping in the stands. The track crew barely came up to the fenders of the beast. It blasted off the starting line billowing a massive plume of black smoke in its wake. The track emcee made a comment that the truck had just undone years of Al Gore's hard work in a matter of seconds. It lost by miles, possibly the slowest ride that night (not counting the cars that broke down) but people went crazy for the effort. Applauding the driver as he came back in front of the stands waving his timeslip.

Was it a symbol of the times? Reckless disregard for mother nature? A show of force when people should be humble? A sign of excess even when the economy is so bad? Or was it nothing more than racing for the love of racing?

This was a celebration of what makes Southern California special and America unique in the world. None of these drivers are millionaires, living in the Hills and slumming it with the peasants on Thursdays. The only claim to fame for some might be a magazine spread but nothing that will land them a dream contract with a race team or a television show. These are ordinary people, living ordinary lives but something extraordinary once a week. Taking pride in themselves, taking pride in their cars and finding glory in six seconds.

If you have a favorite fast car, or if you've ever been to a drag race I'd like to hear about it. Let me know in the comments section please. As always if you would like to sponsor me please visit my Patreon page and consider donating each month, even as little as $1 would help make better blogs and even podcasts!