July 23, 2017

1932 FORDS & BLUE SUEDE SHOES: Clyde “Ross” Morgan’s Fine Art Bronze Sculptures

Clyde "Ross" Morgan, sculptor

Well, it’s one for the money, 
Two for the show, 
Three to get ready, 
Now go, cat, go! 

From “Blue Suede Shoes”, the classic rock and roll standard written and first recorded by Carl Perkins in 1955 and immortalized by Elvis Presley the following year. 

The term “rock ‘n’ roll” became synonymous with the subversive values which influenced the lifestyle of teenagers of the 1950s. The genre’s lyrics defined a newly found identity that created a sense of belonging and a rejection of traditional rules. Encouraged by the music, teens emulated rebellious clothing and hair styles, challenged sexual taboos, and cruised the strips in hot rods. 

One of those inspired teens was Clyde “Ross” Morgan. Today, as a professional sculptor, Morgan has cleverly based a fine art series of four bronze and sterling silver sculpted 1932 Fords on the first four lines of “Blue Suede Shoes’” opening verse. Each of the featured cars are depicted circa 1950, with details that reflect a period restoration or customization. 

One For The Money

“One For The Money” portrays a fellow who has just pulled a ’32 out of a barn. He is deciding whether to buy it, and if he does, what will he do – customize it as a hot rod or restore it? 

“Two For The Show” is a 5-window coupe at a drive-in theatre. The couple in the coupe is sharing popcorn. If you look closely, Morgan says, you will find a nod to the King. 

Two For The Show                                            Three To Get Ready

 “Three To Get Ready” is a 3-window coupe parked at a service station while the attendant washes the windows, checks the oil, water, and tires. All that and 25¢ per gallon of gas was mighty nice! 

“Go Cat, Go!” is an action piece featuring an early ’32 Hi-boy roadster. This scenario was inspired by Tom Fritz’ painting, “Looking for that old time religion”, which depicts a couple being pulled over by a motorcycle cop. Some versions of this bronze only have the guy upon request. Morgan can customize it to complement the purchaser’s own ’32 deuce. 

Go Cat, Go

Each of the 1932 replicas were originally sculpted from various materials. Morgan then worked with eight talented artisans and craftsmen from across United States to produce the extremely intricate parts from his original designs. After the parts were molded, cast, finished, and assembled they were handed back to Morgan for delicate finishing and patina, with no two cars ever completed alike. According to Morgan, “Each subsequent bronze takes approximately three months to produce, very labor intensive!” 

Barn-Fresh Chickin Coope (courtesy of Clyde Morgan)

For the “Blue Suede Shoes” series there are only 32 of each body style produced, and as each edition is sold out the molds will be destroyed and cut up into 32 pieces. Each buyer will then receive 1/32 of the mold, ensuring that there will be no more produced than the original 32. All sculptures are signed, numbered, and come with a certificate of authenticity. 

Bargin Hunter (courtesy of Clyde Morgan)

Morgan was born in St. George, Utah, in 1942 and raised near Salt Lake City. His innate artistic ability was noticed at an early age, with his sense of perspective astounding elementary school art teachers. As an adult, his interest in form and design brought him success and recognition as an industrial designer. In 1983 Morgan refocused his life on sculpting and moved to the artists’ community of Sedona, Arizona. The inspiration for Morgan’s art has come from subjects that have long held his fascination. As a former professional river guide, his body of work has often reflected his interest in river-running, the Southwest, and the Grand Canyon. 

Desert Deuce (courtesy of Clyde Morgan)

His obsession with old Fords started with his first car, a 1931 Model A, a barn find which he purchased when he was 16. That Model A had a hefty price tag of $30, which forced him to work all summer hauling hay to pay for it. “When I was a teenager growing up in the middle of the hot rod culture, I felt quite frustrated as I didn’t have much mechanical knowledge, nor did I have the money to have one built, but I always wanted a hot rod,” Morgan explains. “After 50 years, I finally got two, a ’31 Model A coupe with ’30s era speed equipment, which is my daily driver, and a ’33 three window coupe, done in the ’50s style, with a small block Chevy.” 

Desert Gold (courtesy of Clyde Morgan)

The memory of his barn find influenced his first bronze car sculpture, “Barn-Fresh Chikin Coope”. Morgan created the piece from the ground up – frame, drive train, and all. He produced the “Chikin Coope” in two limited styles, 30 sculptures in the 1930 edition and 31 in the 1931 edition. 

Flat Out

Morgan’s passion for early Fords also inspired his 1932 Ford “Rusty Relics,” a series that comes in three body styles: “The Bargin Hunter” 5-window coupe; the “Desert Deuce” 3-window coupe; and the “Desert Gold” roadster. Each bronze and sterling silver sculpture, which depict abandoned desert finds, is limited to an edition of 32. 

Revered (courtesy of Clyde Morgan)

Other Ford-inspired sculptures in Morgan’s line include: “Flat Out,” a bronze and sterling silver 1932 3-window Hi-boy racer on the Bonneville Salt Flats; “Revered,” a sterling silver roadster with articulating parts; and a 1932 Ford chassis. 

1932 Ford Chassis

“Hurricane Hannah” is a non-auto bronze sculpture of seven-time U.S. National Motocross Champion Robert “Hurricane” Hannah. The 1/3 life-sized pose is based on the iconic photo that captured Hannah at the 1979 250cc US Grand Prix at Unadilla, New York, as he careened through “Gravity Cavity” into a spectacular moment in history. Morgan and Hannah have worked together before. In the mid 1970s Morgan was a designer and mold maker for the Scott Plastic MX Boots, later made famous by Hannah’s winning performances. Only 39 “Hurricane Hannah” sculptures will be produced. 

Hurricane Hannah

Morgan has won eight national public art competitions and completed many heroic-sized bronze monuments and memorials for public display including Utah’s Vietnam Veterans Memorial and the 9-foot tall Dale Earnhardt Tribute in Earnhardt’s hometown of Kannapolis, North Carolina. His most recent public art project is “Enduring Freedom” – Arizonans who have given their all in the fight against terror. 

Morgan’s favorite sculptor is Western artist John Coleman. Like Colman, Morgan’s Western- and Southwestern-influenced sculptures display historical themes, which are a different facet of his portfolio. Many of these sculptures are nationally and internationally acclaimed and are in both private and public collections around the world. 

Although his non-auto sculptures keep Morgan busy, he still is, without a doubt, a hot rodder at heart. “I get many requests for other car bronzes, but the time to create, tool up, and cast a ‘one-off’ is usually cost prohibitive. I do have some other designs on the docket that include portions of different iconic vehicles with people interacting. Stay tuned!” 

For additional information and prices contact: 

Morgan Studio 
P.O. Box 2141 
Sedona, AZ 86339 
928-284-2929 
ross@clyderossmorgan.com 
www.clyderossmorgan.com

 


•   •   •

PHOTO FINISH 

 

Gail and Mark Menner 1932 Ford Roadster

                         Goodguys 2017 East Coast Nationals, Rhinebeck, NY


June 15, 2017

KUSTOM KULTURE’S RAT PACK: The Origin of a Rat Fink

EVOLUTION OF A RAT FINK
Artist credits, left to right: Don “Monté” Monteverde, Stanley “Mouse” Miller, Ed “Big Daddy” Roth.

Although the history of hot rodding had its genesis sometime during the 1930s it wasn’t until after World War II when it started to become an organized sport. At first drag races were illegally held on streets; but they soon became controlled as matches took advantage of runways on many small military airports throughout the country that were abandoned after the war. 

As the popularity of hot rodding developed so did its unique culture, with magazines and associations created to support its fans. In the process, hot rodding created its own identifying style of vehicle designs, artwork, and fashion. Over the years, the dynamic force grew to include car builders Lyle Fisk and Dean Jeffries, customizers George and Sam Barris, and artists Kenny “Von Dutch” Howard and Robert Williams. Motorcycle clubs, surfing, and other outsider lifestyles were infused into the scene, forming a distinct American “Kustom Kulture”.    

A lineup of Rat Fink decal imposters.

At the time hot rodding was establishing itself Shock Theater premiered in 1957 as a Saturday night syndicated television program. The broadcast presented pre-1948 classic horror films from Universal and Columbia Studios. In many markets the movies were introduced by costumed horror hosts, including Vampira (Maila Nurmi) on Los Angeles’ KABC-TV and Roland/Zacherly (John Zacherle) in Philadelphia’s WCAU-TV and New York’s WABC-TV. Shock Theater became a hit, with its success influencing monster magazines, such as Famous Monsters of Filmland, model kits, comic books, toys, and the infamous Mars Attacks (1962) trading card set.

Pinstriping became a major part of Ed Roth's hot rod customizing business.

A convergence of the two forces – hot rodding and monsters – occurred in the late-1950s. Lasting until the early-1970s, the creature feature/motor mash-up, often described as the Weirdo Hot Rod art movement, became a driving subculture, which is now part of today’s Kustom Kulture lifestyle.

Roth and Baron, the Crazy Painters.

One of the original artists who was instrumental in commercializing the freaky high-octane scene was Ed “Big Daddy” Roth. Born in 1932 and raised in the suburbs of Los Angeles, Roth was greatly influenced by the hot rod culture of Southern California. Like other postwar teens he purchased a used car, a 1934 Ford coupe, to modify with junkyard parts. After graduating junior college and spending time in the United States Air Force he returned to Los Angeles with his wife and five children. As a means of support, he opened a hot rod customizing business. In 1958, he started a pinstriping business with Oscar “The Baron” Crozier.

Roth entered the Weirdo business the following year after a car club commissioned him to paint caricatures of each member on t-shirts. Roth and Crozier were soon deluged with requests from other clubs. Almost overnight, a good part of their business became Weirdo painted customized t-shirts, printed silkscreened versions, and water slide decals. The sharp-toothed, grinning Rat Fink became Roth’s most successful cartoon design. Although he is usually associated with creating the iconic pot-bellied rodent, its origin was the influence of other artists.

Ed “Big Daddy” Roth and his first Rat Fink model kit.

Stanley “Mouse” Miller was one of those artists. Like Roth, Mouse was selling his Weirdo airbrushed creations at custom car shows and through a mail order business. Mouse and Roth crossed paths and eventually worked side-by-side selling their shirt creations at shows. Mouse realized that Roth had appropriated his Freddy Flypogger character for his Rat Fink design, but never made a big deal of it. Roth basically added big rat ears, a pointy nose, and a tail. He would later compete with Roth’s successful line of Rat Fink-inspired model kits with three monster characters of his own.


Rick Griffith designed many of Roth's ads.

Contemporaries, including Mouse, believe that the real hand behind the creation of Rat Fink was Don “Monté” Monteverde. Monté, who also had early roots in pinstriping cars and motorcycles in Los Angeles, was one of the first to successfully produce monster-related water slide decals. His decals became popular with kids who could purchase them at hobby shops for a dime. Roth hired Monté to do the preliminary Rat Fink sketches, something that Roth rarely acknowledged. The phrase “rat fink”, meaning an undesirable person, was becoming part of outsider vernacular and seemed to be an appropriate moniker for the cartoon character.

From 1963-1965 Rat Fink’s popularity spawned an extensive line of plastic model kits produced by Revell Model Company. The success inspired many other companies to produce similar Weirdo model kits, decals, and shirt designs. Hawk produced a popular model line of bulging eyed monsters called Weird-Ohs. Designed by Bill Campbell, the line spun-off trading cards, decals, and plastic figures.

The Rat's Hole's bold rip off of Rat Fink.

As a blatant rip-off, Karl Smith opened “The Rat’s Hole”, an airbrush T-shirt shop in Daytona Beach, Florida. Taking the nickname “Big Daddy Rat”, Smith’s first shop became an instant success, which encouraged him to open six additional shops in Daytona Beach and a gift shop in Las Vegas. In addition, he became a major sponsor of Daytona Beach’s Bike Week. Roth considered Smith a “boil” on his butt, as Smith’s mail order company competed directly with his.

The excitement created by the Weirdo scene started to fizzle out by 1964. One major contributor to its demise was The Beatles’ first visit to the United States. America became obsessed with the “Fab Four” and the ensuing “British Invasion”. Another factor was that hot rodding was becoming acknowledged as a professional organized sport, and less of an outsider activity.

Roth wearing a hillbilly crash helmet.

Roth lost his contract with Revell because of declining sales and his association with the
Hells Angels outlaw motorcycle club. He continued his mail order business but as he became involved in the Mormon faith he adjusted the merchandise to take on less aggressive tones; a hatchet in the hand of one Weirdo character was replaced with an ice cream cone, and plush Rat Fink dolls were now being sold in his catalogs alongside bobble-headed figures and die-cast cars.

Although Ed Roth passed away in 2001 his Rat Fink lives on in the thriving world of Kustom Kulture, with influences found at car shows, art galleries, and tattoo parlors. A future issue of Car Culture Notebook will feature a review of his custom show cars.


•   •   •

SOURCES:


“The Biography of Ed ‘Big Daddy’ Roth.” Rat Fink: Official Site of Ed “Big Daddy” Roth. http://www.ratfink.com/big-daddy-roth-bio.php . Retrieved June 15, 2017


“Edward Roth, Big Daddy Who Was the Hot Rod Idol of 1960’s Teenagers, Dies at 69.” The New York Times, April 7, 2001. http://www.nytimes.com/2001/04/07/us/edward-roth-big-daddy-who-was-the-hot-rod-idol-of-1960-s-teenagers-dies-at-69.html">http://www.nytimes.com/2001/04/07/us/edward-roth-big-daddy-who-was-the-hot-rod-idol-of-1960-s-teenagers-dies-at-69.html. Retrieved June 15, 2017.

Rat Fink: The Art of Ed “Big Daddy” Roth. Last Gasp, San Francisco, CA. 2003.  

 


•   •   •

PHOTO FINISH 

 

Jamie and Michelle Holdbrook's custom 1930 Ford Model A, 2016 Syracuse Nationals.


April 1, 2017

1958 CHEVY BEL AIR: The Anatomy of a Sales Ticket

1958 Chevrolet Bel Air 4-door sedan.

1958 . . . the year that Elvis Presley was inducted into the U.S. Army, the U.S. Supreme Court ruled unanimously that Little Rock, Arkansas, schools must integrate, and NASA initiated Project Mercury, aimed at putting a man in space within two years.

It was also the year of the Eisenhower Recession. The worldwide economic slump affected the automobile industry with car sales in the United States dropping 31% in 1958 relative to 1957. In the nine months following 1957’s peak automobile production fell 47%, compared with an 11% decline following 1953’s economic downturn. [1]


Chevrolet's Sweet 17.

Despite being a recession year consumers made Chevrolet the top-selling automobile brand, surpassing Ford as the previous year’s titleholder. The 1958 Bel Air sport coupe and sedan were at the core of Chevrolet’s popularity, with the Biscayne (formerly the 210) and the Delray (formerly the 150) offered as budget models. The Nomad, Brookwood, and Yeoman filled in the choices for station wagons. Joining the Corvette as Chevrolet’s sportier offerings the new Impala was introduced as a 2-door hardtop coupe and 2-door convertible model.

The following sales invoice, dated January 29, 1958, illustrates what the buyer of a new Bel Air 4-door sedan would have purchased for $2,986 (a relative value today of $25,176).


A sales invoice for a Bel Air 4-door sedan (see photo at beginning).

The body and style number in the model box, “1849-8”, identifies the car as a 4-door 6-passenger sedan with an eight cylinder engine. Chevrolet introduced the powerful 348 cubic inch V8 big block engine as an option in 1958.

The code in the serial number box, “F58T 109568”, refers to the car’s production information. F: eight cylinder engine 58: 1958 model year T: Tarrytown, New York (North Tarrytown Assembly) 109568: vehicle serial number

The selected exterior color scheme was Sierra Gold and Artic White. Chevrolet offered fifteen other color combinations to choose from, all of which were coordinated to six interior combinations.

1958 Best-Sellers: Chevrolet surpassed Ford.

For an additional $491 the purchaser customized his order with a heater, oil filter, undercoat, gas filter, Powerglide transmission, Positraction limited slip differential, white wall tires, pushbutton AM radio with antenna, backup lights, outside mirrors, tubeless tires, and contour mats – the majority of these items are standard features on today’s cars. The standard three-speed manual transmission was upgraded to a Powerglide two-speed automatic transmission, which started in low and automatically up-shifted to high at a speed determined by the throttle opening. Another automatic transmission option that was available was the new three-speed Turboglide, which provided a continuously variable gear ratio that made shifting unnoticeable. The Positraction limited slip differential allowed two output shafts to rotate at different speeds, allowing torque to transfer to the opposite side when one side is slipping.

The new V8 big block.

Chevrolet redesigned their 1958 Bel Air lineup from the ground up. The single-year only design was supposed to be implemented for 1957 Bel Airs, replacing the 1955 and 1956 models. But because of production problems the major redesign was moved to 1958 and the 1957 models instead received minor changes.

Chevrolet’s chief designer, Clare MacKichan, was responsible for the “Sculpturamic Styling”. Noticeably, the iconic tailfins of the 1957 models were rounded and the fenders were given a gull-wing treatment for a “Jet Age” appearance. The side trim was meant to resemble a rocket ship in flight. A broad grille and quad headlights were added to the front end. The models were made longer, lower, and heavier, with a total weight of 3,470 pounds (1,874 pounds front, 1,596 pounds rear). An improved “Safety Girder” x-frame chassis featured box-section side rails and a boxed front cross member, with its rear tied together by a channel-section cross member.

Clare MacKichan's "Sculpturamic Styling".

Although the redesigned 1958 Bel Air sports a more elegant styling, today, most automotive aficionados view the earlier models, especially the 1957 version, to be more of an American classic.

•   •   •


The Tarrytown Assembly plant, circa 1953.

The 1958 Bel Airs were built through 1957-58 in five assembly factories: North Tarrytown, New York (Tarrytown Assembly); Arlington, Texas (Arlington Assembly); South Gate, California, (South Gate Assembly); Baltimore, Maryland, (Baltimore Assembly); and Oshawa, Ontario, Canada.


The location for the Tarrytown Assembly plant was originally the site of the Stanley Steam Car Company. John Brisben Walker, the publisher of Cosmopolitan magazine, and partner Amzi Barber purchased the patents to the Stanley Steamer for $250,000. In 1899 they brought land on the banks of the Hudson River in North Tarrytown (now Sleepy Hallow) and commissioned Stanford White, the noted New York architect, to design the 700-windowed building. Production of the Walker Steamer commenced in 1900.

Over the years the plant grew in size and changed hands. In 1903 the plant was sold to John D. Maxwell and Benjamin Briscoe for the Maxwell-Briscoe Motor Co. By 1912 five different Maxwell gasoline-powered models were produced.


Chevrolet purchased portions of the complex in 1914 and 1915. Within a few years the company integrated into General Motors in 1918. By 1930 the original buildings were replaced by a new facility. During the World War II years the plant concentrated on building military vehicles and aircraft components. Production for civilian vehicles resumed in 1946 with Chevrolet prospering during the post-war automotive boom. The last models to come off the plant’s assembly line were GM’s second-generation minivans, the Chevrolet Lumina, Pontiac TransSport and Oldsmobile Silhouette.

The plant was closed at the end of June 1996 and demolished in the summer of 1999. Diversified Realty Advisors and SunCal acquired the land in late 2014 for $39.5 million. The “Edge-On-Hudson” property is currently being developed into housing with green spaces and recreational amenities.


Sources:


“1958 Classic Chevrolet: ’58’s Real Eye Opener is CHEVY!” http://58classicchevy.com/ . Retrieved 2017-03-27.

“After 100 Years, 12 Million Autos, Venerable Tarrytown Turns to Dust” http://www.autonews.com/article/19990712/ANA/907120709/after-100-years-12-million-autos-venerable-tarrytown-turns-to-dust . Retrieved 2017-03-27.

“Chevrolet 1958 Specifications – Passenger” https://www.gmheritagecenter.com/docs/gm-heritage-archive/vehicle-information-kits/Chevrolet/1958-Chevrolet.pdf .

“Chevrolet Bel Air” https://en.wikipedia.org/wiki/Chevrolet_Bel_Air . Retrieved 2017-03-27.

“North Tarrytown Assembly” https://en.wikipedia.org/wiki/North_Tarrytown_Assembly . Retrieved 2017-03-27.

1. ^ “The Economic Report of the President.” Monthly Labor Review 82.3 (1959): 1-225. The American Presidency Project. U.S. Government Printing Office, January 20, 1959. Web. 2017-03-27. http://www.presidency.ucsb.edu/economic_reports/1959.pdf .


•   •   •

PHOTO FINISH

Paul Currie's 1958 Chevy Yeoman at the 2016 Syracuse Nationals.


January 2, 2017

RACING IN THE STREETS: Postwar America and the Emergence of the Teenage Drag Racer

Hot Rod (1950),  

by Henry Gregor Felson, 

glamorized hot-rodding.
Now on through the deserts we did glide, 
a-flyin’ low and a-flyin’ wide,
me an’ that Mercury was a-takin’ a ride,
and we stayed exactly side by side.

Now I looked in my mirror and I saw somethin’ comin’,
I thought it was a plane by the way it was a-runnin'.
It was a-hummin’ along at a terrible pace, 
and I knew right then it was the end of the race. 

When it flew by us, I turned the other way,
the guy in the Mercury had nothin’ to say,
for it was a kid, in a hopped up Model-A.

Excerpt from the song “Hot Rod Race”, 1950, written by George Wilson and performed by Arkie Shibley & His Mountain Dew Boys.

The spirit of competitive racing, matching one racer against another, evolved from the earliest form of foot racing into the mechanical prowess of today’s racecars. In 1867 Isaac Watt Boulton and Daniel Adamson participated in the first prearranged race of two self-powered vehicles, driving on an eight-mile course that took them from Ashton-under-Lyne to Old Trafford, Manchester, England in under one hour. Two years earlier, in 1865, Parliament created the “Red Flag Act”, which prevented “road locomotives” from traveling any faster than 4 miles per hour on the open road and 2 miles per hour in towns. The Boulton/Adamson race obviously disregarded this law, traveling an average of 7.5 miles per hour on public roads.
The cover of the January 1953 issue 
of SPEED Mechanics was reused 
on the Fall 1958 cover of HOW.

As automobile performance and speed improved so did America’s public highway system. With dirt roads being paved the temptation to race on them was increasing. By the 1930s an illegal form of street racing, called drag racing, took advantage of the roadway and automobile enhancements. Drag racing matches lined up two, and sometimes three hot-rodders and their rebuilt cars in head-to-head races down straight stretches of road. Generally, the driver’s goal was to have their car be the first to reach a speed of 60 miles per hour from a standing start. It was customary for a car to carry a passenger to confirm the 60 miles per hour mark. 

During the postwar years, from the mid-1940s through early-1950s, American teenagers popularized drag racing across the country. Hot rods were modified from older stock passenger cars, which made them highly unsafe and even deadly if they were in disrepair. Racers “soup-upped” their cars for added speed, which now had the ability to accelerate an excess of 150 miles per hour. “Hollywood” mufflers were added to increase the car’s speed while producing a loud “zooming” noise. Drivers became synonymous with “road hog,” reckless, irresponsible, and a menace to public safety. Towns perceived drag races a nuisance and created laws to prevent the match-ups from happening on public roadways.
 

Music acted as social media in the 1950s.
Songs, movies, novels, and magazines encouraged the hot rod phenomenon, which quickly became associated youth rebellion. Arkie Shibley’s song “Hot Rod Race” spun-off four sequels and encouraged other artists to record similarly successful hits, including Charlie Ryan’s “Hot Rod Lincoln”, Chuck Berry’s “Maybellene”, and Gene Vincent’s “Race With The Devil”. Movies like Hot Rod Gang, Hot Rod Girl, Hot Rod Rumble, and Rebel Without a Cause included drag racing as a way of dealing with the pressures of teen angst. A popular novel of the time, Hot Rod, by Henry Gregor Felson, glamorized hot-rodding with its pulp-like cover. First published in 1950, the story turns out to be a morality tale in which the main character reforms his defiant ways.
  
According to a nationwide survey taken in 1957 by the Gilbert Youth Research Co. two-thirds of the teenagers queried favored drag racing under controlled conditions. However, only nine per cent of the same group thought that drag racing should be encouraged as good, clean fun. The girls advocating legal steps against drag racing outnumbered boys two to one. Nearly 26 per cent opposed the pastime compared to 12 per cent for the boys.

Movies like Hot Rod Rumble (1957) 
helped encourage an image of bad behavior.
 
During this era there was also a serious breed of drag racers that were attempting to organize drag racing into a legitimate sport. Many of them were in their 20’s and recently discharged from the armed services at the end of World War II – men who had picked up technical skills while serving. Their goal was to organize local clubs to create safer venues for racing, often taking advantage of local airport runways. Their priorities included teaching safety of both driving techniques as well as making sure that vehicles are not “broken-down automobiles with one wheel in the grave.” 

Wally Parks is generally the person who is associated with organizing drag racing as a sport in the early 1950s. The National Hot Rod Association (NHRA), organized in 1951, and later the American Hot Rod Association (AHRA) in 1956, were formed as governing bodies to organize and promote drag racing as an official sport. Rules encouraged drag racers to help gain national respect for their sport as a safe and worthwhile competitive enterprise, while discouraging street racing.

The aftermath of an illegal drag race in 1958.
While not as popular as NASCAR or Indy racing, drag racing today is viewed as a legitimate sporting event, with major sponsorship in the United States and in other countries. The distance raced is traditionally ¼ mile, with vehicle class ranging from unmodified cars to purpose-built dragsters. Top fuel dragsters can now reach speeds of up to 329 mph, and although the vehicles can reach higher speeds, the cars are confined to this speed limit due to safety considerations.

Although a great effort has been taken to make drag racing a controlled and safe sport illegal street racing remains a nuisance and is on the rise among young drivers. With a lack of a nationwide database to collect racing related fatalities it is left up to local authorities to keep track of the driver and bystander deaths caused by the illegal activity. Authorities believe that movies like the Fast and Furious films and spin-off video games help create enthusiasm for speed contests. In addition social media sites make it easier to coordinate race locations and times, or to move them in a short notice if necessary. Today groups like the NHRA continue to discourage illegal racing and educate drivers. Others, like racetrack operators, are trying to figure out how to attract the “street racers” to their facility, giving them a place to race without the risk of doing it illegally.


•   •   •

My preteen reading, I spent hours 
drooling over images of dragsters.

As a preteen I admired drag racers the same way my friends followed baseball, basketball, or football players. I was especially in awe of the powerful top fuel dragsters and funny cars driven by the likes of “Big Daddy” Don Garlits, Shirley “Cha Cha” Muldowney, and “Jungle Jim” Liberman. Although I didn’t have the opportunity to see them perform in person (that wouldn’t happen until adulthood), I would read about them in publications such as Drag Racing USA or Hot Rod Magazine. I was mesmerized by the images of their flame blowing engines and tire-melting burnouts.
 
Illegal street racing didn’t seem to be a problem in my town where I was raised on Long Island, as the majority of streets were too short and winding to enable a match-up. However, it didn’t stop my friends and I from building a go-cart that was powered with a lawnmower engine, with the goal of drag racing our neighbor’s store-purchased go-cart in a legitimate event. We attempted to get permission from the high school to use their long parking lot but met resistance right from the start. “The stuff that dreams are made of.”

Sources:
A detail from m
middle school art project.

Auto racing https://en.wikipedia.org/wiki/Auto_racing 
viewed on January 2, 2017 

High Performance, Robert C. Post, The John Hopkins University Press, Baltimore and London, 1994.

“Teeners ‘Sold’ on Drag Racing – On Track, Not Public Streets”, Eugene Gilbert, Gilbert Youth Research Co., Times Union, Albany NY, September 13, 1957 

 
“When was the first motor race held?”, Bob Blackman/Engine Punk, January 27, 2010 http://anarchadia.blogspot.com/2010/01/when-was-first-motor-race-held.html 

 viewed on January 2, 2017

•   •   •

PHOTO FINISH


James Walker's 1937 Chevy at the 2016 Syracuse Nationals.