In case you missed this Slum Village track that served as PSA for Safe Kids USA, here’s a little known fact. Detroit producer Nick Speed made “4 Steps” using sampled seat belt functions, and SV penned their lyrics over the mechanical beats, which tied in with the Detroit hip-hop outfit’s Chevy campaign.
“These tracks were completely made from car sound effects. Every sound you hear, including the drums, are made of seat belt clicks, car doors closing, tires screeching and police sirens,” said Nick Speed. “I electronically programmed them on a Akai MPC 2000XL and Slum Village added vocals and used it for a Chevy campaign about seat belts and booster seats. They called it “4 Steps” (Sit, Pull, Cross, Click.)”
Here’s a catchy video made by a group students using the track. We’re calling for re-release. Genius:
Land Rovers are my guilty pleasure. They’re big, they’re expensive and they have an inherent innuendo that implies: Follow the leader. But what I like most about driving any Land Rover vehicle is the consistent feeling of security and raw ability I have every time I climb in the interior.
With the refined, upgraded and updated version of the LR3 that message has been carefully honed as the repackaged the new LR4. The message begins with the brawny, boxy design language that’s pure, stalwart British DNA. The look says it all — this vehicle can take whatever terrain is thrown it’s way. Personally, I think they should stick with the European name Discovery.
In my case, this latest go around consisted of terrain in New York City. No Vermont woods, Moroccan beaches, jungles of Belize or Icelandic blizzards in sight. Just me and Brooklyn Bridge. Here’s where the opulent aspect comes into play — what good is a Land Rover LR4 in a big city? Is it still socially acceptable to drive an SUV as a city slicker? That all depends who you ask, and how these companies reinvent fuel consumption. But, from my casual observences, I see plenty of willing Range Rovers on the streets.
Within the Land Rover line, the LR4 is best attuned to the urban experience because of it’s slightly leaner proportions, the LR4 is the most all purpose of the brand. It’s good for getting groceries, and packing kids and strollers and toys and Ikea furniture. When the LR4 hit my rotation in the press fleet, I had a great excuse for taking care of everything big, and pretended to be a Denver-area commuter, stocking up with supplies for the big snowfall, using what I’ve rebranded as the double-flip turnk insert. When the big snowfall did come, LR4 simply plowed over the snow, without a second glance at icy sidewalks.
Meanwhile, my crew and I were extra cozy in the refurbished interior that’s more Range than campy. The ambient LED lighting may have had some effect on the atmosphere, with the rustic nuance of wood inserts. Harmon-Kardon audio echoed neatly from the cabin speaker. The backup camera’s 360 degree span is particularly helpful for urbane driving circumstances, making the large obstructive size more manageable on narrow streets and alleys where bikers dart.
The engine is capable and a bit more efficient with a naturally aspirated V-8 holding steady at 12/17 mpg. Ouch, yes the problem with using off-road vehicles on roads only. (Though, one could make an argument that the construction around the Atlantic Terminal and along the BQE is akin to an off-roading pothole laden adventure.)
In Land Rover country, the LR4 is optimum value with it’s gussied up looks and less pricey than the Range Rover at under $50k, and remains among my guilty pleasures.
In the new film Make It New John, Irish-born artist Duncan Campbell takes on the persona of John Delorean, the realization of the DMC-12 and the Belfast plant where the car super car was built.
The film, which runs just under one hour, is on exhibition at the Artists Space in New York City through May 1. Make It New John was screened to London and Glaswgow audiences in late fall, but this is the first opportunity to view it stateside. Campbell, who is based in Glasgow, was in New York City for the March opening.
“John Delorean’s life story really sort of fascinated me,” he said. “That’s a major thread of the film. You can extricate the mythology that surrounded him, this person who stuck it to the bureaucratic culture and went on his own stand for the little guy and the consumer. He had sort of a maverick management style at GM. His life story is kind of Shakespearean; it’s a real rags to riches story.”
The imaginative sculpture of the Delorean still piques the psyche – with a two year production run that eroded in 1981 and so does the drama the man, who rose up the ranks at Chrysler and GM before forging out on his own. Both the object and the man have become a symbol for the 1980s American culture.
What casts an interesting element on Campbell’s perspective is his read on the Delorean manufacturing process. The factory was operational in the midst of Nothern Ireland, and employed both Catholics and Protestants — a rarity in those times. “With the factory being in Belfast, that’s another sort of paradox building this in the middle of the trouble,” he said. “The perspective you get in Britain and Ireland is that its’ not so much the car as a consumer object. It’s got to do with the factory and the climate it created. It was massively funded by the British government. There was a lot of accusations of fraud and embezzlement.”
Campbell filmed some of the scenes himself and drew bits and piece from archival footage including out takes of interviews. He’s on the fence about his interpretation of Delorean. “He’s a decisive character. People seem to like him or loathe him. I’m somewhere in the middle.”
Unlike most who have taken on the Delorean story who’ve been automotive writers, Campbell is uniquely qualified. He has recently shown at the Museum Moderne Kunst, Vienna; The Scottish National Gallery, Edinburgh aand the Tate Britain, London. In 2008 he was the recipient of the Art Basel Bâloise Prize as well as the renowned Paul Hamlyn Award. In an earlier film, Bernadette, he took on the young Northern Irish socialist Bernadette Devlin.
But the Delorean DMC-12 ultimately takes on a character of its own. “Of course all the Back to the Future stuff is unavoidable,” he said.
The film was commissioned by Film and Video Umbrella and is part of a series of upcoming events including Duncan Campbell in conversation with Thomas Beard Fri. March 12. For more information check out Artists Space.
For car enthusiasts who are combing through the Geneva Motor files it would appear that the looks of the product models are at the top of the list for reveals at the Geneva Motor Show. Both Jalopnik and AutoWeek have devoted considerable pixels to the floor fly girls in their coverage.
Perhaps these car writers should consider a double career as fashionistos, where they could drool over the sexy cuts on the runway, and skip over to Milan, without having to feign interest in the sheet metal. It’s worth noting that what these women share with the auto show aesthetics is an emphasis on styling. And, as usual, they are killing it. But that’s the appeal of Europe — where everything just looks hotter.
But onto the real goods to emerge from Geneva — lots of news about cars we should have in the US, but won’t. Ahh well, like we said, Europe is always ahead when it comes to style. Consider the Aston Martin Cygnet, a considerable departure that’s taken compartmental chic to a new level of refinement..
Here’s a good aerial look at the Audi A1, with a cool interpretation of hatchback curves. Pleased to learn that driver Katheine Legge will rep in the Audi A4 DTM for Glamour Magazine. We met Katherine when she was an up and coming star on the Champ car circuit, with Paul Newman watching trackside.
We’re definitely itching to get a closer look at the Audi RS5, too.
Perhaps next year, in a progressive move at the Geneva Motor Show, male product experts will appear donning sports uniforms and beautifully sculpted Tom Ford style suits to appeal to the women/gay males sense of sex appeal, who are also a part of the press corps. However, for all Europe’s progress, some traditional elements will remain firmly in place.
“the handle comes up, the hammer comes down” by Doug Aitken
Take a close look at the subject that is our fate — an unassuming parking lot. So the question is posed, where are we going when the hammer comes down?
Words were everywhere on the work at Pier 92 and 94 — the site of the Armory Show. What struck me about Doug Aitken’s piece is the use of provocative imagery accompanying strong statements and big, looming words, like fate. Words are driving the contemporary fairs like the Armory and Miami Art Basel. Copy cat neon signs are all over, but also cheeky creative phrasing like this piece that turns the use of messaging on its back: FREE BEER. Many of the guests, however, were sipping on free champagne.
I cruised through the Armory Show VIP preview this morning. Large scale art fairs like this one tend to present an overwhelming assembly of art in a relatively small space. When it’s said and done, it’s difficult to remember what was on display. After a few laps, I decided to approach this particular viewing from a singular perspective. I would look for work influenced by cars.
“The Crossing” by Robert & Shana Parkeharrison
“Any Given Sunday” by Guillermo Munoz Vera was moving. Vera is a native of Conception, Chile who lives and works in Madrid. Realism abounds with oil on canvas.
Perhaps this is not what this artist intended– but this work said “walking engine” to me.
Then I came to the Acura booth. I thought the subtle blend of car and art was interesting and definitely unobtrusive. The engineered art was nestled into a corner booth. Acura is the title sponsor of the Armory Show. However, they did not sponsor my VIP pass (That invitation came from Pommery.)
Let’s be clear: the information you’re about to read was not gathered from live reporting. We’re not at the Geneva Motor Show, which opens to the press on Tues. March 2 and to the public March 4 to 14, but we’ve got great sources on hand to act as a filter for the latest in product news streaming from Switzerland.
Geneva, like most Euro-based car shows, is a reminder of how behind America is in when it comes to variety, style, quirkiness and functionality. Better diesel, check. Better options for urban life, check. Crazy colors, oh yeah. Here’s the round up what we find compelling before the product reveals officially begin tomorrow:
• First, time sensitive material — Tesla TAG Heuer — The 80 year old Swiss watchmaker has shed it’s image of Tiger Woods and opted to align with the electric roadster. “TAG Heuer has a rich history and expertise with the world’s most prestigious racing teams — but this is the first ever partnership we’ve forged with an electric sports car company,” said Jean-Christophe Babain, CEO of TAG Heuer.
The car is made in Foucault Field Gray, which appeals to both electric vehicle and mechanical watch sensabilities. The car includes a TAG Heuer mobile phone and a limited-edition stopwatch for those quarter-mile splits.
• The Ford Focus Wagon. Here’s the version of the Focus that I want to drive. I want to be the mom that drives the new-fangled grocery getter. Will the wagon make it to a stateside dealer? Car companies take note from the fashion work: What works in Europe, eventually works here. Europe digs up the best of America, serves it up, and sometimes it takes a decade to work here.
• Your basic eye candy: The lustrous Maserati Quattroporte Sport GT S Awards Edition beams with metallic grey and golden nuanced sheen. Open up and say, ahhh. And a glimpse of the pristine Jaguar XKR Special Edition:
On the eve of another New York City snow day seems like the appropriate time to say a few commendable words about the 2010 Subaru Legacy 2.5 GT. Live from the Brooklyn field, Gotryke can’t contain the enthusiasm over the performance of the Subaru Legacy on the first of several nor’easters to take down Brooklyn this winter season.
Tamara’s Take:
“Subaru Legacy lives up to the hype treading snow like a rescue dog. allwheel drive & vehicle dynamics control/torque distribution are nice” 4:21 PM Feb 10th via Tweetie
I posted this tweet, pulled over to the side of the road on the first of the Nor’easters to hit New York. Most of the good things said about the Legacy have to do with its CVT stock and commendable 31 mpg fuel economy scores on the highway. Yet, the Legacy proclaims itself a master in the snow. Realistically, how could such a wee vehicle handle well in winter conditions? Not everyone wants to drive like a WRX rally car driver.
Driving is believing. The Legacy bore down and plowed through a solid foot of powder in the driveway, holding steady on the slippery streets with little wiggle in the over steer and under steer departments. In a word, I felt safe in the Legacy despite the bozos in cars around me.
Standard all-wheel drive is only a party of the well-balanced pedigree. The torque distribution kept things moving steady, managing thrust and weight effectively, as well as the of vehicle dynamics function keep the wheels squarely on track. Now Subaru needs to make an accessories feature for a mini-snow plow.
Lee Quinones: There might as well have been a Caribbean sea breeze flanking all sides of the suspension and four corners of the wheels on this pup because it plowed through one of New York’s Winter snow storms like no other sedan that I’ve driven in such conditions. It felt mighty firm yet confident through the drifts and under iced sheeted streets.
Every aspect of the interior was comfort especially with a top shelf audio system capping it all off. The seating area was rather spacious and the leather seats were fit contoured to give a great driving experience long term or short
In Exercises for Gentleman, the author manages to explain the toe stand and knee bend in masculine terms, avoiding the fact that this exercise is essentially a ballet plie and releve — which would have been taboo when this book was originally published in the early 20th century by the School of Health. Nonetheless the advice and diagrams dole out here are still practical tips for the manly man and the curious woman, on proper bathing techniques and soothing cures for other ailments.
The Allure of the Auto: Driving in Style 1930 – 1965 captures the allure of the golden era of the automobile, when driving was simply about flossing fly architectural curves. Written by Ken Gross and Ron T. Laboco the era of motoring is sumptuous. Incidentally, the High Museum of Art in Atlanta opens an exhibit also in March, including the Porsche Type 64, and is curated by Gross.
The 1001 series is among my favorites, while I’m not much of a beer drinker, I imagine my brother would pour over this, and perhaps even check off the list of all the beers he’s sipped. Notes on flavor, proper temperature are included with a list that includes Czech pilsners, German lagers, Belgian wheat beers, Trappists ales, c British porters and Irish stouts.
Luxist
We asked our art critic/test driver Lee Quinones to take a spin in the 2010 Cadillac SRX Turbo. Quinones spends his weekends hanging out with a Cadillac enthusiast buddy who has 20 of the best vintage rides around, and Lee loves to take a ride around town in a classic. He’s hard on the new-generation cars, and we are happy to say the amped-up SRX Turbo passed his old-school style art exam.
The 2010 SRX Turbo AWD Cadi was all interior. I especially sweated the firm and yet comfy heated leather buckets. The colors of shale with brownstone on the hide was matched perfect with the luxurious environment of the car. Cadillac is definitely BACK.
The Turbo was the quietest blow dryer I NEVER heard. It just simply did not have the character of it’s earlier spooled up siblings, nor the power that would come with that famous signature whistle. It did have some respectful spunk for a 2.8L V6 banger.
The handling was superb and the vented Disc brakes never complained.The stretched sunroof gives the interior the feel of a much bigger vehicle which mirrors those legendary land yachts that gave us all the rides of our lives.
In fall of ‘09, Gotryke Productions headed to native country (Detroit) to catch up with Ian Callum, who heads Jaguar design for Part II of an interview series with Jaguar designers.
Gotryke spoke with Callum for an exclusive one-on-one interview about his design philosophy. Interactive Jaguar will show off the handiwork of Creative Director/Co-Founder Chuck Gibson in an upcoming video featuring my interview with Callum. (The first video featured Chief Designer Giles Taylor)
But first, a little background on Callum’s world tour to introduce the 2011 XJ. The setting: the Argonaut building, where perhaps the most influential 20th century designer Harley Earl set up shop in the heyday of General Motors design. The revamped building houses the College of Creative Studies highly-coveted automotive design program, among other artistic disciplines. Callum spoke to the future car designers of the world about the XJ and his job. It’s not a stretch to say the students were enthralled — after all this is what they want to do, Ian is the man. The day was an ultra cool blend of automotive history with tenements of futurism that define the current of design.
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