From the category archives:

CELEBRITY CARS

In an ad that avoids controversy, Hyundai goes for the drive –running the ball with consistent offense and a surefire quarterback sneak peek. The rising car company opts for elegance and virtue with it’s Super Bowl blitz.  The Hyundai aesthetic will seem familiar with a total of eight airings for the Super Bowl XLIV Sunday.

“Paint” features the strokes of the new 2011 Sonata, and cues in on the visible design of the car with lush imagery.

The golden quarterback and everyone’s favorite sage quarterback Brett Favre shows face for Hyundai as the 2020 MVP, imagining a future where Hyundai reigns safe and supreme as Favre ages like wine on the field. The NFC North champion Minnesota Vikings QB is the NFL“iron man”  for most consecutive games started. It’s all to highlight Hyundai’s 10-year, 100,000-mile warranty. Clever, clever.

The Making of Michael Strahan’s 1963 Lincoln

Land Rover at the ESPYs

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A glimpse of the studio belonging to Jeff Koons

A glimpse of the studio belonging to Jeff Koons

Gotryke’s insider artist Lee Quinones attended a reception at Jeff Koons’ Chelsea studio, in which BMW announced that Koons will create the 17th art car, joining an esteemed group including Andy Warhol, Jenny Holzer, Andy Warhol, David Hockney,  Roy Lichtenstein, Frank Stella, Robert Rauschenberg, and Alexander Calder. A packed room of art world luminaries, socialites, journalists and car executives roamed the studio to munch on food prepared by Chef Thomas Keller.  Here are Lee’s impressions.

When I arrived at the studio, the first work that caught my eye was a series of paintings in progress depicting the subject of pinup girl Betty Page. It appeared that the paintings would eventually reflect the bulbous sculptural work that is pure Koons.

In the pieces I saw in progress, everything was meticulously detailed on every point of the canvas. It seemed as if the imagery was projected onto the canvas, because there was no evidence of the telltale worked lines of pencil sketching. In his work, everything is broken down into grids to ensure the realization of the photo-realist qualities that are found in his painting style. His assistants were at it, painstakingly working fine brushes and custom-mixing oils blended to match the imagery on the computers. The resulting paintings were hypnotic. The pieces were filled with messages enhanced by lush oils.

I was drawn to a monochromic abstract painting that reminded me of a John Chamberlain sculpture. One of his assistants, Abby, was watching over the still-wet oil painting. She told me that each painting takes one year to complete, even with all the assistants. This particular piece was a recreation — the original painting was damaged in transit and Koons opted replace it.  He destroyed the original. “Everybody has their process,” she said.

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The studio was well kept and orderly with posted signs that workers should return things to their place to ensure order. It was like a series of garages joined at the hip to make one large space to accommodate the enormous spectrum of his work. Koons has everything in this space — giant sculptures, paintings, a research area,and drawing centers.

In some ways, the efficient production reminded me of my visits to Keith Haring’s studio in his heyday, but Keith only used five or six assistants and participated in the painting himself.  Koons has 130 workers, most of whom are artists and create the factory ambiance that he cultivates with a highly refined vision. It made for a polished environment. Each Koons worker takes a tremendous amount of prides in the work that they do — working for one of the world’s best known living artists. They took time out to cheerily explain their process to the guests.

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When the announcement was made by BMW President Jim O’Donnell, that Koons would create the next art car, it came across to be a partnership based in sincerity.  The car was nowhere in sight, nor any imagery of the car, because they said it was still in the beginning stages. Koons said he was a fan of the BMW art cars and was seen in deep conversation with David Hockney. It was a fun eveining — I ran into several old art world pals, and one friend-of-a-friend one who told me that he had crashed the party with skater Oksana Baiul.

Yvonne Force Villareal, Dorothy Lichtenstein, Jeff Koons and Doreen Remen celebrate the announcement that Koons will create the 17th BMW Art Car at Koons' Manhattan studio Tuesday, February 2,

Yvonne Force Villareal, Dorothy Lichtenstein, Jeff Koons and Doreen Remen celebrate the announcement that Koons will create the 17th BMW Art Car at Koons' Manhattan studio Tuesday, February 2,

All in all, it was an evening that created anticipation for the coming of the 17th BMW art car– keeping them curious is always an effective approach in the art world spectacle.

More cars and art on Gotryke:

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CarlCraigGolden

PART II of the compelling series. NYC can catch Carl Craig performing a live soundtrack for Andy Warhol film screenings at the Unsound Festival on Fri. Feb. 5.

When music producer Carl Craig approach me about chronicling his car-buying process, I knew there was more to the story. Craig, clearly, enjoys the idea of driving, and his daily driver to the studio plays a formative roll in what happens there. In many ways, his growing taste for European luxury was cultivated as his fame and fortune has grown. His favorite car is a reflection of what he has achieved.

Like many Detroiters, he was raised under the influence of the Big Three. He was from a Ford family. His father drove the “biggest, baddest Ford.” Carl’s first driving experience was in his sister’s Ford Escort.

A BMW 525i in the style of Craig's first BMW

A BMW 525i in the style of Craig's first BMW

But when he laid eyes on his brother’s a BMW 318i, Carl was impressed with the German performance and pedigree. As music money started to flow, he opted for his first major purchase, a BMW 525. “I held onto it for so long” he said. “I was iffy about splurging. It was still a baby step.”

Next up for Carl was the lease of BMW 7-series—the car he felt best fit his persona, which includes an affinity for grotesquely beautiful sound equipment.

“If you do research on the EMT turntables, they are very rare,” Carl explained. “They’re not the prettiest looking things, but they sound amazing. I collect studio gear. The 7-series is ugly in it’s own way.”

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The authoritative perception drew him to the 7-Series, and he thrived on the psychological rush he had driving the powerful sedan. Carl drives fast and the big beefy BMW engine was up his ally. “When you are coming to the studio, (the 7 shows) you’re serious about what you. (It says) I’m the boss. I’m the boss of a couple companies.”

As Carl’s 7 series lease drew to a close late last year, he began to refine his purchase ideas, and he identified other factors that might influence the purchase decision of a music man — like a premium sound system. “When I’m testing a song out I listen in the car to judge how it sounds, and if it’s balanced. I’m not just listening to it in the studio. I listen for the balance in the car.” As his list grew, Lexus’s Mark Levinson sound system was at the top of the list.

After a long talk with fellow Detroit producer Mike Banks, he began to consider buying an American ride—like the Ford Shelby Mustang or the Chevy Camaro, as an homage to the Detroit industry. Carl is known for his support of all things cultural in the city, serving on a local arts council, so this argument held sway. He also said he favors the bold look of the cars with the muscle car aesthetic. “The flow of the design of the American car, I think it influences rap; it influences all black music,” Carl said.

But the design language of the European car appears to resonate most strongly with him. “I like design that would be considered exotic. I like Pininfarina. I like things that are sleek. I like things that are unique, but harder to acquire.”

Switching to a tone of jest, he continued, “We all feel the aesthetic, the lust of the fact that when you have a car, you can get laid. The car solves all your social issues. It gets what you desire.” However, Carl countered that he doesn’t think his car has changed his social life one way or another — it’s simply one of his favorite interests, outside of music that he enjoys discussing among his circle of friends.

And so his search continued on, as he began to visit area dealerships, test driving all the shiny new cars, until he narrowed down his criteria further, in between weekly trips overseas to DJ, spending time with his family, producing new tracks, mentoring young producers and collaborating with international orchestras. Such is the life of Carl Craig.


Read Carl Craig Shop for a New Car: Vol. 3 to find out what Carl ultimately settled on, and how even a Grammy-nominated producer has to think about price tags when buying big ticket items.

Carl Craig Shops for a New Car: Vol. 1

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photo: Santa Fabio

photo: Santa Fabio

Carl Craig is known for his electronic musical wizardry, sophisticated DJ skills and curatorial ear that play out on his Planet E Communications label in classic tracks like “Bug in the Bassbin” and “Throw” and high profile collaborations/remixes with Herbie Hancock and Tori Amos. A visionary in his own time, Craig was brought back on board as creative director of the upcoming 10th-anniversary Movement Festival in Detroit.

But what most people don’t know about Carl is that he loves to drive fast cars, unless of course close attention is paid to the intro of his 1995 album “> Landcruising.

“I did an album called Landcruising and the first note is the 318i and it goes into the track,” he says sipping from a glass of white wine in his Michigan kitchen. “I took microphones and turned on the ignition.”

Carl called me last summer with an interesting objective — he wanted to document his search for a new car. A longtime BMW loyalist, the lease on his 7-series was winding down, and he wanted to explore the world of speed. And so Carl and I set forward on a journey through the particulars of his car buying aesthetics. The search took Carl high and low, from the fast to the furious, as he navigated through the particulars of financing his car taste.

One of the highs was at 180 mph, when we spent on the race track with Carl Craig, test driving Aston Martins at the Ford Proving Grounds in Romeo, Michigan as a guest of the British manufacturer. Read the story in the February issue of Hour Magazine about Carl’s affair with the Aston Martin DBS, DB9 and V8 Vantage at the newly opened performance driving school with top-notch instructors.

We’ll bring you more of our story of what happens when Detroit techno and cars converge, and how Carl narrowed down a shopping list that included an Aston Martin DB9, BMW 750i, Mercedes-Benz CL, Mercedes-Benz E class, Porsche Panamera and Maserati Quattroporte. Decisions are the worst, (but so much fun to watch other people make.)

Carl Craig on Rolling Stone

Carl Craig on Royal Oak Daily Tribune

Carl Craig on Stylus Magazine

photographer: Santa Fabio

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Audi trumped the LA Auto Show with impeccable timing, unveiling the 2011 Audi A8 at the Art of Progress, an event held on the opposite coast inaugurating Design Miami and Miami Art Basel.

Audi is an established part of Art Basel as title sponsor of Art Basel for the past four years, but this is the first car they’ve revealed outside of a traditional auto show setting. It makes perfect sense to use an event that is essentially Audi branded to woo design and art devotees, while adding emphasis to the aesthetic of the redesigned car.

The Audi A8 is the German automaker’s flagship sedan, a lustrous powerful full-bodied creature, completely redesigned from the engineering DNA to the exterior skin. The outside is sculpted to refined proportions that join together in a distinctive grille, using a linear format to juxtapose the bulbous contours.

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The interior is made up lush materials that position new technologies in an unobtrusive way, balancing classic leathers and woods with the buttons and whistles of the multi-media interface and a refined option for Bang & Oluffson stereo system with 19 speakers.

Audi’s biggest story with the A8 is what isn’t seen — the massive fuel economy improvements for a car that operates in the US with a big 4.2-liter FSI V8 engine. There’s more power here (372 horses) and an eight-speed Tiptronic gearbox that still manages to cut fuel economy, with reductions ranging from 13 to 22 percent. Lightweight materials like the aluminum Audi Space Frame (ASF), weighing about 40 percent less than a comparable steel structure, are partially accountable for this engineering coup. The A8 is leaner and meaner car that has the language of Audi’s latest slinkier reveals.

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By creating the exhibition space deemed The Art of Progress, Audi reached beyond the confine for a generally traditional corporation — a point that will go unnoticed by car journalists in search of nuts and bolts. Over 900 international media were brought in for the unveiling — most of them are auto inclined. (I did meet a few German art critics.)

What Audi achieved was an event that had real artistry and design nuances. Famed art collectors, the Rubells, curated the exhibition that matched Audi design speak with art world luminaries. The Rubells are a savvy couple that have devoted their lives to acquiring one of the world’s most coveted art collections. The best part is that in their travels far and wide there known to fly coach in pursuit of their next great piece. The Miami-based Rubell Family Collection is a testament to their painstaking efforts. Audi invests in their show that opens Thursday Beg, Borrow and Steal.

Kehinde Wiley

Kehinde Wiley

More than a tag-along to an existing marketing partnership, the event had depth to it that went beyond branded materials. Kehinde Wiley’s piece was the first glance patrons have when they arrive in the space.

Celebrities were escorted in the premised, but remained low key including the likes of Twilight’s Kellan Lutz, Chris Noth, Pharrell and Christina Ricci. Host Lucy Liu moderated a round table with Audi Design Chief Stefan Sielaff, Design Miami Director Craig Robins and designer Tom Dixon that at times seemed choreographed. The conversation touched on few interesting points by the panel about the importance of design and taking the unusual paths to build something innovative.

Audi Chairman of the Board Rupert Stadler introduced the redesigned A8 with car speak that sounded more like auto show territory again. But Tom Dixon’s dramatic light installation was a sight to see as the car descended from the ceiling — and alas cars, art and design converge.

The Art of Progress Pavillion
Audi Pavilion
46th & Collins Avenue
Miami Beach

December 2 through 5, 2009
Open daily from 12-8 pm

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We’ll be bringing more on Audi’s Art Basel connections and the 2011 Audi A8 soon enough.

Audi on Gotryke:
Audi S4


Car & Driver
was there.
Jalopnik was there.
Coolhunting was there.
AutoBlog was there.

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Iacocca - Barrett-Jackson Las Vegas - small

Las Vegas is not a good town for preserving a bank account. Barrett-Jackson brings the latest Las Vegas temptation to spend lots of mony. The auction that is held in Scottsdale and Palm Beach is still somewhat of a newcomer to Las Vegas in it’s second year, but it’s managing to attract the big bucks, despite economic tremors. The top bid for a new car was the No. 5 Iacocca Silver 45th Anniversary Edition Mustang. The iconic Stang was in the midst of a frenzied bidding war. When the dust settled the pot was at $352,000, an  Colorado enthusiast was a new owner who also won a dinner with Iacocca.

It helped that Lee Iacocca set the tone for bidders on hand. Our very own Lee Quinones was on hand, who raised $50,000  for JRDF and the Urban Playground along with Automobile Magazine editor Jean Jennings with the auction of the “Only in New York” Ford Flex.

For Gotryke Mustang Madness:

Shelby GT500 love

45th Anniversary Iaccoca Mustang

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cam

Red. Sex. Lips. Sky. Rocks. Wings. Blood. Lust. Heart. Pepper. Sauce. Stop in your tracks. Love letter. It’s red, it’s the 2010 Shelby GT 500 Ford Mustang and it’s waiting for me.
[click to continue…]

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It’s been over four years since we first interviewed Clifford Joseph Harris, jr  for DUB Magazine. Whirlwind success, a Grammy, cinematic success, three albums, a Chevy endorsement and ultimately, sad legal woes have followed Tip, who turns 29 this month. While he’s taking a moment away from the spotlight fullfilling his one-year prison sentence  for a weapons-related felony offense, we await his return and 2010 album, and look back at the history of an authentic star whose rhymes originate from a genuine place and real life experience.

By Tamara Warren

via: DUB Magazine, July 2005

T.I.

“Man, somebody gonna trip,” he said in a familiar, deep baritone drawl. His voice is almost surprising, coming from a man with a wiry frame, striking features and a square jaw, who at a quick glance appears young and spry. The authoritative voice and staunch gaze tell a different story of an old soul, wise beyond his 24 years. It is the voice of a man who has rolled around the block a few times—in his own words—a real OG.

T.I.’s booming cadence is easily identifiable to anyone who pays attention to Billboard playlists or to the sounds of the streets. His powerful delivery has solidified his firm hold on superstardom with tales from his third album, Urban Legend (Atlantic, 2004), bumping from car speakers across America.

Turning to look at the uneven steps on the bus, he watched as members of Pimp Squad Click (P$C) exited onto the midtown New York City sidewalk. Called Tip by his cohorts, T.I. watched in silence, seeming ready to step in if someone tumbled. T.I.’s Grand Hustle label artists landed the drop squarely, and, like a squadron, gathered to make their next move—studio bound.

T.I. pays attention to details—from the phrasing of questions about his native Atlanta to the specs on one of his Chevys. Make a wrong inference about one of his cars, and he is quick to correct. “I got a ’96 Impala. It’s got an LT1. They didn’t have that engine in the ’94 and ’95, but I got a ’96,” he explained. “The LT1 is a Corvette engine.”

Explaining his tastes, his lifestyle and his history is a part of every day life for T.I., who is currently on tour with Nelly and Fat Joe. He keeps busy with the normal flow of photo shoots with P$C, decisions to be made about matters like clothing logos, and a rigorous interview schedule. Despite the hectic pace, his actions are measured, calculated and meticulous—the kind of qualities characteristic of both a master craftsman and the kind of guy you might run into while perusing his next purchase at a car show.

For T.I., these passions are often one and the same. He does not mind talking about his cars—old and new, foreign and domestic, or posing with cars, whether they come from his modest fleet, from his Atlanta shop, or from one of his regular stops on a promo tour.

DUB caught up with him as he breezed through L.A.’s NEXT Motorsports to peep an exotic Ferrari 575 Maranello sparkling with HRE 840R rims wrapped in Pirelli tires and a BMW 745i decked out in a full AC Schnitzer body kit and NC Forged Xtreme 10 rims.

The car a man owns speaks for the man, and T.I. mixes and matches old, sturdy American classics with silky smooth innovations, resulting in a fleet that kicks a potent concoction.

T.I.

He uses his lyrical craft—as one of the most respected MCs in the new-school Southern game—to talk about what goes down in hood-bound cars, showing his talent for telling stories.

So if your rearview shaking and your seats vibrating /24 inch Daytons got the Chevrolet shaking. (24’s)

T.I. has come a long way. From the streets of Atlanta to assuming his title as rap royalty, he flips consonants and flows over lines that depict the raw lifestyle he experienced—making the wrong kind of record, stigmatized with the felon tag.

Nonetheless, his albums have always told tales about cars in the hood. On his first album, I’m Serious (Arista, 2001), he cut his first enthusiast track “Heavy Chevys.” Moreover, T.I.’s catalog contains enough Chevy references over the course of three albums to put a half-ass car club to shame. “Me and Trick did a song we never used about Chevy Impalas,” he said.

You gonna make me bring a Chevy to a real slow creep/My partner’s hangin’ out the window/Mouth fulla gold teeth. (U Don’t Know Me)

T.I.

T.I.’s floss is not for show. “That’s what we do in the South,” he said. Growing up around folks who loved cars, his uncles were into Chevys—the chariot of choice for the self-proclaimed King of the South—while his father was a Cadillac man.

“I’ve been riding in Cadillacs for a long time. The first time I was ever in one was my dad’s 1985 El Dorado Biarritz. He used to take me to Harlem—up to Harlem, yeah boy—to his candy store, to run numbers,” he recalled. “That’s the first Cadillac I rode in. I still have it.”

T.I. can sometimes be found parked, sitting in the gold car’s luxurious seats, stealing a quiet moment.

A precocious youth, T.I. taught himself to drive when he was about 11, taking his grandmother’s or mother’s cars. He finally got his own when he was about 14—a 1985 Cutlass Supreme. “I’d ride round the apartments,” he said. Mid-90s Hip-Hop weighed heavy on his playlist. “Back then it was Too Short’s Get in Where You Fit In, Snoop Dogg’s Doggy Style, Outkast’s ATLiens and Underground Kings (UGK). I had six-by-nines bangin’ those cuts,” he recalled.

However, T.I.’s teenage years were defined by trouble, as he fell deep into the street life around him. But, ultimately, the rap game proved more formidable than the dope game.

T.I.

By the turn of the millennium, he was touring, and a record deal with Arista gave him the means to shop for a fly new car. However, it was his second album, Trap Muzik (Atlantic, 2003) that opened up the playing field.

“When I had enough money to buy anything I wanted, I bought the 2001 Escalade EXT and then the CL,” he said.

These days, T.I. is a car connoisseur. His fast and furious favorite is the Mercedes-Benz SL 55, and on warm Atlanta days, the top is squarely dropped. However, on average, T.I. does not drive much. He has a driver for his new Rolls Royce Phantom and is contemplating adding a Maybach to the mix.

Still, he maintains a taste for Detroit muscle bound beasts. A 1970 Chevrolet Sport Chevelle, a 1972 Monte Carlo and a 1970 Chevelle Convertible find themselves in his fleet alongside a 2003 Hummer, a 2003 Yukon Denali, a 2004 Range Rover, a 1988 Monte Carlo, and the aforementioned ‘96 Impala.

“You get old cars from people’s yards when they don’t want them anymore,” he said. “Every now and then you catch a good deal.” But T.I. is selective when picking up an old car. “Make sure the frame ain’t bent, and that it has no rust,” he said. “Certain things, you just know, are very hard to find. I learned a lot from my uncles.”

While T.I. favors rims, counting GFGs as his favorite of the moment, his schedule does not allow for anything other than picking out his next ride or choice of wheel. But T.I.’s cars are in trusted hands. He is part owner of Atlanta Auto Concierge Elite, employing a half dozen people. “I bought my own shop,” he said. “We get ’em, sell ’em to you, fix ’em up for you; whatever you need.”

When it comes to car talk, T.I. likes to get technical about his. “The most efficient thing I’ve ever seen is probably the ’67 Corvette convertible. Puff got that. Me and him rode in that in Miami,” T.I. said, reminiscing, a slow easy coming over his face. “That’s what Elvis used to ride in.”

While anybody can appreciate a car of that caliber, T.I. recognizes the mystique that transcends the machine and has nothing but respect to a chariot truly fit for a king.

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While the world changes, Pebble Beach is a firm, fascinating study of how the world does not. Even the gated road to Pebble Beach is exclusive — the illustrious 17 Mile Drive that curves along the ocean, each home with large windows more inspiring than the next. Yet, a peek inside reveals many homes that are empty, hollow castles overlooking a spectacular sea. Watchful car enthusiasts are posted on the road that leads to Pebble Beach overlooking ocean scenery, waiting for beautiful old cars to pass by. It is here that some of the world’s wealthiest convene annually in August to remind that the parameters of blue-blood pedigree are intrinsically as staunch as the cars they helm: polished, shiny, rigid, unforgiving and immaculate.
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An early arrival at the golf course on the peninsula provides a view of the inner workings of Pebble Beach, an antique car show established in 1950. Old men drive their prized pets past the 18th hole to their assigned spots, followed by a team of handlers who furiously spit shine every crevice with dainty clothes. Awards are issued for originality and authenticity, while judges also evaluate design, styling and elegance. The Sunday showing is the culmination of a week of pomp and circumstance — including the parade throughout the region reminding the general public that this upper crest society still exists. Access is limited to the more exclusive showing at Quail Lodge (only 3000 discerning tickets available) with a famed mouthwatering parking lot of exotic makes and models, and in spirited events like the more rugged, yet still wealthy historic Laguna Seca races.

Yet, it is here at the annual show that these owners — nearly all men and Caucasian — show their pristine packages with decided anticipation in hope of winning a grand trophy in their class for their collections, arriving by 8 a.m. Shortly after, the women start toarrive, some dressed in period; the essential item is a frilly feathered hat. The bespeckled senior judges scamper about, clad in uniform brimmed-hats, dapper bespoke suits, carrying clipboards. It is worth noting that the Pebble Beach chairperson is indeed a woman, Sandra Kasky Button, who is an avid collector and actor Edward Herrman serves as the Master of Ceremonies. Early arrivals and friends of the entrants come toting refreshments and lawn chairs, setting up next to the booths that sell top-shelf spirits, flutes of champagne and $5 cups of coffee. Luxury car manufacturers use watchful (and monied) eyes to attract interest in their latest products, including Jaguar with a brand new XJ and Infiniti with a hi-tech hologram exhibit of it’s sleek new M. Porsche, the featured marque, boasts it’s new four-door sedan the Panamera throughout the weekend’s events. Smaller exotic coach builders such as Fisker with it’s lean-minded Karma are found along walkways and a display of the new super car Devon GTX is just outside the lodge entry.

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This year a fine mist layers the embankment early on, giving way to noon sunshine as the group acknowledges the presence of new cars in the reveal of the new Bentley Mullsane unveiling with regal British flourish.

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The privileged, the connected, the car makers and a few lucky journalist-hanger-on-ers hole up in corporate suites overlooking the greenery where the judging commences, munching on fresh heirloom tomatoes and sipping early afternoon cocktails. Jay Leno, the quintessential celebrity car collector, strolls with a microphone and a television camera, delighting in his hobby reeling off tech specs about the cars on hand. The crowd converges, as curious seekers gather, who wish to see Duisenbergs, Delages and what will be the uncontested winning car — Bob Lee’s exceptional 1937 Horch 853 Voll & Ruhrbeck Sport Cabriolet. By noon, it’s hard to get an up close glimpse of the cars on display due to the crowded path.

One gets the sense that this massive audience is here to see much more than glorious cars with their hundred-dollar tickets. What they come for is to peer at privilege, the kind of privilege that affords a yacht to be docked at the water’s edge, the kind of wealth that bids 7.25 million on a newfangled 1965 Shelby Cobra in one of the weekend’s various auctions and the kind of wealth that the mere accumulation of money can’t buy. For most of these spectators, there is the hope that this envy and admiration will translate into a well-placed connection, a coveted invitation to exclusivity. For most, this hope is folly. Not much changes with the Pebble Beach crowd, including the addition of new players whose money predates Silicon Valley.

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Yet, this is not to say there is much to see for just about anyone with the slightest interest in car culture. For indeed, here at Pebble Beach is a fascinating assembly of old world Anglophile aesthetic and the essence of Hollywood glamour, and cars that most of us only see in dreams. Here is a sub-culture that seems to be unshakable, where all that changes is the years on the calendar, and the name on the trophy.

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Well, it’s almost nightfall
And there’s no forecast of rainfall
And I’m in the mood for a party
So I’m gonna go out to a club
And give the dance floor body
So I jump in the car and go to the venue
Walk in the door and now I’m on the menu
Guys in the house, they’re watching me
They’re clocking me, there’s no stopping me
Queen Latifah’s Fly Girl

With success often comes the ability to live out a childhood fantasy. All too often a childhood dream has to do with idolizing someone and something. Queen Latifah remembers her father’s quest for speed. So the acclaimed actress and artist seized the opportunity to take a Ford Mustang trackside. Latifah is no stranger to the Mustang legacy, as the longtime owner of an iconic 1965 Mustang. Here’s the teaser where she takes it the limit. Her turns are looking quite assertive — exactly what’s to be expected of Dana Owens, bet she has a pit crew fit for a queen.

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