The original - and still our favorite - Autoextremist logo.
The AE Quote of the Century: Everybody loves The High-Octane Truth. Until they don't. -WG
Editor's Note: I used to write a lot more in these pages, and I know my absence has left quite a void for my four fans (or is it five? -WG- wait, can I comment on myself?!). But if you read The Autoextremist on a regular basis, what more is there to say that hasn't already been said? Maybe I'm just too busy shaking my head to type - something that's been going on for literally years now. Is it just me, or does it seem like Groundhog Day around here? The "Electric Future" has been talked about, promised, predicted, envisioned, etc., for so long now that I feel like it has already been and gone. It's shaping up to either be a cataclysmic shift or a big yawner. Or, more likely, something in-between. People have been saying that cars are E-V-I-L at least since the dawn of the automobile (that's a perfectly good buggy!). I just hope everyone who is saying that now is riding a bike. Or walking. Or staying home. (Doubt it.) Yes, something's gotta give (it always does). There always has to be a bogeyman, and the car makes a damn good one. But raising pitchforks and damning all that the automobile has been to culture doesn't really move the conversation forward. I'm not trying to go all Pollyanna here - quite the contrary; I actually think we're in a fairly grim portion of the automotive story. I'm just saying that we need take a break from all the gloom and doom and hand-wringing, if only briefly. There are no guarantees. About anything. So, if you're a fan - of cars and freedom and the open road (and the incomparable magic of these three together) - just try to eke out a little pleasure here and there, while we wait for whatever the Auto Future holds. Go for a drive. -WG
(Aston Martin images)
Aston Martin is making a huge deal out of its new DB12, calling it "a new era for Aston Martin as the first of its next generation sportscars," according to Aston PR minions. Calling the DB12 a "bold and assertive exterior design... the perfect expression of power and potency" the new DB12 "delivers a quantum shift and sets the benchmark for performance, ultra-luxury and style," Aston's PR minions continued. Other stuff? A power output of 680PS/800Nm from the 4.0 Twin-Turbo V8; All-new suspension system featuring new intelligent adaptive dampers, Electronic Rear Differential (E-diff) and Aston Martin bespoke 21" Michelin Pilot Sport 5 S tires; A state-of-the-art Aston Martin infotainment system; Ultra-luxurious interior design focuses on a driver-centric cockpit, integrating latest technologies with luxury craftmanship and materials; And a 0-60 time of 3.5 seconds and a top speed of 202 mph. Deliveries are scheduled to begin in Q3 of 2023. Watch the intro video here. Editor-in-Chief's Note: Aston Martin designers went to the design vault one more time to come up with yet another tweak of their classic front engine/long hood/short-deck design, which is just fine by us, because it is still scalding H-O-T. -PMD
(Mullin Automotive Museum images)
A 1938 Delahaye Type 145 Coupé Chassis #48772 from the Mullin Automotive Museum collection received the Best in Class award at the 2023 Concorso d’Eleganza Villa d’Este on Saturday, May 20, 2023. Held annually on the shores of Lake Como in Northern Italy, Villa d’Este is billed as the world’s most exclusive and tradition-rich festival weekend for historic automobiles. This is the Mullin’s second win at the esteemed concours. The 1938 Delahaye Type 145 Chassis #48773 won the Best in Class award at the 2012 show. The Delahaye Type 145 Chassis #48772 experienced much success on the track, racing in international grand prix throughout Europe during the 1937–1939 seasons. With its racing career at an end, Chassis #48772 was bought by coachbuilder Henri Chapron, who transformed it into one of the most beautiful examples of classic French coachwork of the postwar era. Having by necessity been unproductive during World War II, Chapron began to re-body the car as a two-seat coupé in 1947. Peter Mullin acquired the vehicle in 2003 and has shown it at major concours around the world.
(Honda images)
American Honda has announced that a new SCL500 "scrambler"-style motorcycle is coming to the U.S. market. The 2023 SCL500 "harkens back to the early '60s, when simple, stripped-down motorcycles like Honda's CL72 came on the scene," according to Honda PR minions. The all-new SCL500 features all the key "scrambler" styling elements—upright riding position, high-routed exhaust, block tires, ample suspension travel and a retro aesthetic—in an approachable package and at an attractive price. Leveraging the 500cc parallel-twin engine that has proven so successful in models like the Rebel 500, the retro-inspired SCL500 is light and nimble, making it a casual, fun entry for a broad swath of customers, from new riders to more seasoned enthusiasts. Because personalization is vital to many fans of this genre, a wide range of Honda Accessories will be offered for the SCL500, enabling owners to customize their rides as they see fit. How much? $6,799 And it comes in Candy Orange (above) or Mattel Laurel Green Metallic (below). It arrives at Honda dealers in June.
(Petersen Automotive Museum images)
The Petersen Automotive Museum has unveiled a new exhibit titled “Splendor and Speed: Treasures of the Petersen Collection," which unites the most rare and renowned vehicles and artifacts in the Petersen’s collection. Visitors will have a unique opportunity to view these historically significant machines and objects as a cohesive display, showcasing the diversity and grandeur of the museum’s permanent collection. The exhibit is located in the Bruce Meyer Family Gallery on the museum's second floor. Highlighted vehicles on display include the the 1925 Rolls-Royce Phantom I Aerodynamic Coupe by Jonckheere (above), the 1939 “Shah” Bugatti Type 57C Cabriolet by Vanvooren, the 1953 Cadillac Series 62 by Ghia, the 1938 Delahaye 135 by Figoni et Falaschi, the 1952 Ferrari 212/225 Inter Barchetta by Carrozzeria Touring, the 1956 Jaguar XKSS formerly owned by Steve McQueen, the 1967 Ford GT40 Mark III (a rare street version of the competition car), the 1932 Ford “Ray Brown Roadster,” the 1937 Delage D8-120 Aerosport Coupe by Letourneur et Marchand and the 1947 Cisitalia 202 Coupe by Pinin Farina. Nearly 100 original mid-20th century design models and works of automotive concept art, more than 30 minutes of rare film footage, and numerous one-of-a-kind artifacts represent the museum’s important non-vehicular archives. “The display is a fitting reflection of the exceptional assortment of vehicles we have in our collection,” said Petersen Automotive Museum Executive Director Terry L. Karges. “We are delighted to have visitors view the museum's most cherished vehicles and artifacts.” Following the “Splendor and Speed” exhibit, the museum will open “Fast/Forward: Strother MacMinn’s Sports Cars of the Future” on Saturday, June 3. This display will unite an assortment of extraordinary sports cars from the 1950s for the first time ever, highlighting their innovative designs as acknowledged by Strother MacMinn in his 1959 book "Sports Cars of the Future." In addition, a new Ferrari exhibit is set to open in The Vault, sponsored by Hagerty, on Father’s Day weekend. This exhibit will explore Enzo Ferrari’s influence on the marque brand. To purchase tickets or for more information about the Petersen Automotive Museum, please visit www.Petersen.org. 
1957 Jaguar XKSS.
1967 Ford GT40 Mk III.
The AE Song of the Week:
You must understand though the touch of your hand
Makes my pulse react
That it's only the thrill of boy meeting girl
Opposites attract
It's physical
Only logical
You must try to ignore that it means more than that
Oh, oh, oh
What's love got to do, got to do with it
What's love but a second hand emotion
What's love got to do, got to do with it
Who needs a heart when a heart can be broken
It may seem to you that I'm acting confused
When you're close to me
If I tend to look dazed I've read it someplace
I've got cause to be
There's a name for it
There's a phrase that fits
But whatever the reason you do it for me
Oh, oh, oh
What's love got to do, got to do with it
What's love but a second hand emotion
What's love got to do, got to do with it
Who needs a heart when a heart can be broken
Ooh
I've been taking on a new direction
But I have to say
I've been thinking about my own protection
It scares me to feel this way
Oh, oh, oh
What's love got to do, got to do with it
What's love but a second hand emotion
What's love got to do, got to do with it
Who needs a heart when a heart can be broken
What's love got to do, got to do with it
What's love but a sweet old fashioned notion
What's love got to do, got to do with it
Who needs a heart when a heart can be broken
(What's love got to do) Ooh got to do with it
(What's love but a second hand emotion)
What's love got to do, got to do with it
Who needs a heart when a heart can be broken
(What's love got to do with it) Oh oh, got to do with it
(What's love)"What's Love Got To Do With It" by Tina Turner from the album "Private Dancer" (1984)*. Written by Graham Hamilton Lyle and Terry Britten. Publisher: BMG Rights Management, CTM Publishing, Songtrust Ave, Warner Chappell Music, Inc. Lyrics licensed and provided by LyricFind. Watch the Original Music Video here.
*This was Tina Turner's comeback song. She first hit the pop charts with her husband Ike in 1960, and their biggest hit came in 1971 with a cover of "Proud Mary." After enduring years of spousal abuse, Tina split from Ike in 1976 and her career was in limbo until "What's Love Got To Do With It" thrust her back in the spotlight thirteen years after "Proud Mary." More hits followed, cementing her status as a music icon. It's really an anti-love song, and Turner hated it. She balked at recording it, but had the good sense to defer to her manager, Roger Davies, who was engineering her comeback and was sure the song would be a hit. Davis got the song from his friends, the songwriters Terry Britten and Graham Lyle (who was in the duo Gallagher and Lyle), and it was Britten who produced the track. Turner could sell a song as well as anyone, so she could deliver a convincing vocal even if she didn't have a personal connection to the track. Outside of "Nutbush City Limits," her hits were written by others and interpreted by Tina, who could always get into character. She was never anyone's "Private Dancer," but she managed to make a song about one a hit as well. This won Grammys in 1985 for Song of the Year, Record of the Year, and Best Female Vocal Performance. Turner gave one of the awards to Davies, whom she credited with reviving her career. Davies, an Australian who was new to the business, met Turner in 1979 after she had released a series of failed solo albums. The video was directed by Mark Robinson, who also did the Ashford & Simpson promo for "Solid." In the video, Turner walks confidently around New York City with big hair, high heels and a short skirt. MTV put it in heavy rotation, and for many, it was their first look at Turner, who provided a striking visual. At the second MTV Video Music Awards in 1985, it won for Best Female Video. Private Dancer was Turner's first album for Capitol Records. They took a chance on her when it appeared she was no longer marketable, and it paid off big, as the album was a huge hit. Recording the album was no easy task, as several producers, songwriters and musicians were used to assemble the various songs. One of the producers was Rupert Hine, who worked on the tracks "Better Be Good To Me" and "I Might Have Been Queen." Hine told Songfacts that it was Turner's professionalism and ungodly talent that made it work. Said Hine: "She approaches things in such a diligent way and she 'owns the song' - that's the phrase she used to use, which basically means she sings along with it at home. I give her a songwriter's demo and then she'll sing it in her key. And then the point where she sings along with the tape and she feels she's got it, it's now her song." Editor-in-Chief's Note: Tina passed away at the age of 83 last week, a musical and performing force who will never be forgotten. -PMD (Knowledge courtesy of Songfacts.com)
AE Words & Phrases. We've become known for words & phrases over the years (for better or worse) and we thought we'd remind you of a few of them...
"The Tubes"
"The Answer to the Question that Absolutely No One is Asking"
"Shiny, happy, flatulence-powered balsa wood smiley cars"
"The Green Horde"
"Heaping, steaming bowl of Not Good"
"The Rick"
"Maximum Bob"
"Dead car company walking"
"Minimum Bob"
"The Ghosnster"
"The Jimbotron"
"Klinkian nightmare"
"The Trifecta of Not Good"
"Halle-frickin-luja"
"Starbucks Nation of Zombie Consumers"
"Finger-snap Environmentalists"
"Anti-car, anti-Detroit intelligentsia"
"Queen LaGreena"
"It's all over but the hand-wringing"
"The Product is, was, and always will be King"
"Bush League Bullshit"
"Unmitigated Bullshit"
"Racertainment"
"Chrome-plated pitchforks"
"Mo-faux"
"Go Big or Go Home"
"The more you know the more you just never know" (Dr. Bud).
"Fu-King Motors"
"Captain Queeg"
"Prosciutto-encrusted T-bone"
"Espresso-swilling minions"
"Accidental tourist of a CEO"
"Swinging dickism"
"The Soy-Based Chlorophyll-Specked Self-Driving Module"
"Keyboard-stained wretches"
"From the 'Sergeant Schultz 'I Know Nothing' File'"
"Olivier 'I'm a genius, just ask me' Francois."
"Unctuous Prick"
"It Won't Be Long Now"
And of course, "notgonnahappen.com"
No free hunting trips to Wales. No bought-and-paid-for content "acceptable" to the auto manufacturers. No PR puff pieces lauding a convicted hack and his mediocre automotive career. No wishy-washy reviews. Just the bare-knuckled, unvarnished, high-octane truth about anything and everything to do with the car business. From the cars themselves, to the companies and the people who design, build and market them, Autoextremist.com is everything you wanted to read about the business of cars. We say the things that the others don't have the balls to say, and we do it with a relentless ferocity and an uncanny accuracy that resonate throughout the industry.
Editor's Note: You can access previous issues of AE by clicking on "Next 1 Entries" below. - WG