The idea of installing a powerful engine in a post WWII mid-size car was introduced in 1957. The American Motors (AMC) Rebel showcased AMC?s new 327 in³ V8 255 hp with a 4 barrel carburetor (fuel injection was to be optional), thus making it the first American factory hot-rod hardtop sedan. The Rambler Rebel came with a manual or automatic transmission, and dual exhaust. The Rebel was promoted as the fastest four-door car in America from 0-60 mph and ran the quarter mile in 17.0 seconds. It was one of the quickest production automobiles at that time.

The popularity of the muscle car grew in the 1960s. Among these was the Pontiac Tempest. For 1964 and 1965, the GTO was an option package that included Pontiac's 389 in³ (6.5 L) V8 engine, floor-shifted transmission with Hurst shift linkage, and special trim. In 1966, the Pontiac GTO was no longer an option, and became its own model. The project, spearheaded by Pontiac division president John De Lorean, was technically a violation of General Motors policy limiting its smaller cars to 330 in³ (5.4 L) displacement, but it proved far more popular than expected, and inspired a host of imitations, both at GM and its competitors.

This marked a general trend towards factory performance, which reflected the importance of the youth market. A key appeal of the muscle cars was that they offered the burgeoning American car culture an array of relatively affordable vehicles with strong street performance that could also be used for racing. The affordability aspect was quickly compromised by increases in size, optional equipment, and plushness, forcing the addition of more and more powerful engines just to keep pace with performance. A backlash against this cost and weight growth led in 1967 and 1968 to a secondary trend of "budget muscle" in the form of the Plymouth Road Runner, Dodge Super Bee, and other stripped, lower-cost variants.

Although the sales of true muscle cars were relatively modest by total Detroit standards, they had considerable value in publicity and bragging rights, serving to bring young buyers into showrooms. Automakers saw these as halo models and some, such as the AMC Rebel Machine, were factory upgraded to be turn-key drag racers. The 1970 Machine even came with flamboyant and patriotic red, white, and blue reflective body graphics for maximum street and racetrack visibility. The fierce competition led to an escalation in power that peaked in 1970, with some models offering as much as 450 hp (and others likely producing as much actual power, whatever their rating).

The Dodge Charger, known for its appearance as the villan's vehicle in the movie BullittAnother related type of car is the car-based pickup. Examples of these are the Ford Ranchero, GMC Sprint, GMC Caballero, and one of the most famous examples, the Chevrolet El Camino.

Who Lives In The Star Wars Galaxy?
Stephen Schochet
1185 It's hard to say where old Hollywood ended and new Hollywood began. People in the industry don't think of themselves as making history, they are just going to work. But the day in 1967 that Jack Warner cleaned out his desk at Warner Bros. studio, George Lucas and Frances Ford Coppola arrived on the lot.

The two young filmmakers were very different in demeanor. Coppola a legend at UCLA film school was 27, a loud boisterous mixture of mogul and marxist, who prided himself in dressing like Fidel Castro. He impressed film executives at first with his bravado, but later would upset them with his reckless overspending. Five years younger, Lucas, who went to USC, was quiet and introspective. The only guys at Warners who were below 30 and wore beards, they hit it off instantly with Coppola taking the mentor role. Lucas had made a thirteen minute science fiction film project called THX 1138, a dark look at a computer controlled future. Coppola convinced his protégé to extend it into a full-length film and talked Warner Bros. into financing it.

Over the next few months the wily Coppola played both sides. I'm telling you this kid Lucas is making a great film. Coppola told the Warner brass. Don't put pressure on yourself, they don't expect anything, He reassured Lucas. When they saw the completed THX 1138 the Suits were furious. Francis what is this? I don't know, I've never seen it. replied the bewildered producer. To Lucas's dismay the studio cut out parts from THX 1138 before they released it. They're cutting the fingers off my baby.

THX failed at the box office and Coppola was held financially liable for $300,000, but the two filmmakers were given another chance to make a low budget movie at Universal. Impressed by the success of Easy Rider (1969) the old guard at the studio was reaching out to new talent, once again Coppola would produce and Lucas would direct. Lucas was encouraged by his wife Marsha to make the second project more positive. At USC he had studied anthropology learning that the American male has a unique mating ritual, he drives around in cars trying to pick up girls. Lucas combined this observation, with his own love of classic cars, his small town upbringing in Modesto, CA and his appreciation for top 40 songs played on the radio by disc jockeys like Wolfman Jack. The result: American Graffiti.

The now beloved film got off to a rocky start. It was previewed in San Francisco to young crowd who adored it. After the show Lucas and Coppola waited for the Universal executives to come and congratulate them. Instead they were shocked by angry accusations that they had planted their friends in the crowd and American Graffiti was not releasable. True to their personas Coppola argued and Lucas stood quiet. Once again George saw his film taken away and cut up by what was in his view an interfering, know nothing studio. But there was one difference between THX-1138 and Graffiti; Graffiti was a hit, a highly profitable film that made Lucas a millionaire.

Now Lucas decided to return to science fiction, this time wanting to do a more positive story than THX. After failing to acquire the rights to Flash Gordon, he sat down to write his own screenplay. Influenced by the writings of Carlos Castaneda and the mythology of King Arthur, he based the characters on familiar figures. Luke Skywalker's personality came from George Lucas himself, young, adventurous, and quiet from a small town, with a love of racing cars, or in this case space pods. Han Solo was based on . . . Francis Ford Coppola. He was loud, cocky, reckless, always in debt, going through a love-hate relationship with the younger Skywalker. And the empire was actually the Hollywood studios. George Lucas striving for his creative freedom as a filmmaker would parallel Luke Skywalker's journey to win liberty from the empire, and both would achieve it thanks to Star Wars.

About the Author

Stephen Schochet is the author and narrator of the audiobooks Fascinating Walt Disney and Tales Of Hollywood. The Saint Louis Post Dispatch says, these two elaborate productions are exceptionally entertaining. Hear realaudio samples of these great, unique gifts at www.hollywoodstories.com.

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