Sunday, May 31, 2009

The Hawk And The Streamliner

Earlier this month, General Motors informed more than 1000 of its dealers that their services would no longer be needed as the company tries to stay alive in the 21st century. I've written before about owning some of GM's best products many years ago. I've not owned a GM product for more than forty years; it's been all Toyota for a long time, except for a few flings with Volkswagens.

My love affair with cars - there's a male gene for it - began when I was about ten. The object of my affection was a Studebaker. After studying photographs, I determined it was most likely a burgundy and white Silver Hawk from 1957 or 1958. The production runs for both vehicles were quite small, numbering in the low thousands. Studebaker would survive only a few more years before leaving the car business in the early 1960s.

Studebaker always sought to be advanced in design and performance. The stunning design for this vehicle came from the imagination of Raymond Loewy, long associated with the company, and perhaps the leading industrial designer in 20th century America. Softened edges and sweeping streamlining were Loewy's hallmarks. Most everything he toughed had about it the feeling of movement. The Silver Hawk was no exception. It never looked at rest; it was made to run. Indeed, when it was in motion, it could fly off the line as fast as a Corvette. When I rode in the Hawk, I was usually stuffed in the rear seat between two adults. Being up front was a thrill because the aerodynamic look and feel surrounded the driver and passenger. You weren't in the front seat, you were in the cockpit. Small-town boys from Appalachia remember such experiences and eventually tell their sons.

The man who owned the Hawk was ambitious, successful, and hard-working. He owned an auto parts store in the small town my family left in 1956. He loved doing anything mechanical. His appreciation of innovation and performance made him a Studebaker owner long before the Hawk entered his life. Eventually, he too would move his family from Appalachia in search of better opportunities. I saw the car less and less, and after a few years it was replaced with something other than a Studebaker. To this day, I can picture the Hawk sitting on the grass, glittering in the sun as if it were posing for a photo session.

Perhaps I had been primed to appreciate the Hawk through an unusual coincidence. As an only child and one of the youngest cousins of my generation, I tended to inherit the hand-me-downs, the clothes, the books, and occasionally the toys. The electric trains, two Lionel "O" gauge sets and a complete layout, captured me instantly. One of the steam locomotives was a beauty: gray, bullet-shaped, with sweeping lines and ornamentation. It was the Pennsylvania Railroad's S1, also known as the Streamliner. Many years later, I was to find that the locomotive that captured my attention and became a treasured possession was designed by Raymond Loewy.

I no longer have the train sets or the S1. Years ago, the aunt who gave them to me asked if they could be returned so that her family could enjoy them once more. It saddened me to see them go, but at the same time, I was happy to think that they could be enjoyed by a third generation. Quality is like that. It persists. A century from now I can imagine the Hawk and the Streamliner catching a boys attention, influencing a career, and leading to a new future of design and innovation. I expect Loewy's ideals will be very much alive in that century. Sadly, I cannot say the same for General Motors.

Arbuckle Coffee Trading Card: North Dakota

Saturday, May 30, 2009

The Clarinetists: Goodman's Day

Last Saturday, we commemorated the birthday of Artie Shaw. Today marks the birthday of another world-class jazz clarinetist, the "King of Swing," Benny Goodman. He was born in 1909 and grew up poor in Chicago, but received quality musical instruction. Before long, he was playing "professionally" with many bands. The Chicago music scene also gave him an affinity for New Orleans style jazz. At 20, he left for New York and world fame.

Mention "Palomar Ballroom" and "Carnegie Hall" in the same breath and any popular music historian will follow with "Benny Goodman." Both performances are landmarks in the history of swing and jazz.

In 1935, his orchestra performed regularly on an NBC Radio program entitled, "Let's Dance." It was broadcast live across the country. Young people in the East were fast asleep when his orchestra hit the airways, but it was perfect timing for the West Coast. A strike ended the broadcasts after a few months and the band decided on a coast to coast tour. In the interior states, the tour was a disaster because people didn't care for "upbeat" jazz arranged for orchestra. The band was looking forward to the Palomar Ballroom in Los Angeles as the last stop and an end to the pain. When they arrived, thousands of young fans who had heard them on the radio were waiting to hear them in person. What was to be a welcome end turned into the beginning of the Swing Era.

Eighteen months later, the now famous Goodman Orchestra was invited to present a jazz review in Carnegie Hall, a venue historically reserved for "high brow" music. Several members of the Duke Ellington and Count Basie orchestras and others joined on stage to perform a concert ranging from traditional to unconventional. Music historians generally regard this legendary performance as the most important in the history of jazz. After January 16, 1938, jazz became mainstream American music. This video says it all:



Bet you tapped your feet.

The audience really got into it on this number:



And here is Sing, Sing Sing - Gene Krupa on drums and Harry James on trumpet - coming at the end of the concert. Unfortunately this post is missing about 90 seconds of Jess Stacy's piano solo at the end, but I think you'll get the picture:



Goodman would go on performing jazz, classical, and popular music for another fifty years, literally to the day he died in 1986. Check out the "King of Swing's" official site for more information.

Arbuckle Trading Coffee Card: North Carolina

Friday, May 29, 2009

Easterly Wave

The first easterly wave of the tropical weather season moved over Florida recently bringing three glorious days of coastal air to Atlanta. Brisk east winds carried low, ragged cumulus clouds set against a turquoise sky. The light on-again off-again showers reminded me of those glorious summer evenings at Tybee. The wave set off almost two weeks of unsettled weather more characteristic of a September in Key West than a May in Atlanta. The only significant difference was the cooler temperatures.

Now the year's first tropical depression is drifting east off Cape Hatteras. Could waves and depressions this early be a sign that we're about to have an exciting hurricane season? Can't say. If anything, this season seems to be more normal. For the first time in several years, the lakes are full, and late Spring seems green and leafy. May this trend continue.

Arbuckle Coffee Trading Card: New York

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