| Long and sleek! With Elvis as the hero of
| |
| | designers became aggressive in their
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| the day during the 1950s, whatever he
| |
| | creativity. By 1957 and 1958 the
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| drove become the car of the day. And
| |
| | designers produced disastrously overblown
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| Elvis loved the glamour that shiny new
| |
| | responses. Sharp clean fins reached in
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| tail-fins exhibited. His fans loved them,
| |
| | all directions. They were streaked with
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| too, which led to over thirty
| |
| | chrome, and somewhere in the middle a
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| heart-stopping models being designed
| |
| | body was grafted into them. Bright
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| during the 1950s. No one cared back then
| |
| | yellows! Passionate reds! Baby blues! And
|
| whether cars were gas-guzzlers or whether
| |
| | regardless of the weather where one
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| the paint job would last, or whether the
| |
| | lived, convertibles were in, even if you
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| shiny chrome that protruded out the back
| |
| | never lowered the top.
|
| begged to have dents inserted within the
| |
| | The intense competition among the car
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| first few weeks.
| |
| | manufacturers meant that each model
|
| The appeal of cars during the 1950s was
| |
| | became extinct quickly. Planned
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| more than just Elvis. It was prestige and
| |
| | obsolescence meant the customers had to
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| glamour for even the average working
| |
| | choose between buying a new car each year
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| person. The feeling of luxury seeped into
| |
| | or being a social leper. Because of the
|
| one's feelings and emotions, and romance
| |
| | expense of redesigning all models every
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| bloomed with respect while riding in
| |
| | year, the manufacturers took to keeping
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| these elegant vehicles.
| |
| | the inner workings of the cars basically
|
| The Chrysler Town & Country Newport coupe
| |
| | the same and only changing the outward
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| which came out in 1950 didn't have fins
| |
| | look.
|
| (they started creeping into the design
| |
| | By 1958 some models,such as the 1958
|
| around 1952). Yet it wasn't the typical
| |
| | Oldsmobile, were beginning to be called
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| car of the 1940s. Almost a dinosaur
| |
| | 'ugly.' Some even said it looked like a
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| compared to today's styles, the Newport
| |
| | brick with a hardtop sitting on it.
|
| featured distinctive, external wood
| |
| | However, the indented chrome on the doors
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| framing (referred to as being a 'Woodie')
| |
| | still caught one's eye of respect.
|
| and strongly appealed to the hunter and
| |
| | All systems self-destruct from within.
|
| sportsmen.
| |
| | The era of the glamour cars had outdone
|
| Pontiac had a mascot - an Indian Chief-
| |
| | itself and common sense dictated that
|
| whose unsmiling face formed the base of
| |
| | what would follow in the 1960s would be
|
| the front hood. His headdress consisted
| |
| | based on performance, a concern for the
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| of streaks of chrome sliding back over
| |
| | environment, and conservative packaging.
|
| the hood and being picked up again on the
| |
| | During the 1960s people weren't impressed
|
| trunk. Sleek looking! Everyone wanted a
| |
| | with external appearances to the
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| car with a personality, and the Indian
| |
| | exclusion of what existed underneath.
|
| Chief gave the Pontiac one.
| |
| | This attitude was reflected towards both
|
| Because the cars of the early 1950s had a
| |
| | people and cars. Yet, who will ever
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| somewhat dowdy appearance but reflected
| |
| | forget Elvis? Or the glamour cars of the
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| the potential of sparkling glamour, car
| |
| | 1950s?
|
