|1962Corvette Bonhams® Lot 332|
Picture used with permission from Bonhams®
I mean, even if you were looking for a first generation Corvette (there are over sixty other C1’s from which to choose during auction week in Scottsdale) you probably wouldn’t have paused on this one.And a good automotive journalist would never look here for a story.
|1958 GM CEO’s Corvette Barrett Jackson Lot 5042Picture used with permission from Barrett-Jackson®|
A good automotive journalist would spend their time writing about more flashy and exciting big block L88’s or the gorgeous Regal Turquoise 1958 C1 belonging to GM CEO Dan Akerson.
CEO Dan Akerson.
And why not, it is a great car and sure to draw the attention of any “Corvetter”.
So what caught my eye about the drab little picture of the red Corvette listed in the London company’s catalog?
Chassis no.20867S106224 Engine no. 2196224 F0118RF
Estimate: US $ 80,000 – 100,000
£ 49,000 – 62,000
€ 61,000 – 76,000
The “marketing” of the car certainly was a testament to legendary British understatement. Unremarkable, especially by Bonhams® standards, where some of the finest and most expensive automobiles, art and antiques in the world cross the block. The presale estimate did not seem out of line especially for a car in a Bonhams® catalog. Whatever my motivation I clicked on the lot number.
Lot 334 was one of 1,918 ordered with the 327 cubic inch, 360 HP, Rochester fuel-injected V8, the most potent available engine in 1962, known as a “fuelie”. In addition the Roman Red roadster had a 4-speed transmission and Positraction.
Interesting, but nothing to get too excited about. I mean there were 1,918 “fuelies”, not like it is one of five. But it was what followed the build and condition details that made this car “special”. It was the "provenance". This particular “fuelie” had been owned by David E. Davis. If you are under fifty you may ask, just who was David E. Davis and why should I care?
|David Evan Davis, Jr|
He had perfected the art of Southern storytelling, raising automobile journalism from a trade to an art. He once said of automotive journalists, “We are enthusiasts in enthusiast heaven. Our automobiles are our politics and people who like automobiles are our constituency!”
|Car & Driver Cover from the 60's|
Perhaps the most significant impact he had on the automotive journalism and subsequently the automobile came when he became editor-in chief of Car & Driver magazine in 1963 and later at Automobile, the magazine he founded in 1986, as he continually goaded the automobile manufacturers to build better cars, improve quality, mileage, and performance. He changed the way automotive journalists wrote about cars and was responsible more than anyone else for breaking down the traditional European sports car enthusiast’s disdain of American cars, especially the Corvette and muscle cars. Shortly after becoming the Editor-In-Chief of Car & Driver, he began to transform it to a publication that printed honest evaluations of tested cars regardless of what the manufacturers thought and was continually under the threat of cancelled advertising contracts. Under his tutelage Car & Driver broadened its appeal to all types of enthusiasts, not only European sports car aficionados, and evaluated all types of cars, not limiting tests to European sports and luxury cars to whom other publications pandered.
|March 1964 GTO vs GTO Car&Driver Cover|
Throughout his tenure at Car & Driver, Davis continually strived to raise the bar on editorial content and often said that he didn’t just want Car & Driver to be a great “automobile” magazine, he wanted Car & Driver to be a “great magazine”, period. Usually controversial, sometimes confrontational, he managed to turn the struggling magazine into one of the most popular automobile magazines in the world through his refreshingly honest and interesting reviews. He often admonished auto manufacturers and their products in his scathing, sometimes sarcastic but always eloquent literary style. Long before it became the popular practice, he chastised the domestic auto manufacturers for their “myopic” vision of their products and the future, warning of the consequences of ignoring “quality issues”.
On one occasion he parked a Ford® Pinto in front of a junkyard for the picture to support his review of the car. Ford® withdrew their advertising from the magazine and shortly after it was discovered that the Pinto gas tanks frequently blew up. On another occasion he wrote that the radio in a BMW, the then “darling” of most of the automotive magazines, couldn’t pick up a New York radio station if it was on the other side of the George Washington bridge. Though pressured to retract the comment, Davis stood his ground. The controversy escalated and still Davis would not submit to the pressure being applied by the managing editor. He left Car & Driver in 1967, over the dispute with Leon Mandel who, as stubborn as Davis, insisted Davis apologize to BMW or leave. Mandel, an automotive legend in his own right, was saddled throughout his career with the dubious distinction of having fired the iconic Davis. Dutch Mandel, Leon’s son and Autoweek’s associate publisher and editorial director, later said that David Evan Davis, Jr. “taught multiple generations what great automotive journalism looked like.”
David E., as he was known to his friends, went to work for Campbell-Ewald®, at that time GM®’s advertising agency, where he worked on the Corvette and other Chevrolet marketing programs. He was instrumental in developing the ad campaign, “Baseball, Hot Dogs, Apple Pie, and Chevrolet”.
|Baseball, Hot Dogs, Apple Pie, &Chevrolet|
The campaign has been heralded in the industry as the greatest automobile campaign ever. Though
highly successful as an adman, Davis, the consummate writer and storyteller, returned to Car & Driver in 1976 to continue what he had started, building the automotive magazine into what would eventually become the world’s largest.
|Automobile Magazine Covers|
Sometimes accused of being haughty and aloof, always caustic, with a “penchant for the unpredictable charge” according to Brock Yates, life-long friend and sometimes target of Davis’s charges, it was all an elaborate concoction that influenced his “colorful” literary style and set him apart. It was those same characteristics which, irritated, aggravated and, at the same time, influenced and impacted the industry. Once during a speech in Washington, at a time when GM was struggling financially because of slow sales, due in part because much of the management was not comprised of “car enthusiasts” and as a result were not building the type of cars the public wanted, he compared the managers at GM to piano players in a whore house, “aware of what was going on upstairs but unable to do much about it even if they were so inclined.” Rather than take the comment in the critically constructive manner Davis intended, it so incensed GM they pulled their ads from his magazine. The magazine survived, many of those managers did not.
David E. holds a special spot in my life. He was one of the literary influences that prompted me and inspired me to write. Each month I waited with anticipation for my subscription to Car & Driver to arrive and read what Davis and the other editors at Car & Driver had to say. Davis had managed to assemble some of the greatest automotive journalists in the world at the magazine: Brock Yates, Warren Weith, and Patrick Bedard just to name a few. They told their stories not in the drab, dreary and usually boring style that populated the pages of other publications, but in a more compelling and colorful style more akin to novelists. He challenged established journalistic practices and styles in favor of a flowery more literary way of conveying his point, similar to other great Southern storytellers. He never asked, “How are you doing?” but rather, “Is your life a rich tapestry?” And “walking the talk” he wrote, like he advised his protégés, like he spoke and in the process he elevated automotive journalism to an art.
Arguably David E. Davis has impacted the automobile industry as much as any single individual. Automobile styling, quality and performance have all profited from his constructive criticisms and the cars today are better because of him. Journalism is better. There is no greater example of “the pen being mightier than the sword”, especially when that pen was in the hands of David E. Davis.