Original releases offered an optional clear bed cover. Then an optional camper version was added in the 1970s and issued as Vantasy by AMT. Many AMT Deora variations have been released over the years, with a variety of names and options: Vantasy marked the end of the clear canopy era, Topless Pickup was a roadster version, Alexander’s Drag Time came with a blown Hemi and instructions to radius the rear wheel wells, and Custom Cabana was a camper special. Before Lindberg released slant-6s in their 1965 Mopar models, Deora and Red Baron were the only kits to offer modified inline 6-cylinder power. (Photo Courtesy Dave’s Show Rod Rally)
Again, we have a relatively mild custom with factory backing that left a large and lasting impact throughout the entire custom car universe. Predating and influencing Ed Roth’s wild asymmetrical Megacycle trucklet and outlandish trucks to come from Darryl Starbird, Carl Casper, and Chuck Miller, there’s just no denying Larry and Mike Alexander’s clean and thoughtful execution of Bradley’s design. Downscaling the Don Ridler Award winner for kit builders was a natural. AMT promoted a contest to name the truck and “Deora” was the winning entry from a 13-year-old fan (who scrambled the Spanish translation of “Golden”). The ensuing sales success continues unabated today. A smash on the show circuit, Chrysler leased Deora for two years of exhibition before it went into storage. In 1998, Harry Bradley assisted with the Deora’s restoration preceding the 2002 50th Detroit Autorama. Automotive journalist and AMT consultant Don Emmons inexplicably appears on the Deora knockoff, Topless Pickup: “The marketing people just tacked my name and picture on the box and instructions. I really had nothing to do with it.” Deora was Mattel’s first choice for its initial “Sweet 16” Hot Wheels release.
The kits use a different door-opening actuation than the real car, as well as a different number of grille bars and a different headlight treatment. Re-issues by MPC used AMT’s original molds, so those (minor) gaffes were perfectly reproduced! Howard Cohen’s Deora build is pretty much by the book, right down to the decaled show board display. (Photo Courtesy Howard Cohen)
Alexander’s Drag Time (# T229-200), Custom Cabana (# T298-200), Vantasy (# T-201), and Topless Pickup box art. Wouldn’t you know it? Topless Pickup (# T230-200) has its top up. (Photos Courtesy Scotty Gosson Collection)
AMT # 906-170, 1966, 1/25 scale, Designed by George Barris
The Barris shop employed a crew led by Les Tompkins and Tex Collins to craft ZZR in 12 weeks. AMT didn’t have to make the same deadline, but getting ZZR kits on shelves before the premier wasn’t easy, either. According to legend, Barris sold ZZR to someone in France. Perhaps AMT’s molds were included in the deal, as neither the real ZZR nor the kits have been seen since. Playing Mantis released a 1/42-scale version of ZZR in 1996. (Photo Courtesy Dave’s Show Rod Rally)
The most popular show rods garner the highest prices, but the most obscure also leverage supply and demand to their advantage. Consequently, this movie car from Barris is highly sought after. Prominently featured in Bart Patton and Lenny Weinrib’s Out of Sight surfer-spy spoof for Universal Studios, ZZR makes a strong case for seeking out the underdogs. Adding to or distracting from its elusive glory (depending on your point of view), ZZR was later remodeled by John Bogosian as Fire Bug for AMT, a T roadster–bodied takeoff on the popular fire truck model genre of the time. Fire Bug boasted a dozen firefighting accessories to offset the piles of crime-fighting equipment stuffed into the trunk of ZZR, everything from machine guns to hand grenades to flame throwers to a “tar squirter” and a “skid juice spreader.” As if tandem 340-ci Buick engines and Barris styling weren’t enough.
Check the lineup of musical guest stars, hungry for a shot at film glory and soundtrack royalties. This is the official ZZR kit-building soundtrack. (Photo Courtesy Scotty Gosson Collection)
ZZR is only one of several Barris and California Show Cars products that found their way to France. They all passed through many hands, and most ended up in anonymous storage units, as illustrated here by ZZR. (Photo Courtesy Scotty Gosson Collection)
John Bogosian’s organic transformation of ZZR into Fire Bug was a natural. Dave Rasmussen confirms, “Yes, that price sticker does say $1.57.” (Photo Courtesy Dave’s Show Rod Rally)
Monogram # PC188-200, 1967, 1/24 scale, Designed by Ray Farhner, Re-issued 1970, 1994, 2013 (2013 reissue under the Monogram “Car Show” banner)
Besides one of the all-time great show rods, the box is also jammed with excellent spare parts for kit-bashing (although “chrome” components are notoriously fragile). American 12-spoke front and 5-spoke rear wheels (front tires are slightly oversize and the slicks could be larger, according to most), even a nice Moon tank. The injected 426 Hemi is one of the better scale engines. “Fabricing” the full interior is a fun project, as well. The “Bone Ranger” skeleton is a great addition to any display (I believe he’s a clone of the Li’l Coffin guy) and the tombstone is another iconic accessory. Bonus: Recent re-issue box side reads, “Plastic parts molded in USA,” “Packaged in USA,” “Tires molded in USA,” “Box printed in China.” Three out of four ain’t bad. (Photo Courtesy Dave’s Show Rod Rally)
One of the most popular and well-documented show rods of all time, yet its history dead-ends at the point of downscaling. Thankfully, Monogram stalwart Roger Harney spoke up and filled in the big blank: “We had just purchased Li’l Coffin, and at our New Products meetings, we were looking for other far-out cars traveling the show circuit that we could kit. When the magazines featured Boot Hill Express, we thought it would be a great follow-up car to Coffin and Uncertain-T. So Bob Reder contacted Ray Farhner and made a deal with him. We then sent our research team to Farhner’s shop to photograph and measure Boot Hill. It was our idea to add the Wild West skeleton and tombstone marker. That was a fun time; we were working on a lot of neat projects.” Monogram soon picked up a reputation for skeletons in their boxes, ultimately inspiring MPC and Pyro to dig up some bones of their own.
Roving photographer Chris Shelton came across Boot Hill Express at Speedy Bill Smith’s Museum of American Speed, recovering from a long stay at the Petersen Museum in Los Angeles. Chris said, “It looked so fragile, I was afraid to touch it.” (Photo Courtesy