The Mini is one of the most ingenious, most innovative cars ever, but is also one of the most maddeningly inconsistent. In this two-part essay, DTW considers both icon and author.
The problem with icons is that often their venerated position can act as a shield against scrutiny, an insuperable barrier to unsentimental analysis or critique. How after all does one approach one of the most significant motorcars of all time objectively, without skirting the boundaries of iconoclasm?
More MINI-based shinanigans. With added Gallagher brother-based goodness.
As a writer, it’s an endless struggle finding new ways of saying what is broadly speaking, the same thing. We are forever seeking an angle, or equally, a framing device, either as a way into a story, or a means of bookending it. This is all the more challenging for the relatively short-form (and I emphasise the term relatively) articles which tend to feature upon these esteemed pages.
Certainly, this author frequently struggles with form, almost as much as he does with content – or context for that matter. I say this by way of explanation for the somewhat conceptual approach taken in today’s reissue. Writing a drive piece on the R50 MINI (the first generation of the BMW re-casting) proved a bit taxing, hence the shoehorning of Britpop stalwarts, Oasis as something of a running gag throughout.
Twin approaches to a modernised ur-Mini, but while one is shamelessly drenched in nostalgia, the other speaks of a possible future.
Nostalgia is big business. Take the music industry where bands reform to play their best-loved material, while record companies re-master and repackage classic albums. So if the running order gets messed with, original tracks deleted and a bunch of questionable out-takes (which didn’t make the original cut for good reason) are added, who cares? Completists, (mostly middle-aged men if we’re honest) will Continue reading “Remake, Remodel, Remaster, Recharge?”