Rambler Marlin - Special Versions

Special Versions

American Motors designers and stylists made two operational show cars. Both used the platform of the first generation Marlin and promoted Rambler's new emphasis on luxury and glamour.

  • The Black Marlin toured the 1965 auto shows along with attractive young women in sailors' outfits. It was finished in black with "a sleek and stylish interior."
  • The Tahiti luxury version toured the shows in 1966, starting with the North American International Auto Show in Detroit. It was finished in a brilliant fireflake blue with "bright South Seas floral upholstery", and matching throw pillows.

A design experiment in 1966 was the manufacture of a first-generation Marlin with the front end of the Ambassador.

The Marlin II essentially foretold the switch to the longer wheelbase platform that occurred for the 1967 model year. The car was used by Richard Teague, and was sold in 1967.

George Barris customized a 1966 Rambler Marlin for Rader, a wheel manufacturer, to use for promotion. The car was repainted Candy Red with powdered gold leaf in the clear coat, and had Rader wheels with "thick wall" tires, a reworked mesh grille with four rectangular CibiƩ headlamps, and Black Pearl Naugahyde on the trunk. Later Barris worked with AMC to produce dealer-installed customizing kits for the AMX.

The roof was cut off a 1966 Marlin for the Florida Marlins, a professional baseball team based in Miami Gardens, Florida. With no seats except for the driver, the car was used in parades and on-field ceremonies at Dolphins Stadium and transported the team's mascot "Billy the Marlin" for the fans to see during the ball club's 1997 world championship season.

Read more about this topic:  Rambler Marlin

Famous quotes containing the words special and/or versions:

    An indirect quotation we can usually expect to rate only as better or worse, more or less faithful, and we cannot even hope for a strict standard of more and less; what is involved is evaluation, relative to special purposes, of an essentially dramatic act.
    Willard Van Orman Quine (b. 1908)

    The assumption must be that those who can see value only in tradition, or versions of it, deny man’s ability to adapt to changing circumstances.
    Stephen Bayley (b. 1951)