African American-Deja Cadilac
1949 Ebony magazine asked its readers "Why Do Negroes Buy Cadillacs?
deja vu 1 a : the illusion of remembering scenes and events when experienced for the first time b : a feeling that one has seen or heard something before
Uh, Cadillac grills Cadillac mills
Check out the oil on my Cadillac spills
Matter fact candy paint Cadillac's kill
So check out the --'s my Cadillac fills
20 inch wide 20 inch high
Oh don't you like my 20 inch ride
Driving While Black: The Car and Race Relations in Modern America by Thomas J. Sugrue "Drivin' down the Freeway:" Blacks and Car Culture Whatever the hassles of driving, African Americans, like whites, shared a passion for cars. The automobile was, for most Americans, the most expensive item that they owned other than a house. In a status-conscious consumer society, the car became one of the most prominent symbols of "making it." The automobile industry, which developed some of the most sophisticated marketing and advertising campaigns of the twentieth century, appealed to consumers' desire to drive cars that played to their self-image. Auto manufacturers developed new models that were luxurious, sporty, sturdy, or family-friendly. As blacks moved northward and into the urban working class, their income grew dramatically. So did their demand for cars. Ebony magazine estimated that twenty percent of black households intended to buy new cars in the 1958 model year alone. Throughout the postwar years, car companies began to target black consumers, placing advertisements in black newspapers and especially in new magazines like Ebony and Jet that catered to the small but growing black middle class.
For many blacks, owning a car became a powerful status symbol. Starting at the top, black stars often appeared for photographs with sports or luxury cars. In a famous photograph, Motown singers Martha and the Vandellas struck a glamorous pose atop a Ford Mustang as it rolled off a Detroit assembly line. Singers Marvin Gaye and Gladys Knight and the Pips posed for publicity photos with their cars. And in a hit single, Detroit native Aretha Franklin sang of her "Pink Cadillac." Motown performer Mary Wilson recalled that "[a]s soon as a writer, producer, or performergot his first check, it was as good as endorsed over to the local Cadillac dealership." The Cadillac assumed iconic status among the black elite as a symbol of having made it. In 1949, Ebony magazine asked its readers "Why Do Negroes Buy Cadillacs?" In an irreverent spoof of the gospel classic, "Swing Low, Sweet Chariot," jazz musician Dizzie Gillespie sang "Swing Low, Sweet Cadillac," a telling comment on the place of the car in black popular culture.
In the post-Motown era of "blaxploitation" films and, in the 1980s and 1990s, of gangsta rap and hip hop, cars continued to have special status in black popular culture
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