From Connecticut to California, men can be found working on, discussing, ogling and even occasionally driving automobiles. Car guys are as ubiquitous as Toyota Camrys. However, among the passionate masses, exists a cadre of bona fide authorities whose expertise enriches automotive culture. Like a Bugatti Type 57sc Atlantic, these aficionados highlight the wealth of history, stylish significance and spirit of possibility inherent in cars. They exercise restrained objectivity in a world where subjectivity has been the downfall of many men. They educate and entertain. They include Keith Martin.
Martin is among the world's foremost automotive authorities, covering the collector car hobby for more than 30 years. He is publisher and editor of Sports Car Market magazine, a publication that pioneered in-depth reporting of car auctions. His byline has appeared in the New York Times and Road & Track, and his book series, Keith Martin on Collecting, includes tomes on Alfa Romeo, Ferrari, Jaguar and Porsche. He currently co-hosts "What's My Car Worth?" on Discovery HD Theater. This weekend, the Portland, Oregon–resident will be honorary chairman at the 2010 Glenmoor Gathering of Significant Automobiles. OhioAuthority caught up with Martin to learn more about his interest in ballet, a "Bugeye" Sprite, the future of collector cars, the Glenmoor Gathering and Cleveland's place in the market.
OhioAuthority: You're best known for your insights on the collector car hobby, but your background is quite removed from such pursuits. How did you become interested in dance, following a course of study at Juilliard?
Keith Martin: My career has taken me into many diverse and intriguing worlds, but I would maintain that I started as a car guy, beginning when my grandfather would perch me on the front of the family tractor – at the age of three. I always had sports cars, and went to Reed College as a history major. There, I discovered American Modern Dance, and moved to New York to study at the Juilliard School. When my time with dance was over, I moved back into my other passion, which was cars. So, I view myself as a car guy who happened to spend 20 years in the ballet world, then came home.
OA: When you founded Ballet Oregon and later became director of dance for the Portland Opera, did you believe that would be your lifelong career path? What changed your mind, shifting your focus to automobiles?
KM: I think we all think each career decision is permanent, and that permanency lasts until something changes your mind. I never lost my focus on automobiles, it was just second to dance, choreography and artistic direction. When my time with the dance world was up, it was time to move on.
OA: Where does your interest in cars stem from – were you like many young men who dreamed of fast cars (and fast women)? Did family and friends inform your interest in automobiles?
KM: My grandfather loved all things mechanical, and I also loved to read. So copies of Road and Track started appearing around the house when I was in grammar school – and I devoured them.
