Tag Archives: General Motors

When Buick And Oldsmobile Promoted Cars With Space Themed Musicals

General Motors’ affinity for using entertainment to promote its products reached a fever pitch in 1955, as an estimated two million people attended Motorama in New York City, Boston, Miami, San Francisco, and Los Angeles. It was followed that same year by Powerama in Chicago, a show that highlighted GM’s non-automotive businesses and featured a musical dubbed “More Power to You.” It included French acrobats atop a 70-foot crane, 35-ton bulldozers dancing the mambo, and a battle of strength between a top-hatted elephant and a bulldozer in which the pachyderm is sent packing. The show ran for 26 days and attracted two million visitors. 

But that wasn’t the end of it, as GM produced musicals—yes musicals—to help move the metal. The result would be Buick’s Spacerama (so many -ramas) and Oldsmobile’s The Merry Oh-h-h.

Oldsmobile in 1955

1955 Oldsmobile black white
Flickr/Chad Horwedel

Having reached record sales of 583,179 units for the 1955 model year, Oldsmobile hoped to continue the sales boom for 1956, even though its lineup was mostly carryover. The biggest news was the Jetaway Hydra-matic automatic transmission, which was redesigned for the first time since its introduction in 1940. For the first time, it offered a Park position, like modern automatics, and featured two fluid couplings to enhance shifts between its four gears. The Jetaway was standard on the 98 and Super 88. 

J.F. Wolfram, Oldsmobile general manager, confidently predicted Oldsmobile would sell 750,000 cars for the 1956 model year as Oldsmobile employment reached a record high of 19,170 employees.

To stoke enthusiasm, the company created a musical dubbed “The Merry Oh-h-h”, which debuted in New York City at the Ziegfeld Theatre. The show starred Chita Rivera, who had appeared in “Call Me Madam” and “Can Can.” Here she plays Miss Jetaway Drive alongside singer Mildred Hughes and Billy Skipper, who danced in “Annie Get Your Gun.” Other notable names include Joe Flynn, Frank Gorshin, Charles Cooper and Bern Hoffman. It was directed by Max Hodge, who would go on to work on the TV shows “Mission: Impossible” and “Mannix.”

General Motors Merry Oh h h
GM

The musical, which at the time cost GM $150,000 usd / $210,000 cad to produce, espoused the glories of power steering, automatic transmissions and Rocket V8 engines. Songs included “Tops in Transmission,” “Advancing on Lansing” and “The Car is the Star.”

After its New York debut, the musical and its 34-member cast went on tour to San Francisco, Fort Worth and Chicago before arriving in Lansing, Michigan, Oldsmobile’s hometown, which included an appearance by pop star Patti Page.

But the show generated unintentional notoriety when its piano player, Robert Orpin, was found dead in his room at the Hilton Hotel in Fort Worth. Orpin, who hailed from Forest Hills, Long Island, was found in a filled bathtub with the hot water running. He was discovered by a maid who heard the running water running. His death was later ruled accidental. 

“The Merry Oh-h-h” would play to 30,000 Oldsmobile employees and their families nationwide. But it did little for Oldsmobile sales, as demand fell to 485,492 units for the model year.

Buick heads for Spacerama

General Motors Spacerama
GM

No doubt using a stage show to promote new models was hardly an isolated idea at GM in 1955. In fact, Buick arrived at the idea before Oldsmobile, thanks to their ad agency at the time, the Kudner Agency and its vice president, Myron Kirk.

Kirk had attended GM’s 1954 Motorama during its nine-day stand in Boston, where he ran into Ivan Wiles, vice president and general manager of Buick, and Al Belfie, Buick’s general sales manager. While watching the theatrics, Kirk told the executives of the impressive dancing he had seen in the then-new movie, “Seven Brides for Seven Brothers.” Kirk arranged a private viewing of the film for them, and afterwards, Kirk received approval to bring in the movie’s choreographer, Michael Kidd, to produce a show to promote the 1956 Buick lineup.

General Motors Spacerama
GM

He tapped Alan Lipscott and Robert Fisher to write the show. The duo was well-known for writing scripts for such TV shows as “Make Room For Daddy,” “The Donna Reed Show” and “Bachelor Father” along with many others. The plot concerned mankind’s search for the obtaining transportation from the Stone Age to the current day, where a trip to Mars reveals a depressed population. They overcome their depression when they are brought to earth to see the 1956 Buick lineup. The show starred Mark Dawson and comedian Jack E. Leonard. 

For the music, Kirk’s agency chose Bernie Wayne, who is best known for such songs as “Blue Velvet,” “The Magic Touch,” the Miss America theme, and the commercial jingle “Chock Full O’Nuts Is the Heavenly Coffee.” For Buick’s musical, Wayne composed such songs as “Just Like Coming Home Again,” “Switch the Pitch,” and ‘The Peak of Civilization.”

The show started in Flint, Michigan before heading to Los Angeles, Houston, Chicago, Atlanta, Detroit, and wrapping up in New York City. In all, 50,000 Buick dealers, employees and their families saw the show.

Still, you have to wonder why GM went to so much trouble. “We have about 12,000 dealers and their salesmen,” a Buick spokesman told the Detroit Free Press in September 1955. “Many of them will sell as much as $150,000 usd of our products next year. You surely can afford to spend $100 or more to entertain them.”

Of course, GM could afford such largesse; they were on their way to their first billion-dollar annual profit. Now that’s a lot of spacebucks. For the Silo, Larry Printz/ Hagerty. Featured image- GM’s Spacerama 2 promo.

Commodifying Art -Damien Hirst

All of modern life is a spectacle. Much of what contemporary man experiences in Western society is a false social construct mediated by images.

These mediated images create desires that can never be fulfilled; they create false needs that can never be met. “Many of our daily decisions are governed by motivations over which we have no control and of which we are quite unaware” (Berger 41). The constant spector of the mediated image creates an endless cycle of desire, consumption, and disinterest, fueling a banality in life that feeds the commodification of life.

Increasingly life itself becomes a commodity and the image more important than the reality it represents. This commodification infiltrates every aspect of human production, including the arts, and finds its pinnacle expression in the work of Damien Hirst. Hirst has carefully crafted a brand identity that has far surpassed the value of his art work in importance and worth. Working in tandem with former advertising executive turned art dealer Charles Saatchi, the spectacle of the Hirst image becomes the commodity. “Reality unfolds in a new generality as a pseudo-world apart, solely as an object of contemplation. The tendency towards the specialization of images-of-the-world finds its highest expression in the world of the autonomous image, where deceit deceives itself” (Debord
143).

No longer is the work of art itself a commodity, but rather the image of the artist (his/her/cis brand) that becomes the commodity.

It is this spectacle that drives the consumer to identify with a particular artist or brand. “The astronomical growth in the wealth and cultural influence of multi-national corporations over the last fifteen years can arguably be
traced back to a single, seemingly innocuous idea developed by management theorists in the mid-1980s: that successful corporations must primarily produce brands, as opposed to products” (Klein 4). The image has increasingly infiltrated and dominated the culture and the whole of society and has become “an immense accumulation of spectacles” (Debord 142).

Butterfly by Damien Hirst
Butterfly by Damien Hirst

Where once the products of labor were the commodity, now it is the spectacle that has become the commodity.

A prime example of this spectacle is Damien Hirst’s sculpture, “For the Love of God.” The sculpture consists of a platinum skull covered with 8,601 diamonds. The sculpture valued at over $100 million usd/ $129.361,000 cad [exchange rate at time of publication] is clearly out of the reach of almost any collector. The sculpture itself is not the art product, rather it is the spectacle that is the product. “Mr. Hirst is a shining symbol of our times, a man who perhaps more than any artist since Andy Warhol has used marketing to turn his fertile imagination into an extraordinary business” (Riding, nytimes.com). Acknowledging that the sculpture is out of reach for the majority of collectors, Hirst offered screen prints costing $2000 usd/ $2,587 cad to $20,000 usd/ $25,870 cad ; the most expensive prints were sold with a sprinkling of diamond dust.

Karl Marx Capital Is Money Meme

Karl Marx argued that the value of the commodity arose from its relationship with other commodities; its ability to be exchanged for other commodities. Marx used the the production of a table to illustrate his thesis:
“…by his activity, man changes the materials of nature in such a way as to make them useful to him. The form of wood, for instance, is altered if a table is made out of it. Nevertheless the table continues to be wood, an ordinary, sensuous thing. But as soon as it emerges as a commodity, it changes into a thing which transcends sensuousness.” (Marx 122)

Hirst’s diamond encrusted skull remains mere diamonds, valuable yes, but still diamonds. However, when coupled with the spectacle of Damien Hirst’s identity, the skull becomes a fetishized commodity capable of selling screen-prints valued in the thousands. The argument can be made that diamonds on their own carry value, and could be commodities themselves, however that doesn’t account for the fact the Hirst was able to sell prints of the skull for over $2000 usd/ $2,587 cad. Nor do the diamonds alone account for the spectacle surrounding the art work; it is Hirst’s brand, his image that creates the spectacle.

“The mystical character of the commodity does not therefore arise from its use-value. Just as little does it proceed from the nature of the determinants of value” (Marx 123). The value of a commodity arises from its spectacle, its ability to be desired. In Marx’s day that desire was its ability to be traded for other commodities; today that value is derived from its association to a brand, an identity, a spectacle. “Art reflects the illusory way in which society sees itself, it reflects the bourgeoisie’s aesthetic ideas as if they were universal” (Osborne 79).

The spectacle feeds itself through the mediating of the image to create desire for status and recognition, through associations.

“The ends are nothing and development is all – though the only thing into which the spectacle plans to develop is itself” (Debord 144). The spectacle’s main objective is self perpetuation. Its aim is totality. It must be noted that Hirst himself did not even create the work of art, but rather employed a studio full of jewelers to execute the sculpture, and printers to produce the prints.

Hirst exemplifies the bourgeoisie capitalist employer who retains ownership over the fruit of the employees’ labor. He is in many ways more akin to a captain of industry than he is to the romantic notion of an artist. “In the early twenties, the legendary adman Bruce Barton turned General Motors into a metaphor for the American family, something personal, warm and human” (Klein 7). Hirst has also turned himself into a metaphor, however, metaphors aren’t always true. This falsehod is at the heart of the issue. The spectacle isn’t concerned with what is true, rather it is concerned with what can be made to appear true. It is this appearance of truth that makes a commodity valuable. This fetishism of the commodity is why gold and silver have value, it is because people gave them value. It is the reason Damien Hirst, or any other brand, has value, because people gave it value.

Damien Hirst Greatest Currency on Earth Gold Diamonds and Art CNN

Damien Hirst cannot be blamed for commodifying art, he is simply following a long tradition of turning objects and products into commodities. The fact that his commodity is his own image doesn’t seem to matter. “Hirst is just playing the game. It is a game played by collectors and dealers at art fairs throughout the year; it is a game finessed as never before by Sotheby’s and Christie’s; it is a game in which, in the words of Nick Cohen, a rare British journalist to trash Mr. Hirst’s publicity coup, ‘the price tag is the art’ ” (Riding .nytimes.com).

That final statement beautifully summarizes the commodification of art, ‘the price tag is the art.’ The fact that the art is obscenely priced, and out of the reach for the majority of collectors, the fact that it is made of diamonds, a precious stone known as the blood stone because of its association with brutal and oppressive regimes, merely adds to its allure, to its spectacle. Damien Hirst is merely playing the game, like many before him. He is a part of the growing culture
industry that sells image. Images are the new commodity fetish. Images are the new mysterious commodities exchanged for more the more durable and enduring commodities. The bourgiousie sell their images, which have no real value, to the public which consumes them, in exchange for goods of real value.

“The $200 billion usd/ $270 billion cad culture industry – now North America’s biggest export – needs an every-changing, uninterrupted supply of street styles, edgy music videos and rainbows of colors. And the radical critics of the media clamoring to be ‘represented’ in the early nineties virtually handed over their colorful identities to the brand masters to be shrink-wrapped.” (Klein 115)

Nick Cohen said of Hirst, “[he] isn’t criticizing the excess, not even ironically … but rolling in it and loving it. The sooner he goes out of fashion, the better.” What Cohen fails to realize is that the spectacle is a fashion. And when one image goes out of fashion, another takes its place. Hirst may indeed go out of fashion, but another art brand will take his place, perpetuating the commodification of the arts in increasingly bombastic ways.

Equestrian Statue Of Marcus Aurelius

Perhaps art has always been a commodity?

In the past patrons would hire artists to paint them into scenes from the gospels. Patrons could be seen on the outskirts of paintings piously praying, thus creating an image of themselves as good and pious Christians. By association with the sacred art, the patron was creating a mediated image. Rulers did this all the time. The Equestrian Statue of Marcus Aurelius is a perfect example. Its a mediating image that communicates power and authority.

But none of these examples reach the level of spectacle and fetishism that is Damien Hirst. While art may have been a commodity in the past, it was never commodified. In other words, while the art itself may have been exchanged for other goods, the artist himself was not treated as a commodity. The art of the past may have served a purpose, it may have contained a mediated message, but it was still a product, and it was the product that was valued, not its brand identity.

The commodification of art creates a unique problem in history. If it is the spectacle that matters, and the artist’s identity that has value, then what value is left in the art itself?

What then separates art from ordinary objects? Is there any aesthetic emotion that remains in the work of art itself, or does the aesthetic emotion dwell completely within the spectacle? These are questions that cannot easily be answered, and ultimately will require the lens of history to answer completely. But they are a pressing concern, for when art is commodified, it may cease to be art and instead become celebrity, product, or worse, advertising. For the Silo, Vasilios Avramidis

Works Cited
Berger, Arthur Asa. Seeing is Believing: An Introduction to Visual
Communication. New York, NY: McGraw Hill, 2008. Print.
Debor, Guy. “Showing Seeing: A Critique of Visual Culture.” The Visual Culture
Reader. Ed.Nicholas Mirzoeff. New York, NY: Routelage, 1998. 142-144. Print.
Klein, Naomi. No Logo, No Space, No Choice, No Jobs. New York, NY: Picador, 2000.
Print.
Marx, Karl. “Showing Seeing: A Critique of Visual Culture.” The Visual Culture
Reader. Ed.Nicholas Mirzoeff. New York, NY: Routelage, 1998. 122-123. Print.
Riding, Alan. Alas, Poor Art Market: ‘A Multimillion Dollar Headcase.’ The New York
Times. June 2007, Damien Hirst and the Commodification of Art http://www.visual-studies.com/interviews/moxey.htm

Tesla Is Fastest Growing Auto Brand Over Course Of Pandemic

Tesla has been the fastest growing automobile brand over the course of the pandemic with astounding brand value growth of 271% in the last two years, according to the latest report by leading brand valuation consultancy Brand Finance. Tesla’s impressive growth continued this year with its brand value up by 44% to US$46.0 billion ( CAD$58.55 billion) which saw it move from 6th to 3rd in the Brand Finance Automobile 100 2022 ranking.

Tesla was the only brand in the Top 10 of the ranking to see significant growth this year.

Every year, Brand Finance puts 5,000 of the biggest brands to the test, and publishes nearly 100 reports, ranking brands across all sectors and countries. The report ranks the world’s top 100 most valuable and strongest automobile brands, the top 20 auto component brands, the top 15 tire brands and the top 10 car rental service brands.

Musk at Tesla event in China.

Tesla’s CEO, Elon Musk, has played a huge part in the growth of the brand with his charismatic, and at times controversial, behaviour keeping it firmly in the limelight. Tesla’s transformation into a household name has seen other brands try to connect themselves to the brand to benefit from the Tesla effect.

2021 saw Tesla increase its footprint in China, to ensure it continues to compete in the booming Chinese market.

It opened a new research and development centre, its first outside of America, in addition to a data centre at its Gigafactory in Shanghai. The brand also built a second delivery centre in the city, which incorporates sales, test driving and delivery of Tesla vehicles. Looking to this year 2022, Tesla announced it would launch no new models this year due to the global chip shortage, as doing so would reduce its overall output. Instead, the brand will focus on its full self-driving software as well as scaling up its production capabilities.

Electric revolution sees Chinese brands surge

Chinese brands account for eight of the top 10 fastest-growing brands in the ranking . The increasing popularity and adoption of electric vehicles in China has been a key driver behind the impressive growth for these brands, with China accounting for most electric vehicles sold globally. Several Chinese brands are looking to capitalise on the momentum by expanding their global footprints, with several of these brands launching in Europe in 2021.

While Tesla has seen the fastest growth over the past two years of the COVID-19 pandemic, Great Wall is the fastest-growing brand in the ranking this year, with its brand value increasing by an impressive 109% to US$2.6 billion (CAD$3.3 billion). As well as launching in Europe last year, Great Wall announced it will be launching nine electric vehicle models in Thailand over the next three years, where demand is expected to grow considerably. Great Wall plans to use Thailand as a base to launch its expansion into the ASEAN region. The auto marque’s CEO, Jianjun Wei, was also the top ranked automobile CEO in the Brand index, which ranks the world’s top 250 Chief Executives according to how well they manage and grow their company’s brand, and placed 3rd overall across all industries.

Everything you need to know about the BYD EA1 (BYD Dolphin)
The BYD EA1 Dolphin.

BYD was the second fastest-growing brand in the automotive ranking with its brand value doubling to US$6.4 billion (CAD$8.15 billion), an increase which saw it overtake Haval (brand value up 55% to US$6.1 billion or CAD$7.76 billion) to become China’s most valuable car brand. BYD, which specialises in electric vehicles, saw sales accelerating 232% in 2021 with 603,783 models sold – making it the best-selling new energy vehicle manufacturer in China for the ninth year.

Joining Great Wall and BYD in the Top 10 fastest-growing brands is Song (brand value up 90% to US$1.7 billion or CAD$2.16 billion), Qin (up 89% to US$475 million or CAD$604 million), Tang (up 88% to US$630 million or CAD$802 million), NIO (up 79% to US$2.6 billion or CAD$3.3 billion), Dongfeng (up 67% to US$1.4 billion or CAN$1.78 billion), and WEY (up 56% to US$613 million or CAN$780 million).

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Toyota holds on to pole position as most valuable automobile brand

Although Chinese auto brands have seen impressive growth, Japan’s Toyota has held on to the top spot in the Brand ranking with a brand value of US$64.3 billion (CAN$81.9 billion).

Whilst the Japanese brand wasn’t immune to the global chip shortage that ravaged the industry, Toyota was better placed than most to weather the storm thanks to its contingency stockpiling.

The foresight allowed the brand to keep production levels high when others faltered and resulted in Toyota outselling General Motors in North America in Q1 2021 – the first time any brand has outsold General Motors in the region since 1998. Toyota remains the world’s top-selling automaker, the only manufacturer selling over 10 million vehicles globally.

Toyota was one of the early adopters of hybrid technology, with its Prius model dominating the hybrid segment for years, but it has fallen behind in the increasingly competitive electric vehicle arena in recent years. To regain ground, last year it announced it would be investing US$35 billion (CAD$44.6 billion) in electric vehicles, focusing on both battery technology and car development. The investment forms part of Toyota’s ambition to sell 3.5 million electric vehicles a year by 2030.

Fellow Japanese brands Honda (brand value US$28.2 billion or CAD$35.9 billion)and Nissan (US$14.6 billion or CAD$18.6 billion) join Toyota in the Top 10 of the ranking, though both brands saw a 10% decrease in brand value this year. Honda held onto its position in 7th, and despite the loss in brand value Nissan actually climbed two spots from 11th to 9th, as it fared better than Sweden’s Volvo (down 20% to US$14.2 billion or CAD$18 billion) and Germany’s Audi (down 20% to US$13.8 billion or CAD$17.6 billion).

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Mercedes-Benz remains most valuable European brand

Sitting behind Toyota, Mercedes-Benz remains the second most valuable brand in the ranking, and the most valuable European brand, with a 4% increase in brand value year-on-year to US$60.7 billion (CAD$77.3 billion). Amid challenging market conditions due to the pandemic and an industrywide semiconductor shortage, the brand prioritized electromobility and has seen great results from it. The German automobile giant confirmed that their electric vehicles sales saw a 90% increase this year.

In 2021, Mercedes-Benz launched the sixth generation of the C-class series with a new interior design and is planning to implement autonomous driving features. At the same time, an industry-wide trend to make a transition to electric vehicles and a sustainable approach to production and distribution is on the rise.

2022 Mercedes C-Class Debuts With S-Class Design Inspiration And Tech
2022 Mercedes C class.

A key development to strengthen the Mercedes-Benz brand is the rebrand of Daimler AG to Mercedes-Benz Group AG. The focus of the rebrand is to enhance passenger cars and vans in the luxury segment. The strategic move to rebrand was to fulfil the brand’s objective to focus on financial and mobility services by offering insurance and rental subscriptions and digital fleet management systems.

Other German brands did not fare so well in the ranking this year, with Volkswagen (brand value down 13% to US$41.0 billion or CAD$52 billion), BMW (brand value down 6% to US$37.9 billion or CAD$48.2 billion), and Audi (brand value down 20% to US$13.8 billion or CAD$17.6 billion) all seeing losses in brand value. With lockdowns, network contractions in production and the ongoing semiconductor shortage, the industry has been faced with many challenges. Apart from sector wide disruptions, the German automakers who were reliant on diesel-powered vehicles have had to deal with regulatory challenges and the transition to electric mobility and electric production methods, resulting in rolling back on production to meet industry trends.

Porsche most valuable among luxury and premium, but Ferrari strongest across the whole table

Porsche is the most valuable luxury and premium automobile brand in the world with a brand value of US$33.7 billion (CAD$42.9 billion). The automobile giant celebrated the 50th anniversary of the iconic Porsche Design with a limited-edition sale of 750 cars to pay tribute to the iconic design by Ferdinand Alexander Porsche.

The brand’s aim to transform into an agile company has led to leveraging digital transformation by enhancing online sales. To adapt to new formats of sale in the automobile sector, Porsche has invested in e-commerce for 100 markets globally to adopt an omnichannel strategy to connect digital services and retail sales.

While Porsche is the most valuable brand in the luxury and premium segment, Ferrari was named the strongest automobile brand in the world with a Brand Strength Index (BSI) score of 90.9 out of 100 and a corresponding AAA+ rating. Apart from calculating brand value, Brand Finance also determines the relative strength of brands through a balanced scorecard of metrics evaluating marketing investment, stakeholder equity, and business performance. Certified by ISO 20671, Brand Finance’s assessment of stakeholder equity incorporates original market research data from over 100,000 respondents in more than 35 countries and across nearly 30 sectors. 

2021 was Ferrari’s best-ever year in terms of sales, with the company paying bonuses to all employees as a result, and the projected growth for 2022 remains high. The automotive brand’s historic pursuit of controlled growth has helped to preserve its exclusivity within its sector, however, last year Ferrari expanded its target market to a younger demographic by launching a new high-end fashion line. The aim of creating a brand that can cater to Italian luxury lifestyle in the high-end category will help expand and strengthen its brand portfolio into new avenues, whilst enhancing brand awareness amongst the younger generation.

Denso most valuable auto components brand

Car sales picked up following the loosening of lockdown restrictions, and auto component brands saw demand rise in turn. It has been far from clear sailing for the industry with the global chip shortage disrupting production, but the overall outlook is positive, evidenced by the vast majority of brands seeing good growth.

Denso has retained the title of most valuable auto components brand in the world for the 5th consecutive year, with brand value up 12% to US$4.2 billion (CAD$5.4 billion). The brand continued to play its part in combatting the COVID-19 pandemic, creating respirator components in collaboration with Ford, as well as hosting over 50 vaccination clinics for employees across North America. Looking forward, the ever-increasing adoption of hybrid and electric vehicles is good news for Denso, which has over two decades worth of experience in the manufacturing of hybrid car parts.

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Michelin most valuable and strongest tyres brand

As the world opened back up and travel increased throughout 2021 the tyre sector regained traction, with almost every brand in the ranking now more valuable than they were pre-pandemic.

Michelin has retained the title of the world’s most valuable and strongest tires brand, with a brand value of US$7.7 billion (CAD$9.8 billion) and a brand strength index score of 85.8 out of 100.

Despite continued disruption within the industry, Michelin saw a 15.6% year-on-year increase in consolidated sales in the first nine months of 2021 and exceeded expectations in the third quarter of the year thanks to a rebound in demand for tires for agricultural machinery. The brand also announced an extension of its partnership with the MotoGP World Championship, remaining the exclusive tire supplier for the competition until 2026.

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SIXT is fastest-growing car rental services brand

The car rental brands have gained momentum in 2021 after a steep decline in brand value at the start of the pandemic. As the demand for vehicle hires increases, brands in this industry are presented with the opportunity to innovate and capture a high market share.

SIXT is the world’s fastest-growing car rental brand of 2022 with a 115% increase in brand value over the year to US$1.3 billion (CAN$1.7 billion), according to the Brand Finance ranking.  This year’s increase is the continuation of an impressive growth trend for SIXT, which has seen its brand value increase 265% over the past five years. The brand has built a strong international growth strategy, expanding rapidly in the United States and entering new markets, such as Australia.

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Enterprise has retained the position of the world’s most valuable car rental brand with a brand value of US$7.1 billion (CAN$9 billion) with a 6% increase in brand value over the year. Despite COVID-induced travel restrictions, the brand has performed well by launching new mobility hubs and undertaking fleet electrification, but it remains below its pre-pandemic brand value of US$7.4 billion (CAD$9.4 billion). For the Silo, James Haggis.

Featured image: Great Wall Ora Concept Electric Car Made In China

Ontario Set to be First Province to test Auto-driving Vehicles and Technology

Ontario First to Test Automated Vehicles on Roads in Canada

Province Supports Innovation in Transportation Technology

 

You should take auto-driving cars seriously- every major Auto manufacturer is venturing forward with concepts like this one- GM's EN-V
You should take auto-driving cars seriously- every major Auto manufacturer is venturing forward with concepts such as this one from General Motors- the GM EN-V

 

Ontario is launching a new pilot to allow for the testing of automated vehicles on Ontario roads.

 

Automated vehicles are driverless or self-driving vehicles that are capable of detecting the surrounding environment using artificial intelligence, sensors and global positioning system coordinates. Automated and connected vehicle technologies have the potential to help improve fuel efficiency as well as reduce traffic congestion, greenhouse gas emissions and driver distraction.

 

Beginning on January 1, 2016, Ontario will lead Canada as the first province to test automated vehicles and related technology on-road. Currently there are nearly 100 companies and institutions involved in the connected vehicle and automated vehicle industry in the province. The pilot will enable those companies to conduct research and development in Ontario rather than in competing jurisdictions, as well as support opportunities to bring automated vehicles to market.

 

The province is also pledging an additional $500,000 in funding to the Ontario Centres of Excellence Connected Vehicle/Automated Vehicle Program, in addition to the $2.45 million in funding recently provided. The program brings academic institutions and business together to promote and encourage innovative transportation technology.

 

Ensuring Ontario’s place as a world leader in the auto, transportation, information and communications technology sectors are part of the government’s plan to build Ontario up. The four-part plan includes investing in people’s talents and skills, making the largest investment in public infrastructure in Ontario’s history, creating a dynamic, innovative environment where business thrives, and building a secure retirement savings plan.

Not all concepts are futuristic looking such as Google's modded Prius. We're betting Ontario will test more conservatively styled auto-drivers such as this one. CP
Not all concepts are futuristic looking such as Google’s modded Prius. We’re betting Ontario will test more conservatively styled auto-drivers such as this one. CP image: New York Times

QUOTE

 

“In the world of transportation, Ontario has the opportunity to show leadership on automated technology. Today, Ontario is making its claim in the global marketplace by taking the next steps in automated vehicle innovation. The automated vehicle pilot will ensure that the province’s roads remain safe without creating burdens that stifle investment and innovation in Ontario’s dynamic business environment.”

— Steven Del Duca, Minister of Transportation

 

“Ontario is a global leader in developing and manufacturing the next generation of vehicles.

This new pilot program will build on our success, and help Ontario lead the development of automated and connected car technologies. In this highly competitive global economy, investing in people’s talents and skills to create the next generation of innovative technologies is good for business, and can help lead to the easier movement of goods and services across the province.”

— Brad Duguid, Minister of Economic Development, Employment and Infrastructure

 

QUICK FACTS

 

  • Information about applying for the pilot will be available online from the Ministry of Transportation in late November.
  • The Institute of Electrical and Electronics Engineers forecast that by 2040, autonomous vehicles will account for 75 per cent of all vehicles on the road.

 

LEARN MORE

 

Ontario Investing in the Next Generation of Connected Vehicles

Connected Vehicle/Automated Vehicle (CVAV) Research Program

 

Who wouldn't want to ride/drive Chevrolet's FNR concept car?
Who wouldn’t want to ride/drive Chevrolet’s FNR concept car?

 

Disponible en français:
L’Ontario est la première province à mettre à l’essai les véhicules automatisés La province encourage l’innovation dans les technologies des transports 
L’Ontario lance un projet pilote en vue de la mise à l’essai de véhicules automatisés sur ses routes.
Les véhicules automatisés sont des véhicules sans chauffeur ou autoconduits qui peuvent détecter l’environnement avoisinant grâce à l’intelligence artificielle, aux capteurs et aux coordonnées fournies par le système de positionnement global. Les technologies relatives aux véhicules automatisés et connectés ont le potentiel d’améliorer le rendement du carburant et de réduire la congestion routière, les émissions de gaz à effet de serre et la distraction au volant.
Dès le 1er janvier 2016, l’Ontario sera le premier lieu au Canada à mettre à l’essai les véhicules automatisés et les technologies connexes sur la route. Près d’une centaine d’entreprises et d’établissements œuvrent actuellement dans le secteur des véhicules connectés et automatisés dans la province. Le projet pilote permettra à ces entreprises de mener des activités de recherche et de développement en Ontario plutôt que dans les territoires concurrents, en plus de créer des possibilités qui favoriseront l’introduction des véhicules automatisés sur le marché.
La province s’engage aussi à injecter 500 000 $ de plus dans le Programme de recherche sur les véhicules connectés et autonomes par l’intermédiaire des Centres d’excellence de l’Ontario, outre le financement de 2,45 millions de dollars récemment alloué. Ce programme réunit des établissements universitaires et des entreprises en vue de promouvoir les technologies de transport novatrices et d’encourager leur utilisation.
S’assurer de faire de l’Ontario un chef de file mondial dans les secteurs de l’automobile, du transport et des technologies de l’information et des communications s’inscrit dans le plan du gouvernement visant à renforcer la province. Ce plan comprend quatre volets : investir dans les talents et les compétences de la population, faire le plus important investissement dans l’infrastructure publique de l’histoire de l’Ontario, créer un environnement dynamique et novateur où les entreprises prospèrent, et établir un régime d’épargne-retraite sûr.
CITATIONS
« L’Ontario a l’occasion de montrer l’exemple par le recours à la technologie automatisée dans le domaine des transports. L’Ontario marque aujourd’hui le marché mondial de son empreinte en franchissant une nouvelle étape pour stimuler l’innovation dans l’automatisation des véhicules. Le projet pilote sur les véhicules automatisés sera mis en œuvre de façon à s’assurer que les routes de la province restent sûres sans créer des fardeaux qui étoufferaient l’investissement et l’innovation dans le dynamique environnement commercial de l’Ontario. »— Steven Del Duca, ministre des Transports
« L’Ontario est un chef de file mondial dans la conception et la fabrication de la prochaine génération de véhicules. Ce nouveau projet pilote misera sur notre succès et aidera la province à prendre les devants dans le développement des technologies des véhicules automatisés et connectés. Dans cette économie mondiale hautement concurrentielle, le fait d’investir dans les talents et les compétences de la population afin de créer la prochaine génération de technologies innovatrices est bon pour les affaires et peut faciliter un mouvement plus fluide des biens et des services dans l’ensemble de la province. »— Brad Duguid, ministre du Développement économique, de l’Emploi et de l’Infrastructure
FAITS EN BREF

  • Le ministère des Transports offrira de l’information en ligne sur la présentation de demandes dans le cadre du projet pilote à la fin novembre.
  • L’Institut des ingénieurs électriciens et électroniciens prévoit que les véhicules autonomes compteront pour 75 p. 100 de tous les véhicules sur la route d’ici 2040.

 POUR EN SAVOIR DAVANTAGE
Soutenir l’innovation dans les technologies de transportProgramme de recherche sur les véhicules connectés et autonomes