#SmallVans

When Ford launched the Transit Connect in North America in 2009, it was little more than a budget-friendly hauler for small business owners who needed a small van to help with their blossoming flower-delivery service. By the second generation, it received new engine options and became decidedly more passenger friendly, but remained light on features and refinement. Still, if you put a gun to the heads of a lot of car experts and asked them to pick a do-anything small vehicle, the Transit Connect would probably be on their short list.

Updated for its third generation, Ford is further enhancing the model’s versatility and comfort. However, Ford appears to be marketing the Transit Connect toward a very specific demographic — baby boomers.

While we think the Transit van’s smaller sibling probably has a far broader appeal than just the AARP crowd, things like a hip-high slide-in driver seat (with more comfortable foam), plenty of room for the grandkids, and an ultra-low load height do seem like desirable features for aging shoppers. You’d think Ford would market the Connect a viable alternative to crossovers.

This is not a review of the Transit Connect. That’s coming next month courtesy of another TTAC writer. This is a story about childhood, loneliness, obsession, friendship, the Gateway Arch and its ridiculous security humiliations, and what happens when four old white guys play a Rage Against The Machine song in a state-of-the-art studio. You’ve been warned.

There’s this company, you see, called St. Louis Music. If you’ve ever heard of Dan Armstrong, Ampeg, or Crate, you’ve heard of “SLM”. They used to make good stuff, and they made a lot of it in the United States. During the Seventies, the product quality of many US-made items was in the toilet. The Big Two of American guitars, Gibson and Fender, seemed to be engaged in a war where the prize was bankruptcy and the weapons were crap guitars, high prices, indifferent corporate ownership, and refusal to listen to their dealers.