Roth finally hit on a figure which worked for both parties and Newt was in, but he was in for a shock! 'One of my first projects was Orbitron,' he recalls. Roth was well aware of the young designer's talents and over a period of time made him several offers, all of which Newt turned down. Having qualified as an automotive stylist, Newt had paid his way painting and selling his own T-shirts. Newton joined Roth halfway through the Orbitron build. As time went on, his obligations to Revell became a major factor in when a car was completed.' Other contracts such as his deal with Revell and magazine deadlines influenced how he'd work. 'He'd know where a new car would debut because he'd have made a deal with a show promoter remember, Roth's cars were paid-for attractions. 'Roth worked in fits and starts,' says Ed 'Newt' Newton, original designer of the Orbitron. Orbitron should have been business as usual. Mysterion, Outlaw, Rotar and the Beatnik Bandit had established his reputation and he was a huge draw at car shows. Revell's renditions kept Roth's pay cheques flowing, and considerable sums they were - until The Beatles stepped onto American soil and young men swapped their glue and modelling knives for guitars and microphones. Roth's business was predicated on his show cars and commercial tie-ins, most notably his deal with Revell model kits. By his hand came a body of work that included hot heartfelt innovative rods built today can be successful without a smattering of Roth-like thinking. This article on Ed Roth's Orbitron was originally published in the January 2010 issue of Street MachineĮd Roth was many things: pin-striper, artist, hot rodder, opportunist, publisher and the godfather of custom culture.

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