Dodge, the performance division of Chrysler Motors, is proud to bring you this special
presentation of the Sports Illustrated 25th Anniversary Swimsuit Video, a behind-the-scenes
look at one of the most entertaining, widely-read magazine issues in history.
You can ride with the wind, when you're one with the road. You can feel every move, you're in control.
You'll find it at the heart of every car and truck we build, and you'll find it in yourself
every time you take the wheel. It's the new spirit of performance. It's the new spirit of Dodge.
It's gonna be hard to narrow these down, Julie. This is a nice picture, but I don't think it cares.
This is nice, sexy. I love the color, but I also think that we're gonna print eight million of these.
Eliminating the running? Yeah, but it's the same suit. That's a better picture.
It looks Sports Illustrated. It's hard to believe this is 20 years old, so it's the first time.
That's a great picture. That wild red hair. I love this one here. That's a Mexican.
Those are adorable. It never rains in Utah, but it rained while we were there.
There are about five to me that were absolutely pure, auto-natives. I think that was worth it.
Julie, I'm sorry to be ruthless, but we're gonna have to be, as I said before, no-ruthless.
It's gonna be a hard one, Mark, 25 years.
We filmed 14 of these girls, and only one of them can make the cover.
And she'll be a celebrity overnight.
Good job, good job!
This is incredible. Look at that. It's in the middle of nowhere.
You don't have to go out in the forest.
Did you see that tarantula in the highway we passed? Just coming out of the place of
about that big a tarantula. Imagine that in your room.
Imagine that in your room tonight, about 1130.
I wonder if we should knot it again up around her neck so it'll be tighter.
What? Oh, let me do that.
Do you have a towel or something she can wrap around to walk, because she's gonna get all
these on her?
We can give her a piece of plastic.
Give her the sheet that we already got.
It's a very subtle color. I haven't come to it yet.
You said this looked great on her.
That looked beautiful on her.
Okay, let's put Rachel in this.
No, that was Kara.
Kara, I mean.
Yeah.
This is just right because there's the pink behind her and the blue sky.
Does that fit you right?
Yeah.
I have to fix the neck.
Go like this, pull it out and put it back down.
See if you can get that star point over that. Is that impossible?
Yeah.
Okay, let's go.
Perfect. Higher for your arm, Maria. For your other arm, higher. For your, yeah.
Sweater for your leg, Maria. Don't stand on your toe. Rachel, don't stand on your toe.
Yeah. No, no. Be normal.
Okay, that's perfect.
Well, what Julie does is working with the photographers. They edit everything down to
the last couple of hundred pictures and then I look at the last couple of hundred pictures
with them and my art director and Julie and oftentimes the photographer and then pick
the pictures from those last couple of hundred.
Sweater your leg, Maria.
I mean, this particular picture here is the real genius of Julie. She's matched a particular
woman to a suit against the background, against an environment. You know, people say, why
do you bring seven, eight, nine hundred bathing suits on a shoot? This is the reason because
you have the right suit for the right model.
Maria.
What?
Don't squint.
Don't squint.
You've got to make it sort of a feeling that maybe these are the girls next door. I know
that not many people have girls next door who look like that, but that certainly is
the image I think that they project.
Longer for your legs. Yeah.
More down your head. Yeah.
Paulina and Stephanie have very, very similar qualities. Their hands and repose are always beautiful.
Bend more now. Arms more.
Ah, very good. Yes.
And they know how to have a wonderful directness with the photographer. Their gaze is very,
it's not challenging.
Just move.
Yeah.
They all have moods. Now Kara's, she smolders.
Maria.
That's good.
Lovely.
Oh my God.
It's very Mexican.
And this is the first time I've ever used Maria and I think she's very special to me.
She looks like the all-American girl.
Some of it is just, is just performing in front of a camera. You know, I mean, I certainly
don't do the things that I do in front of a camera. I just do the things that I do in
front of a camera in real life. You know, I get really shy in front of snapshots and
sort of hide behind. People take Polaroids and things, but when I'm in front of a camera
and I'm working, it's a totally different experience.
Stephanie, you can make the suit a little smaller right here. Just a little.
And Stephanie, Stephanie's got fire.
Um, nothing in particular goes through my mind. I just, I just, I just, I just, I just
feel whatever I'm doing and, you know, feel the elements, whether it's the wind or the
sun or look at the ocean and think of things that make me happy or make me feel good inside.
Yeah.
How many pictures did you do, you big picture hog?
I'm not a picture hog. I need two pictures.
God, she looks like a lampshade.
Rachel is a marvelous model. She's very fresh.
Rachel, give us the kukaracha.
I don't wink very much, can you tell?
She's a New Zealander. She's proud of it. She makes me want to go to New Zealand and
see this wonderful country.
Models have told me why the cover is so important to them is that it launches them as a name.
It's a discovery.
They all know that it's not predetermined which person or which garment will be on the
cover of the magazine, that they all have a fair shot.
I'd love to be in the magazine but I don't like to think about the pressure of it. I
don't want to put myself sitting there chewing my nail thinking, oh God, I've got to get
in there, you know.
It would be great. I mean, it would be great. Theoretically what would happen is that the
phone would not stop ringing and I would get all sorts of incredible offers from people
all over the world saying, we want you for this and that and that and my life would be
set and that would be it.
It's up to the girl. If she works very well she's going to have great pictures and if
she doesn't put in, she isn't.
Perfect.
There.
There.
There.
Yeah.
Yeah.
Turn around.
Look at me.
Go wild.
Come on, go wild.
She's doing it so proudly.
It's like a frog.
More fishing me.
Okay, it's a wrap guys.
Thank you, everyone.
A good model will endure. I don't think age has anything to do with it. It's an attitude
and self-confidence.
Cover your head, Vlad.
I hope she's not stepping on eggs.
It's like being Tiffy Hedger and a phone booth.
I first photographed Cheryl in 1968 from 1969 issues, so it's 20 years.
And she still has a great body. Hope for us all.
How does it feel out there?
Well, you know, every once in a while you get a mother who's not happy to get off her nest
and she keeps buzzing around, squawking, and telling you to go away.
But I'm bigger than she is.
The birds woke me up. My alarm clock.
Working for Sports Illustrated over the years has been very instrumental in my career and
where I am today because of the exposure.
Not literally.
And I'm paid for this.
That looks...
Do you think you have enough back?
No.
Do you think so?
I think so. I think this is the back.
Let me see.
I think it looks great.
Cheryl, that's the way it goes.
It's smashing.
I mean, come out. Look in this big mirror.
Only Cheryl Teeth can wear this.
If I did, it would be hilarious.
You feel good in it. If you don't feel good in it, I don't want you to wear it.
I think it looks better this way than backwards.
It doesn't paint into a suit that a model doesn't like.
I think if a model loves a suit, she's going to give it a little extra.
I feel like I'm in the Sahara with birds.
It's like coming out of the shower.
When I do this, it means I'm elated.
No mercy when you look good.
You have to be aware of your entire body.
It's whole from your toes, legs, stomach, hips, arms, everything.
Head, hair, and then you have to forget about it.
It has to come out through the eyes.
Stop for one moment. I change your legs.
So hot.
It's hard.
After all these years of being so professional,
the photographer knows what he's doing.
We can sort of settle back and relax and do it with our left hand.
We work just as hard.
That was the best role.
You're exhausted, but you don't go out in the morning and say to your crew,
how are you?
And they say tired.
And we say, oh, well, we feel great.
You'll feel great a little later.
You don't let down.
You can't let down.
Son, son, Cheryl.
Sometimes you know while you're shooting, the light is beautiful,
the model is relaxed, the photographer's working, and there's magic.
Son, you got it.
You really have to have beautiful light.
No words are missing.
Say the same.
No words are missing.
This is for your great laugh, Cheryl.
I love it.
I hate to hear my laugh.
Chat in.
Maybe stop crying.
I keep laughing.
He's going right into your picture.
I love this plane.
Just hang right in there.
Talk to her.
I can't, Julie.
I don't feel it.
Just say great or something.
Well, not that I like it, but that's how I want it to be.
Hold it there.
When you're posing, turn your back and fix your pose.
So the strategy has changed a lot of things.
Working with Julie, having these covers,
has given me a lot more confidence in myself.
I can now look in the camera and be able to have a relationship with the camera.
Whereas for a long time, I couldn't because I felt so insecure and so self-conscious.
I still feel like that.
Great, great, great.
Why don't you translate for me, Julie?
That's great, great. That's nice.
Arch your back when you do that.
Do it. Get out of here. Go, go.
Go! Hurry up, hurry up. You've only got two minutes.
You know, I'm really not being modest.
I've been on the cover for three years. It's incredible.
It's what Christie's done. It's what Cheryl's done.
Even to be mentioned in the same breath of them is shocking.
Okay, fine.
Right there.
Listen, I'm not here for the cover.
I'm here to work because it's a joy.
Ta-da! Ta-da!
Great, great, great.
Shark!
Look, look, look, look, look, she's running.
Look how lovely. It's getting smaller and smaller.
Goodbye, El.
I know what she feels good in.
She's happiest when you put her in something.
She could go scuba diving in or play on the beach.
Anything that I don't have to look too sexy in.
All right. She hasn't had any of these on.
And I haven't seen some of them on.
I have them zip you.
Oh, yeah.
You want to laugh?
This is what we do to a nice hat.
I almost like this one better.
I like this one.
But you and me.
This is nice when you take the cover off.
Thanks.
Don't hold your tummy because it makes your ribs get down.
Yeah, but now my stomach's sticking out.
My little El.
You buy these hats in the hat market,
and they don't cost much,
so then you don't feel guilty chopping them up.
Nice, nice, nice, nice. I like it.
Very strong.
This excites me.
Okay, hold that.
Beautiful.
Yes.
Nice.
Oh, the back is so beautiful, the colors.
Everything is working.
The light, the background, the beautiful girl all over tan.
Ribbons I've been carrying around to 10 different countries.
It could be a cover.
I think this will be one of the great pictures
in my 24 years of doing these,
how excited I am about it.
Beautiful.
I want to see your back a little more.
Just twist around. Yeah, yeah, yeah. That's good.
She knows she's beautiful.
So exuberant and so lovely.
The first year we worked together,
El was very, very shy.
Faya, you change something.
You literally get tears in her eyes
because she so much wanted to please.
It's because I'm on the borderline of being ugly
and being okay.
No, it's true. People that are like that.
They have a lot of range.
Sometimes they're very...
I don't know.
The people that you're not quite sure about
are the ones that have the most versatility
rather than the ones that are obviously
the most beautiful when you see them.
Yeah, I like the hair.
I like everything.
All right, here we go.
Wait, wait, wait.
I'm saying that.
I'm telling you to.
What are you doing?
It's a mouthful.
Take the portrait.
I think you have to fall in love with a girl when I'm shooting.
I decided not to do it.
Because Elle's really tired.
Why are you coming on?
I thought I'd model.
What are you laughing at?
Okay, okay.
It's a deal.
Take your clothes off.
I'm going to do it with my clothes on.
I'm lucky she didn't say you were going to have to do it, Jay.
It's beautiful.
I wanted her to play with her shirt
because the lice is just a tank top.
It should be more natural.
Let her do it her way.
Then we'll do it your way.
See, this is what we rehearsed yesterday, Jay.
You don't understand.
All right, then go ahead.
I've done it already.
Well, it's okay.
You have to give a model direction.
I've been doing this so long.
Tell her what you're feeling, what the fashion point is.
Right.
Come a little closer to me, Elle.
Now pull it over your head.
Go for it.
Move closer to me.
Okay, fine. That's it. Right there.
Ooh.
That's a good cover.
Beautiful. That's it.
We caught that. We didn't block that one.
Beautiful.
Wait, wait, wait, wait.
I want you to do that hug again.
Okay, wait.
Okay, wait.
H-U-T.
Oh, hug.
H-U-T.
Hug. Come on, Jay.
You got your MC high on your back.
We're in Africa.
Oh, look at the African tree.
All right.
It looks like Africa.
Those really are beautiful zebra's, right?
Yes, they are quite smart, aren't they?
Waterbuck again, of course.
Oh, they are great.
Oh.
It's chasing them.
It's chasing them.
Yeah, let's go like this and maybe they'll come back.
Sometimes they don't look.
Maybe they'll come.
There's the big mean nasty one, the redhead.
That one we don't want to go near.
Ah, that's that mean one.
We could give you groups of zebra, common zebra.
We could group you groups of gravy zebra,
which is the fine striped one.
We could give you a group with eland in it.
We could give you a group with buffalo in it.
How many?
We could give you a group with buffalo in it.
That's the greatest number.
Okay.
Anything up to where we have about 78 common zebra.
Okay.
But how close could we be within, say?
I would say about, well, you might be lucky to get 50 yards.
You could get closer.
I was thinking 50 feet.
50 feet.
Um, yeah, about 50 yards.
You might be, you just might strike it lucky.
I guarantee you the animals, and you'd have to take your shots as you find them.
Right.
Which ones are we up to have the most control?
Is it with the giraffes or more docile?
I think the giraffe are probably the most socially responsible.
Uh-huh.
And the least likely to be aggressive.
Can they be aggressive, giraffes?
Only if they're attacked.
Or if they're young.
What do they do?
They kick.
They weigh two tons and they kick very hard.
So we have to watch out for their legs.
Do they bite?
They're not going to be that close.
They don't bite.
Nice, Christy. That's beautiful.
Here we go.
Nice. Don't move a lot now.
Oh, this is wonderful.
That's beautiful.
Don't anyone move on our truck.
Can everybody hold still?
Open your shirt.
The shoulder.
It's sexy.
Très bon.
Here we go.
The giraffe are making the push.
I don't care where he goes.
Oh, there's one little long one going the wrong way.
Here we go, Christy.
Up the top.
We have to move again, Sam.
Christ.
Just a couple of good pictures.
Oh, man.
Oh, my God.
Oh, my God.
Oh, my God.
Oh, my God.
Look over this way, Sam.
Okay, Sam.
How close could we get to the elephants
without scaring them away?
Um...
It will be as far as you see those
toundries.
Oh, the trees way in the distance?
Yeah, that distance, yeah.
We can get closer than that.
Looks like a Hollywood elephant.
This elephant has experience.
I wonder if he belongs to Sam.
Oh, he's doing things
with his trunk. Nice.
If he charges, I'll jump
down.
And hide under the car.
What, I just hang under the roof?
I'm thinking he could charge his money.
Here we go.
Turn the other way, Christy.
Here he comes.
It's okay, Christy.
He must be the guard.
John.
I'll give you two frames.
Sam could take you over there.
Sam, would you take her over there?
Before he turns.
Oh, it makes all the difference.
Can you shield my eye for me?
Here we go, Christy.
It's all right.
That's the picture.
I think you heard his feelings, Christy.
Here we go.
Almost every young model that comes up
imitates Christy's pose.
You're beautiful.
She's got the classic pose.
That's great, Christy.
You can hold that top flap down, Christy.
That's great.
A lot of girls think all you have to do
is be beautiful.
It's not so. You really have to have
intelligence.
Oh, that look is really nice when you look
a little to the side of your eye.
I want to see smoke.
That means I want smoke coming out of their ears.
And that is usually in their eyes.
I'm going to move a little.
You're smoking, kid.
They look just gorgeous, Christy.
That's a covered candidate.
That's a girl.
Mm-hmm.
It's a ten, Christy.
Ho, ho, ho, ho, ho!
Go away.
Let's go, John. This is ridiculous.
Hey, Sam.
Hey, we don't want to get anybody hurt, Sam.
She's got the baby and everything
in that car.
Pull up. Let's go.
It was exciting.
Yeah, it was very exciting, but it was very scary.
Because we didn't have time.
I mean, nobody had explained to us anything
about the purring, right?
It's your fault, Jan. You should have told me.
I went on your elephant.
Right. So Sam told me while I was up here
and the elephant was charging that you've got a purr.
And so I was
standing up here trying to go...
My heart has recovered.
I know. I still feel like
I'm in a wild and crowded...
That was just great.
MUSIC
MUSIC
Found them 13 years ago.
They were in the same ad
and women's wear daily.
And I met the twins.
MUSIC
Hoo-yah, hoo-yah, hoo-yah.
Have I got it?
Hey-yah.
Let me see the 10 by 10 silver.
MUSIC
Let it have a safety pin on them.
I'll get one. Shucks.
I'm telling Bob to rush.
Smashing.
You know what you have to do? I'll give you Kleenex.
Your faces are very shiny.
MUSIC
Come over here, hon.
How did I have this?
Pace makes waste.
Woo-hoo-hoo.
Yeah.
We're going to Albuquerque.
We're going to hoop it up.
Woo-wee.
It's amazing. Through the years, the twins haven't changed.
They want to model
and they're so lovely,
but they're still a little shy
in front of the camera.
Hi, Abel.
That's a wall like that.
She's slowly rotating.
That's beautiful.
Very graceful.
Just like Martha Graham
to death here.
MUSIC
That's it.
MUSIC
That's it.
MUSIC
That's it.
MUSIC
That's it.
MUSIC
It's the way they always are.
They help each other.
What year were you on the cover?
1976.
1976.
It's more than ten years.
It's 12.
It's the only time we've had two girls on the cover.
OK.
Before you get dry, hon.
Walk in. Not too deep.
One more.
She's really S-curvy, which she should be.
We've got to keep her that way.
That's the old Christie Brinkley pose.
That's nice.
Very nice.
Great pose.
You got an S.
Your head was just right that time, you bet.
Both of you.
OK.
You can tell them apart now.
I have names written on the
folds of her feet.
I think they have them kind of throwing their heads back
so you have some spontaneity.
Remember yesterday?
Ha, ha, ha!
Close your head from side to side.
You bet you should be looking at her, honey.
My hair gets in the way.
That's OK. You can throw it back once in a while.
That's it.
Don't fight, girls.
Yes, fight.
They didn't have much experience yet
in modeling, but they were like kittens.
Always touching
elbows or knees.
There's something very sweet,
very vulnerable about them, and they still have this.
That is cute.
That's good. Very good.
That's it.
A wrap here.
I think we've got it.
Today we want to do it specially for each other.
F ordering helps us pull back our
That's pretty careful.
Very nice.
Don't push your butt down.
Don't touch it.
Put your butt up.
I'm going to do it with less of an arch.
I love the arch.
Yeah, but look at what happens there.
Because that's, I don't, you know, the second my back goes out, my tummy just...
No, it doesn't look like your tummy because it's, the whole thing is doing this.
Not too high fashion.
Little smile, flirt.
Yes.
Walter?
What?
You hear smoke and puffs behind you or is it just a fuse?
I don't know.
It just moves around.
Because it looks funny in the Annie's pictures.
Well, it's a lot tighter than that too.
Okay.
Carol's always been a hard working model.
I mean, she's a girl that's very aggressive.
Some girls you need to coax into a situation.
Or they're tired in the morning and they're just not ready.
Carol is always ready.
And she won't complain.
She'll sit on those lava rocks.
You know her butt's hurting.
But she knows we're trying to do something.
Okay, Carol.
In my business, we always try to bring an element of fantasy into the world.
And it's always nice to see in the middle of winter time, a sunny place or beautiful
pictures or a girl running on the beach.
Most of the girls I know in this business were the shy, very tall, very gawky looking
girls in high school who were pretty much sitting home on Friday and Saturday nights.
So it's always a change.
Last night we had a torch that was lit.
And that's a tiki.
Called a tiki.
That was very dramatic.
This last night, this could be a very strong cover contender.
We had about five minutes of warm light before the sun went behind the cloud.
This was about 6, 6.30.
Walter has a very romantic, lyrical, when you see the clouds floating around in the
water, this is very beautiful.
He's acutely aware of composition.
This is a nice spread.
And the gutter or the center of the page will run right through her shoulder and through
her bosom here.
Now, Walter and I are going to have a conference over that because we may have to do this again.
Yeah, see, that's what I did too.
I went, no, this can't be right.
The front is bigger than the back.
That's the whole thing.
Stretches 10 feet though.
Eight years of ballet to stand on one leg in the sand and put my knees to the ground.
Walter, this one is not done from the back.
We can make a statement from the front.
That's for sure.
This is hot Carol.
Really beautiful.
Put another roll and move in closer.
Is that the back?
No, that's the front.
Are you sure?
Yep.
Turn around.
Yep, you got it.
Oh, Carol.
My rear end has 22 on it.
Your rear end has a 10.
Where's that orange boogie board we just bought?
This time here.
Oh, that's the one.
That's the one.
That's the one.
That's the one.
That's the one.
That's the one.
That's the one.
That's the one.
That's the one.
That's the one.
That's the one.
That's the one.
That's the one.
That's the one.
That's the one.
That's the one.
That's the one.
That's the one.
That's the one.
Oh, we can't get down here.
We have to come up here and play on the
ground 니 love functional
We were gonna get no shooting him because the weather was so bad
It was rainy and rainy and rainy and we shopped and we sat there was no no and I kept saying five o'clock
The sun's gonna come out and about 515 the sun broke out with this yellow credible light
Francois let her do it now. We got this rainbow Walter. All I can say is you're lucky
You stepped in it somewhere
Oh
This happens to me all the time
Okay
This is a dream Carol just go in the water submerge yourself lay the boogie board down and come back out
All right
Okay
Okay, let's go to the white
Acting it's all acting. That's all it ever is. I
Don't know I think about if I spotted a young guy across the sand
If I was 18 coming down at the beach for the day
Do one of these two we just have to let the server bend down. Yeah
That's beautiful like sometimes it's the feeling of the light hitting your face just sometimes warms you just feel good
I mean at first you want to get in the magazine because if you don't have good weather
they might end up with one little picture and
For five days six days of hard work like we work on these trips
You don't want to end up with just one little picture. So first you want to get in the magazine. The cover is a real coup
It's something that every girl wants
But you can't you can't go through the trip just hoping to get a cover because you'll end up really disappointed
Only one girl gets a cover and I think we're taking 11 girls this time. It's a big issue
I believe that's all it takes to 14 missing girls
What shall I do with my
Oh, it's a...
Two piterons.
Okay, a lot of piterons.
Yeah.
Okay.
Okay.
So we have to go over...
Attention, the bottle.
Okay.
Okay.
If we are in class, you can give us a...
Okay.
Attention.
Okay.
Let's see.
Okay.
Cathy is probably the girl who has consistently gotten the most letters.
Last year, when there were only one or two pictures of her in the magazine,
we got hundreds of letters saying,
Why did you have only one or two pictures of Cathy?
Where's Cathy?
We want more pictures of Cathy.
It's a strange thing, because you are always working,
even though it might look like you're just standing there, sitting there.
You are always concentrating.
You have to be able to work with the camera.
A fish is heavy.
Yes.
He weighs about 25 or 30 pounds.
You know, there are just so many things you can do on a beach
and so many poses, and there's something a little special to it.
Yes.
Yes.
Your fish a little closer.
No, too much.
Okay.
Ready?
Okay.
She never complains.
The water is freezing this morning.
Look, they're putting ice water on her now.
She manages to look pretty even when she's in pain.
All sorts of things go through my mind.
You just have to tune everything out,
and it helps a bit that I have really bad eyesight.
I don't see all the people watching and pointing.
Very nice.
If I really stopped and thought about it,
and if I put my contact lenses in,
I'd probably run home.
But it's okay.
You get used to it.
MUSIC
I think she's so popular because her sweetness comes out.
She's sexy but doesn't do overtly sexy motions.
MUSIC
She's got some wonderful, luminous eyes.
Almost like a cat.
MUSIC
Yes.
Nice.
Good.
For Sports Illustrated,
you do kind of have to flirt with a camera a bit
for those types of pictures.
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Every girl's come close to the cover.
You never know who's going to make it.
It all remains to be seen,
what the pictures look like when we get back.
I think for cover, probably the wet one's better.
What do you think?
As much as I like the color.
Doesn't this bother anybody here?
Behind.
I don't disagree with you.
That's a really tough decision.
The skin color's very peculiar.
Look how dark her legs are and how lighter.
The logo, there's no room for the logo.
I think her hand disappears.
It's out of the screen.
I think this is a casualty, Julie.
I think this is the most cover-fetching.
Would you try that and try that?
Just see what might happen.
Try these two as a cover, correct?
Mm-hmm.
So it's this or this?
More to the side.
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Kathleen?
This is your friend, Jules.
How you doing, babe?
I'm great. How you doing?
I want to tell you something.
Congratulations, your S.I.'s 1989 cover girl.
What?
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Julie, are you kidding?
I'm not kidding you, no.
Oh, my goodness, fantastic.
Thank you.
You earned it.
Oh, that is great.
I'm looking at it and it's perfectly beautiful.
Wow, what a way to start off the new year.
You bet.
Congratulations, Kathleen Ireland.
Thank you, Julie. This is great.
I am so happy.
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Now, as usual, we're ready to shoot, right?
But there's always a cloud that comes over.
If it's not a cloud that comes over, it's the wind from the back,
so the hair is in the face.
Now, my hair is ready, but nobody else is ready.
So by the time they're ready, my hair won't be ready.
Of course, my makeup was ready about 14 hours ago,
and now that they're ready for me, my makeup isn't ready anymore.
But, you know, that's modeling.
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Yay, oh!
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Oh, a little higher to your left, huh?
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This is only so I feel good, not so I look good.
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Created to slip the bounds of nature
and powered by an unrelenting force within.
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The intercooled, turbocharged Dodge Daytona Shelby.
Total performance.
Body.
And soul.
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This video was brought to you by Dodge,
the performance division of Chrysler Motors.
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