The 1971 Trumps Moto-Pop: Crystal Palace’s weirdest race meeting

Photo: Neil Paton

On this day 54 years ago, an F3 race in south London encapsulated the 1970s impact on motorsport to a tee

How to define the early 1970s? Times of excess and madness, in which a great social rupture defined the tone. A time when the hippie movement began to give way to new countercultural trends, where jazz and soul evolved into disco. The beginning of that decade would be one of the great turning points of the 20th century, where the general body of society was broken into small groups, each seeking their own identity.

Motorsport, with its somewhat traditional aristocratic tone, perhaps did not fit so well into this discourse of a new era. However, even it had to undergo changes to adapt to the social context of the time, with each category betting on different moves to be the most avant-garde of its time. Porsche’s striking World Sportscar Championship liveries including its iconic Martini sponsorship, and in F1 some of the drivers inserted the lifestyle associated with that drink into their personalities.

However, perhaps the best individual case that encapsulates the decade’s impact on motorsport was a non-championship Formula 3 race held around London’s Crystal Palace circuit on June 18, 1971. Officially the Chris Moore Memorial Trophy, the event was so much more than the usual one-off race meeting which attracted entries with prize money and official honours. This instead was a microcosm of the cultural melting pot of the period. The idea was simple: why not combine music, and its appeal with young people, with a F3 race, which suffered from the absence of the next generation from the grandstands?

On paper, success seemed plausible given that F3 relied heavily on young drivers who – even those with aristocratic roots – had a greater connection with their peers and the off-track cultural context. By adding something that tapped into that, such as live music, it was expected there would be no shortage of attractions for young people. Promoters now may see multiple entertainment options at live events as key for broadening their appeal, but this idea was scantly used back in 1971.

The Le Mans 24 Hours, Indianapolis 500 and other major (and lengthy) races were known for providing off-track but on-site entertainment and activities so spectators could enjoy a break from watching vehicles going past, but tieing a race to other cultural offerings was not a marketing strategy for sport like it is now in a multimedia environment.

The Crystal Palace circuit

In 1971, when a group of small-and medium-sized companies interested in sponsoring a multicultural event in Britain where their brands could be showcased went looking for a suitable candidate, they found an F3 race meeting to be just the setting they needed.

Led by the Trumps agency (a multi-purpose company), this group formulated a bid to bring together a fashion show, concerts a general-purpose fair and an F3 race – something that elevated the simple logistics of a race meeting to a much more complex and interconnected level.

The BARC, organiser of one of Britain’s F3 championships at the time, accepted the bid (perhaps due to the monetary opportunities that such a test event could offer) and presented the Chris Moore Memorial Trophy meeting as a suitable race event to attach the cultural offerings on to. Organised in memory of upcoming driver Chris Moore, who had died from a brain tumour aged 25, it had taken place at Thruxton the previous two years and with the F3 race itself counting towards the BARC’s championship in 1970.

It was already scheduled for the 1971 edition to be held at Thruxton in March, too soon for Trumps to organise all of the off-track content and also too unsuitable for it. So the BARC then proposed a complete overhaul: postpone the race to mid-June and relocate it to Crystal Palace.

The London street circuit had an open-air concert space, the Crystal Palace Bowl, and space for fairs within its inner park. As important was of course that it was within an easily travelable distance for many young people.

With the city’s many young people and commuters in mind, the Trumps-led group came up with more exotic ideas. The possibility of holding the race at night, and on a Friday, began to be considered, a complete break from traditional BARC rules. The sponsors thought it would fit the schedule well, since off-track activities including music would be starting at 9pm that day. Carefully considering the request, the BARC again gave in to pressure, and so June 18 became race day.

The Crystal Palace Bowl

Although the BARC held some responsibility to market the meeting, the event sponsors took that on and there was a publicity campaign on the run-in to the event. But almost no mention was made of the ‘III Chris Moore Memorial Trophy’. Instead the race’s commercial name, which it has been remembered by since, was used: the Trumps Moto-Pop.

For the music, the line-up was already decided: Manfred Mann, Desmond Dekker and the Aces, Humphrey Lyttelton, and the night-closing New City Jazzmen. But what about the F3 event? Who would be the main stars to attend this part of the show?

Assembling the grid

Although the shows, exhibitions and fairs was what largely attracted the public’s attention to Trumps Moto-Pop, the BARC has done its best to try to offer great on-track entertainment. Although the unique opportunity to compete in a night race in London was an interesting proposal for drivers, the Chris Moore Memorial Trophy was not counting toward’s the BARC’s British F3 championship, while one of the BRSCC’s two national championships raced at Brands Hatch that weekend.

So it was no surprise there were major absences when the first version of the entry list was published a few days before the race. Stars such as Dave Walker, Colin Vandervell and Peter Hull had all declined the invitation to compete.

But that didn’t mean there would be a lack of talent in contention. Among the leading drivers to take up the BARC challenge were future Formula 1 world champion James Hunt, soon-to-be British F3 champion Roger Williamson and Andy Sutcliffe.

Williamson was actually the standout name in this trio. Tom Wheatcroft had brought Williamson under his wing in 1970 as the 22-year-old won a touring car title, and helped revive his F3 career by making him a Wheatcroft Racing driver for 1971.

His bet on Williamson paid off, as he won in the BRSCC’s Lombard North Central F3 championship at Mallory Park and Brands Hatch and came seventh in the Monaco Grand Prix’s main F3 support race before June. He would go on to win the Lombard North Central title, and be runner-up in the BRSCC’s other championship and BARC British F3 before winning both in 1972.

Photo: Mike Fairholme

Underpinning his performances in 1971 [pictured above] was the March 713M he drove, which was one of F3’s standout cars that year courtsey of its Ford engine that had been modified by specialist engineering company Holbay.

Hunt, who many picture when thinking of motorsport in the 1970s, was driving for March’s factory team. The 23-year-old had a turbulent time in F3 the year before, with car problems and controversies on track tarnishing his image. But his star potential ultimately trumped concerns about elements of his character in and out of the car, and after concluding his 1970 campaign in a Lotus with Molyslip Racing he had interest from rival teams. March signed him to drive a 713S (later swapped for a 713M).

Sutcliffe, 24, had a tough rookie year in F3 but was improving as a sophomore and camee fourth in BARC British F3 in 1971.

After losing sponsorship from Lenham Hurst, support that had been essential for making it into F3, Sutcliffe actually spent 1971 as a privateer responsible for managing the finances and logistics of the Lotus 59/69 he entered as well as driving it.

There were 15 other drivers on the Trumps Moto-Pop entry list. The Australian International Racing Organization (AIRO) sent three of its vibrantly orange cars to race, driven by future F1 world champion Alan Jones, Brian McGuire and Allan McCully. Hunt had Irishman Brendan McInerney as a team-mate, and also represented on the grid was Brazil and the USA.

It was then time to head to Crystal Palace, to compete for the Chris Moore Memorial Trophy. Or the Trumps Moto-Pop. But didn’t that name belong to the show? Whatever those going to race called it, this was just another day in the exotic 1970s…

A peculiar evening

As soon as the entrants had settled down in the circuit pits after arriving, it began to become clear that things would not proceed as planned. It was a cool, cloudy and rainy Friday, which did not match with the party-like atmosphere sought by Trumps and the BARC. Von Opel was a no-show, and AIRO’s drivers were among those who pulled out after practice.

Trumps Moto-Pop/Chris Moore Memorial Trophy entry list [v1]

When the cars made some noise by heading out for qualifying, the first sound checks were also carried out at the Crystal Palace Bowl.

While the musicians had some protection from the weather on the covered stage, the F3 drivers had to face the adverse conditions head on. Rain fell continually around the 1.39-mile lap, varying between periods of greater and lesser intensity. Able to handle it best was Hunt, who was consistently the fastest on the track thanks to an innovative tyre strategy. Trading second place were Williamson and Alan McKechnie Racing’s Bob Evans.

The risk of an accident in the wet conditions, coupled with the event’s non-championship status, meant several drivers chose not to qualify (along with others who had already decided not to race) and so only 10 cars appeared on the grid.

The BARC was disheartened by the withdrawls, and even considering cancelling the race. The 10 who had qualified assured that they would be willing to race, so while it did go ahead the reduced car count and adverse conditions meant it was shortened from 15 to 10 laps.

Just before 8pm, and without the extended daylight usually present in June due to the weather, the field left the paddock to line up on the grid.

When the race began, Cavan Riley launched into fourth behind the top three qualifiers, but very quickly found a puddle, spun and came close to striking a wall. The drivers around him avoided his car, and Sutcliffe inherited fourth place ahead of Brazilian privateer Jose “Giu” Ferreira and Barrie Maskell.

Hunt had a gap by the end of lap one, free of the spray his pursuers had to contend with. Williamson and Evans had difficulty following closely because of that, and dropped back a few seconds early in the race. The same happened with Sutcliffe, Ferreira and Maskell, who focused more on staying on track than on progressing up the order. Soon McInerney retired in the pits, due to problems with his car’s fuel supply system.

Photo: Manuel Serrano Caso

The rain worsened, but racing continued. Hunt grew his lead further, and the rest of the field scattered but there were some skirmishes. Williamson came under pressure from Evans, driving the unique Puma-BRM car from 1969 that had been abandoned in a garage four miles away in Peckham until Evans bought it in 1971.

On lap three, backmarker Richard Longman lost control of his Lotus 69 while rounding Ramp Bend. It vibrated when braking, then Longman went spinning towards the outside barriers. It was a car wrecker, but he emerged unharmed.

The sight of his crash sent a warning signal to other drivers that pushing harder could have serious consequences. Evans, who was on the verge of overtaking Williamson, decided to settle for third rather than risk throwing his race away.

Despite the risks, and with a comfortable lead it would be embarrassing to throw away, Hunt attempted to take the fastest lap away from Evans.

With a few laps to go, Hunt pushed too hard at the fast downhill Park Curve and spun, almost hitting the barriers before quick reactions got his car pointing straight again. It’s a challenging corner that exists to this day, albeit not for racing.

After the scare, Hunt finally realised that victory — rather than testing himself in the most difficult of conditions by going for the fastest lap — was what mattered most to end the day with.

At the conclusion of 10 laps and 13m18s of racing, Hunt met the chequered flag with the symbolic honour of being the first winner of an F3 night race around Crystal Palace. Williamson and Evans kept their cars on track to finish second and third.

Despite the weather turning the undulating circuit into a venue better suited for tip-toeing around at low speed rather than testing the limits of single-seater machinery, the drivers still looked impressive on track for the spectators sat close to the action. They could see the steering inputs and rapid reactions that were required to keep a competitive pace in such adverse conditions. Exultant and drenched was Hunt, who in addition to taking home the trophy had pocketed the “big” prize of £75.

[Hunt and Jones in 1971] Photo: TNF

The after-party

The torrential rain impacted the entire schedule of the event. Despite being carried out as agreed, the fashion show and fair promoted by Trumps and the conglomerate of sponsoring companies was a commercial fiasco, as the weather led to low attendance figures. The shows and concerts at the Crystal Palace Bowl fared a little better, but still below the organisers’ expectations.

Even so, it is undeniable that the Trumps Moto-Pop was a landmark not only in British motorsport, but also internationally. The race paved the way for the integration of motorsport as a form of convergent entertainment. Although this could already be felt at massive events like the Le Mans 24 Hours and the Indianapolis 500, this was the first time where such a strategy was implemented at an event where junior single-seaters got the top billing.

The event was later dubbed by the press as “Trumps Moto-Flop”, but if the rain had eased on that June evening 54 years ago, what might have happened? Perhaps the public would have flocked to the event, with the original schedule planned by the companies in conjunction with BARC being executed to British perfection. However, history is not made of ifs and maybes.

One thing that can be said is no event defined so well what the 1970s would be like for motorsport as the Trumps Moto-Pop. The time of searching for a new identity, in which new possibilities were embraced as traditions were left behind and the niche was consumed by the establishment to enable mass consumer appeal.

As major championships’ marketing strategies prove today, motorsport was no longer a square and hermetic form of entertainment. And the stepping stones to the F1 grid being worth $2 billion in sponsorship revenue today were events such as Trumps Moto-Pop where new players experimented as their interest grew in single-seater racing’s commercial potential.