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Leipert Motorsport Shines at Nürburgring Event

Leipert Motorsport competed in the third round of the GT Summer Series at the Nürburgring with Gregor Drasal behind the wheel of the #9 Lamborghini Huracán GT3 EVO. In hot summer conditions, the team demonstrated strong pace from the very beginning. Drasal set the fastest time in free practice, carrying this momentum throughout the remainder of the race weekend.

Photo courtesy Liepert Motorsport; photo by Juan Rueda / @culturaracing

The #9 also delivered a consistent qualifying performance. Gregor Drasal secured third place in class for both Race 1 and Race 2, putting himself in a strong position for the opening races of the weekend.

Despite the promising starting positions, the opening two races did not unfold as planned. After the starts, Drasal dropped back to tenth overall in both races. However, thanks to impressive race pace, he fought his way back through the field on each occasion to finish fifth overall and fourth in the GT3 AM class.

Photo courtesy Liepert Motorsport; photo by Juan Rueda / @culturaracing

The third and final one-hour race of the weekend brought the well-deserved reward. Starting from fourth on the grid, Drasal was involved in an exciting battle at the front of the GT3 AM field. Delivering a consistent and mistake free drive over the full race distance, he secured second place in class and celebrated his first podium finish of the weekend

Photo courtesy Liepert Motorsport; photo by Juan Rueda / @culturaracing

“Gregor delivered a strong and consistent performance throughout the entire weekend. His recovery drives in the first two races, together with the podium finish in the final race, demonstrate the progress he has made. The third race in particular showed what is possible under normal race conditions. We are very pleased with the result and are already looking forward to our next GT Summer Series outing.” – Managing Directors Marc Poos and Marcel Leipert

Following the successful race weekend at the Nürburgring, the GT Summer Series now heads into its summer break. When the championship resumes at Spa-Francorchamps, Leipert Motorsport will aim to build on its strong performance and once again challenge for podium finishes.


About Liepert Motorsport

Leipert Motorsport was founded in 2002 and became one of Europe’s top GT-Teams in Sprint- and Endurance-Racing. Spreading its GT-Engagement even wider across the continental borders, this step is the logical consequence for the German team after being a front runner and championship winning team in multiple competitions.

Leipert Motorsport Dominates at Spa-Francorchamps

The third round of the Lamborghini Super Trofeo Europe at the legendary Spa-Francorchamps circuit turned into a highly successful weekend for Leipert Motorsport. Despite extreme temperatures reaching up to 40°C, the team arrived well prepared and was rewarded with two pole positions, six podium finishes, three class victories, and its first overall win of the season.

Photo courtesy Liepert Motorsport, photo by FOTOSPEEDY

The free practice sessions already proved challenging for both drivers and team. High temperatures combined with several red flag interruptions significantly limited track time. Nevertheless, Leipert Motorsport demonstrated impressive pace in qualifying. Axel Bengtsson (#44) secured pole position in the first qualifying session, while Chris van der Drift (#75) set the fastest time in Qualifying 2 before receiving a three-place grid penalty following contact during the session. Månz Thalin qualified the #44 second in the PRO class for Race 2, lining up alongside Chris van der Drift on the second row of the grid. Brendon Leitch and Don Yount (#70) completed the team’s strong qualifying performance by taking second place in the Pro-Am class in the opening qualifying session.

#44 PRO – Månz Thalin (SWE) & Axel Bengtsson (SWE). Photo courtesy Liepert Motorsport, photo by FOTOSPEEDY

After claiming pole position in Qualifying 1, the #44 entered the weekend in an excellent position. The Swedish pairing finished sixth in the PRO class in the opening race after a time penalty for exceeding track limits prevented an even stronger result. Race 2 brought the reward they had been working towards. Starting fourth overall, Thalin and Bengtsson steadily fought their way through the field with a series of decisive overtaking moves. They eventually took the overall lead and drove faultlessly to the chequered flag, securing Leipert Motorsport’s first overall victory of the 2026 season.

#70 PRO-AM – Don Yount (USA) & Brendon Leitch (NZL). Photo courtesy Liepert Motorsport, photo by FOTOSPEEDY

Don Yount and Brendon Leitch carried their strong qualifying performance into the races. In the opening race, the pairing finished second in the Pro-Am class to claim a well-deserved podium finish. For Race 2, Yount started from eighth in the Pro-Am category before handing the car over to Leitch during the pit stop. The New Zealander then delivered an impressive recovery drive, making several decisive overtakes to climb to third in class and secure the duo’s second podium finish of the weekend.

#75 PRO-AM – Hairie Zairel Oh (MAS) & Chris van der Drift (NZL). Photo courtesy Liepert Motorsport, photo by FOTOSPEEDY

Hairie Zairel Oh and Chris van der Drift underlined the pace of the #75 by setting the fastest time in Qualifying 2. Despite receiving a three-place grid penalty, the duo still started from a strong position and took the overall race lead already in Turn 1. Chris van der Drift successfully defended the lead until the pit window opened. However, the demanding conditions and the remainder of the race prevented a podium finish. After placing eighth in Race 1, the pairing finished ninth in the Pro-Am class in the second race.

#88 PRO – Henri Tuomaala (FIN) & Matias Salonen (FIN). Photo courtesy Liepert Motorsport, photo by FOTOSPEEDY

Spa debutants Henri Tuomaala and Matias Salonen delivered an impressive performance despite the limited running in free practice, qualifying sixth (Tuomaala) and fifth (Salonen) for the two races. The Finnish duo finished fourth in the PRO class in Race 1. In the second race, they secured a well-earned podium finish. Crossing the line in third place in class, they capped off a faultless performance and collected valuable championship points.

#89 AM – Todd Kingsford (AUS). Photo courtesy Liepert Motorsport, photo by FOTOSPEEDY

Competing solo in the AM class, Todd Kingsford enjoyed an outstanding first race weekend on European soil. After qualifying fourth in the opening session and third in Qualifying 2, the Australian dominated both races in the AM category to claim a commanding double victory.

“The heatwave in Spa made this race weekend a real challenge for both our drivers and the entire team. That makes us even prouder of what everyone achieved together. Our first overall victory of the season, combined with numerous podium finishes, is a well-deserved reward for the hard work of the whole team. We were also particularly pleased with how well our five guest drivers integrated into the team. Together, they immediately achieved four podium finishes and one pole position. This weekend gives us great momentum heading into the upcoming races.” – Managing Directors Marc Poos and Marcel Leipert

Following the successful weekend at Spa-Francorchamps, Leipert Motorsport now heads to the next round of the Lamborghini Super Trofeo Europe at the Nürburgring with confidence. The team aims to build on its strong performance and continue its successful run.


About Liepert Motorsport

Leipert Motorsport was founded in 2002 and became one of Europe’s top GT-Teams in Sprint- and Endurance-Racing. Spreading its GT-Engagement even wider across the continental borders, this step is the logical consequence for the German team after being a front runner and championship winning team in multiple competitions.

Lemons at Copshaholm Concours

With more entries coming, the Copshaholm Concours in South Bend, Indiana is shaping up nicely.  While the event is always filled with stunningly surprising cars, trucks, and motorcycles, this year, the Concours d’Lemons joins the festivities to expand on the display.  Find out more here.

Friday, July 10, 2026 from Noon-5pm 

Terrible cars, worse trophies, lots of fun.

The Concours d’Lemons, a tongue in cheek show celebrating the Un-Best of the automotive world, clatters into South Bend, Indiana on July 10, 2026, as part of the Concours d’Elegance at Copshaholm. Held on the grounds of the Museum Campus, participants will share their affection of their less than loved autos with spectators and capricious, bribery prone judges who award thrift store sources prizes in hilarious categories such as “Rust Belt American Junk”, “Most Dangerous”, and “Best Back Seat”. The whole debacle culminates in the presentation of the coveted “Worst of Show” trophy that sees the owner and hooptie showered in silly string.

The Concours d’Lemons is free for spectators, while admission is charged to the Museums. There is a small fee to register your hooptie for the show and registered Concours d’Lemons exhibitors will get Friday-Saturday passes that includes the Museum Campus, Automotive History Live: An Automotive Forum, and the Saturday Concours.

Sign up your Hooptie

Concours d’Elegance at Copshaholm — The main event, this Concours showcases world-class automobiles in the historic gardens of the Copshaholm mansion. Throughout the day, guests will enjoy a lively atmosphere with local food trucks, a specialty ice cream vendor, and plenty of opportunities to relax, explore, and connect. The Concours will open to the public Saturday at 10:00 a.m. and conclude at 4:00 p.m., with the highly anticipated Pass-In-Review and Awards Ceremony beginning at 2:30 p.m.

Tickets & Packages

A variety of ticketing options are available. Make sure to buy your tickets in advance to take advantage of special early bird discounts.

Inside the Wild Worlds of Jesse Fresco: From Drive Like Hell to Skyhawk

Some storytellers build worlds. Others detonate them, rebuild them, and invite you along for the ride. Author Jesse Fresco belongs firmly in the second category — a creator whose work blends pulp adrenaline, sharp humor, grounded social commentary, and a healthy dose of chaos. His breakout novella Drive Like Hell and his ambitious sci‑fi epic Skyhawk showcase two very different sides of his imagination, yet both are unmistakably stamped with his voice.

In a recent episode of the Break/Fix podcast, Jesse sat down to talk about his journey from film‑industry stagehand to full‑time writer, the inspirations behind his characters, and the expanding universes he’s building one story at a time.

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Jesse’s path to writing wasn’t a straight line. After entering the film industry in 2008 as a grip and electrician, he quickly discovered the grind wasn’t sustainable: “I realized I don’t enjoy waking up at four o’clock in the morning to be on set for 14 hours a day… If you have hobbies, you’re not gonna enjoy them. If you have a spouse or partner, you’re probably not gonna see them.” 

The long hours pushed him toward writing as a creative outlet — something he could control, something that didn’t require a union call time. Over the years, he experimented with different projects, including early versions of what would eventually become Skyhawk.

But it was the desire for something fun, fast, and pulpy that led him to create Autumn Frost.

Spotlight

Synopsis

Break/Fix Podcast interviews author Jesse Fresco about his pulpy, fast-paced novella Drive Like Hell and the expanding Autumn Frost series, including upcoming sequels Black and Blue (set in Baltimore) and Funland Fury. Fresco discusses his background in the film industry and stagehand work, how writing became his escape, and his inspirations for characters, pacing, and car-centric action while keeping rules like having Autumn drive most of the time and never fire a gun. The conversation also covers his longer, more personal sci-fi novel Skyhawk, inspired by the NES game Captain Skyhawk, his choice of relatable “used future” worldbuilding, and plans for a seven-book arc, plus his self-publishing experience via Ingram-Spark, audiobook plans, and a new AI-themed sci-fi project.

  • They say “write what you know” so being a DMV-native, is the Autumn Frost series “based on a true story”
  • Autumn Frost feels like she was born from equal parts adrenaline, bad decisions, and Florida humidity. What sparked the idea for a protagonist who thrives in that kind of chaos?
  • The novella format gives Drive Like Hell this punchy, high‑octane pace. How did writing something shorter shape the storytelling style, especially with such wild, Florida‑man‑style antics?
  • Autumn Frost’s adventures feel like they could go in a hundred unpredictable directions. When you’re writing her character, how do you balance the absurd with the grounded, or do you just let the chaos lead?
  • Cars are practically characters in this story. What role does automotive culture — especially this uniquely unhinged flavor of it — play in shaping the narrative?
  • You’ve mentioned to me that Drive Like Hell is just the beginning. There’s another novella “Black and Blue” coming as the next installment in the series. What excites you most about expanding Autumn Frost’s world?
  • As you build out more stories in this universe, what new corners of you are most eager to explore?
  • Autumn Frost is such a vivid character. What aspects of her character are you looking forward to developing further as the series grows?
  • Your expanding Skyhawk series takes a sharp turn into a retro‑inspired, high‑flying adventure. How did the NES classic Captain Skyhawk influence the tone or world‑building for this new project?
  • For readers who fall in love with Autumn Frost, what can they expect from Skyhawk — and how does this new series reflect your evolution as a writer?

Transcript

Crew Chief Brad: [00:00:00] Break Fix podcast is all about capturing the living history of people from all over the autos sphere, from wrench, turners, and racers to artists, authors, designers, and everything in between. Our goal is to inspire a new generation of Petrolhead that wonder. How did they get that job or become that person?

The road to success is paved by all of us because everyone has a story.

Crew Chief Eric: Tonight we’re diving headfirst into the kind of storytelling that smells like gasoline, questionable life choices, and a touch of our favorite Florida man headlines, but all in the best way possible. Author Jesse Fresco has carved out a lane all his own with his book drive like hell, an Autumn Frost story, a novella that’s chaotic, clever, and unhinged in all the right ways.

And that’s just the beginning because drive like hell isn’t a one-off. It’s an opening salvo in a whole series of autumn frost adventures. Each one expanding this fever dream universe [00:01:00] where danger, humor, and sheer audacity all share the same bar tab. Jesse writes with that rare mix of pulp energy and sharp world building, the kind that makes these stories feel like a doorway into something much bigger.

And speaking of bigger, this wild rod is also a runway for his next major project Skyhawk. And if that name rings a bell, it should. Jesse’s tipping his hat to the NES Classic Captain Skyhawk channeling that retro high flying save the world spirit into a brand new book series that promises to be just as bold and just as unapologetic fun.

Everything he’s written so far. So whether you came for the Florida man style chaos, the pulp adrenaline, or the nostalgia charged flight path into Skyhawk, Jesse Fresco is about to take us on a ride that refuses to slow down. So with that, Jesse, welcome to Break Fix.

Jesse Fresco: Oh, thank you. Appreciate it. Keep going.

Keep more, more, more, more compliments. Keep going.

Crew Chief Eric: Well, like all good break fix stories. Everyone has a superhero origin story, and I found your bio to [00:02:00] be really interesting. It says. You began writing as an escape from your day job as a stage hand.

Jesse Fresco: Yep.

Crew Chief Eric: And your work is heavily inspired by 16 years in the film industry.

Mm-hmm. And your various life experiences. And I noted in the authors, you’re inspired by one of my personal favorites. Garth Ennis is on that list.

Jesse Fresco: That’s right.

Crew Chief Eric: Talk to us a little bit about becoming an author.

Jesse Fresco: Got into the film business back in 2008, right as I got outta college. One month later I was in the business as a, uh, gripping an electrician.

For, uh, films and tv and of course about three months after I got in the business, the 2008 financial collapse happened. And I swear to God, I was making a delivery to a place in DC for a commercial. I’m in a Sprinter van, so I’m at the loading dock and no one’s coming out to receive the gear. So I’m just sitting there and I’m listening to NPR ’cause I listen to NPR in the truck.

I’m like, man, no one’s coming out. And I would call the contact number, no one would answer. I’m, uh, I’m listening to the radio and it says on the [00:03:00] radio, Goldmans Sachs being investigated for fraud. The commercial was at Goldman Sachs in Washington, DC that day. So finally a guy comes out to the lone dock, he says, yeah, yeah, the job’s canceled.

I just looked at him dead in his face and I said, does this have anything to do with the fact that you guys just been accused of fraud? He stared at me for about five seconds, turned around and walked away. I’m pretty sure he lost his job that day. Uh, so for about a year at that point, I was working a kind of dead end job as a grip and an electrician at a grip house in Washington DC originally called Washington Source, now called Red Star.

They’ve since moved out of that location, but yeah, it took a little while, but eventually I did. The economy did recover. I gotta work on various films and TV shows. Captain America Two Veep, season one through Four, a little bit on House of Cards, Phil Amina. I did a bunch of movies, TV shows, and I kind of realized at a certain point I don’t really enjoy this.

I don’t like it, even though I, I love movies and I love TV shows, but I realized I don’t enjoy waking up at four o’clock in the morning to be on set [00:04:00] for about 14 hours a day. Because it’s a soul killing job. If you have hobbies, you’re not gonna enjoy them. If you have a, a spouse or a partner, probably not gonna see them.

If you have kids, you’re probably not gonna see them, don’t have pets. So it just gotta the point where I was like, why am I doing this? And then eventually I since turned in my union card in 2023. In September, 2023, I did finally turn in my card for IOI 4 87. And, uh, in 2016 I was, I jumped into stagehand stuff where I was just working in like concerts and corporate events, which, well, it doesn’t pay as much and it’s non-union.

It’s more my speed. I can set my own schedule. I don’t always have to get up at 4:00 AM I can work a normal job. If I had continued to try to stay in the film business, I would never have written anything.

Crew Chief Eric: So they say. Write what you know. And coming from the DMV, the Autumn Frost Series is based on a resident of the DMV.

And so I wondered, as I was reading it, in your sort of sorted past and all the jobs you’ve had, were you ever a, as you say [00:05:00] in the book, a two and from driver, did you drive for Uber or Lyft? No. Okay.

Jesse Fresco: No. No. I’ve no. I’ve never, I’ve never driven Lyft or anything like that. I, I questioned doing it at one point back when COVID was happening.

’cause I was like, I kind of need some work. But eventually I got the unemployment for that and I was like, okay, I can relax for a bit. One of the things that people always say is, well, I don’t know how to write. Well, here’s how you become a writer. You just start, just start, pick a thing you want to talk about and just start writing.

I did the kind of lead child thing, the writer of the Jack Reacher books, when he lost his job and he was outta work, he said, well, I’ve read a bunch of books. I could probably write one. How hard could it be? You don’t realize how hard it is until you actually start doing it, so, but it is tough. I would kind of off and on, start working on various things.

I’d started off various projects all the way, like the Skyhawk novel. That started as another project back when I was in film school in 2006, seven, something like that, called Seven Star Fighters. That was the, the seven moniker attached to a sci-fi storyline, and I kind of abandoned it ’cause I, I just wasn’t good enough as a writer [00:06:00] at that time.

Also, I then realized there’s another story that is that it’s called Battle Beyond the Stars. It’s a Roger Corman film. So I was like, okay, I’m gonna truck that out the window. Don’t need to do that. So I kind of put it on ice and I would come back to Skyhawk every now and again. It just kept changing over and over again.

There’s like. Three or four aborted attempts. I probably still have those on a flash rep somewhere, and I’m sure if I looked at them now I’d go, woo, that’s not good.

Crew Chief Eric: So let’s talk about the inspiration for Autumn Frost then. Are they based on true stories? Were these things you were reading in the news?

Where’d you get the idea for this?

Jesse Fresco: Because Skyhawk was so political and it’s it’s very politically oriented story. I said, you know what? I need something that’s just like some pulpy fun, just so people just jump in, read it, and jump out. Like you said, you read drive like hell very quickly on a plane.

That’s what I wanted. Something that you can just jump in, read it in one setting and you’re done. It edges into politics, but it doesn’t get super political. And one thing I was kind of interested in at the time was the fentanyl crisis that’s going on right now. Right around the time I was working on drive like hell, the Trump administration declared fentanyl to be a weapon of mass destruction.

First. I was like, that’s kind of dumb. That doesn’t make any sense. And a friend [00:07:00] of mine, Patricia, who is a magistrate down in Peterburg, Virginia, she said, yeah, that’s true. It is a weapon of mass destruction. It is an incredibly addictive drug. Drug Dealers will cut it. Into other things like cocaine or crack, so it becomes more addictive.

It can destroy an entire community. It’s a highly, highly addictive substance. And so I thought, well, what if somebody ends up with two pounds of this in the trunk of their car? It’d be really, really shocking. I’ve always had this thought in my mind, like if I, if I was like steal like diamonds or gold or something like that, it’d be.

People think, oh, I’m rich. Now, my first thought would be, what the fuck am I supposed to do with this? I can’t change this anywhere. What am I supposed to do with it? So if I ended up with two pounds of fentanyl, you might think, oh, I could sell this somewhere and make a ton of money. I wouldn’t know what to do with it.

I, I’d just be like, give it to somebody. I don’t know. So the Autumn Frost series, the character herself is actually based on a cosplay I really liked named Autumn Ivy.

Crew Chief Eric: Okay. Because I had this mental image of Dr. Beverly Crusher, played by Gates McFadden from Star Trek. Just, just the [00:08:00] way you explained her physique and the way she spoke.

And I was just like, I had this mental image. But I also noticed there was a theme. Redheads play a big role in your books because there’s a main character in Skyhawk that’s a redhead. There’s a couple ancillary characters that are redheads, and then Autumn Frost is redhead. And I’m like, okay, he’s got something going on there.

Jesse Fresco: I, I like redheads. I was like, but uh, the character is based on a, a cosplay like named Autumn Ivy. And at one point I was gonna have her do the audio book for, uh, Skyhawk and Drive like hell, but just schedules just don’t match up. She’s very, very busy, but the character is physically based on her. She’s big and she’s buff.

She’s got muscles everywhere. She has red hair, but a very, very sweet, cute face. And I was like, oh, that’s just Autumn. That’s it. I just wanted a character that doesn’t have a ton of baggage. She doesn’t have like a, a twisted, sorted pass. She wasn’t assaulted as a child. Like, no, she’s just a good person because Skyhawk is filled with a lot of morally ambiguous characters.

I said, you know what? Can I just have just a good person this sequel to derive like hell that I’m working on right now, black and blue, which is based in [00:09:00] Baltimore. The person she’s protecting says, why did you save me? And she said it was the right thing to do. Don’t need a reason.

Crew Chief Eric: I like the fact that drive like hell is a quick read.

It’s a novella format, which you don’t see much anymore. That was really popular, let’s say in the 1970s. These little novella series, like little murder mysteries.

Jesse Fresco: Yeah. Quick and cheap.

Crew Chief Eric: Yeah, and you’re bringing that back and I thought that was really cool. In order to do that, you have to make it punchy and high octane and very quickly paced.

It’s not a short story, it’s not an essay, it’s not a book. It’s somewhere in between. How did you find yourself writing something like that? That really hasn’t been done in quite a long time.

Jesse Fresco: I just kind of found ways to keep the pace up. For example, the, uh, the Baskins character, the sociopathic hit woman that was invented because I realized.

About chapter five, I was like, oh God, I’m gonna wrap this up in about five pages. I need some other kind of threat. ’cause originally they were just gonna just drop the fentanyl off and drive away. And I was like, well this book’s gonna be like 30 pages. I need more. And so introducing that character, it just felt like it [00:10:00] was appropriate to bring in some other threat because these follow the standard bell curve structure of plot.

Whereas Skyhawk is, there’s not really a plot structure to it. It’s kind of slice of life. Um, these follow the standard rising action. Hit the climax. Descending action. They knew ma very kind of standard structure because it’s just, you need something to just jump in, follow on a very easy path and then get out.

And so the characters in many ways are not necessarily underdeveloped, but they’re kind of straightforward. Like there’s not a lot of depth to them. You know, like the Cassie character. Not super in depth, but there’s a little bit. ’cause it’s meant to be a very quick compressed timeframe. It only takes place over the course of like 12 hours.

It’s just one bad night on New Year’s Eve. And black and blue is an even tighter timeframe. It takes place over the course of like five hours. It’s really, really quick.

Crew Chief Eric: You mentioned Baskin and again, mental images, right? So obviously you had Autumn Ivy in your mind for our main character, autumn Frost.

But Baskin reminded me of Mr. Kaplan from Blacklist, which was [00:11:00] Raymond Redingtons right hand sociopath. But I packaged it in this sort of. What if Lucy Lou was Mr. Kaplan? Like that’s, that’s the mental image I came up with. Am I, am I off base here?

Jesse Fresco: Uh, I’ve never seen Blacklist, so I couldn’t, I couldn’t really relate to that.

I, I can’t remember where, what the hell was the inspiration for Baskin? It was, um, oh, I’m trying to remember. Oh, it was, there’s a moment in Angelina Jolie, Brad Pitt, Mr. And Mrs. Smith movie where Brad Pitt is at a card game. Somebody walks in and says, it is like something like, are you here for a job? And Brad Pitt goes, you are the job.

And then just bam, bam, bam, bam. Just shoots everybody in the room. I was like, okay. That’s just Basket’s character. Just does her job. Keeps to herself. Not really associated with people. ’cause uh, I was looking into what mental impairments could be useful as a hitman. I mean, you could also go back to, uh, Anton Sugar from No Country For old men, it clearly, a sociopath has no regard for anybody but himself.

He gets away with it at the end, which is. The [00:12:00] way the criminal justice system works these days, bad guys tend to get away with stuff. So

Crew Chief Eric: let’s talk about Autumn’s adventures a little bit more. And obviously you’re expanding her universe, you know, with black and blue and whatever else you have on the drawing board.

Mm-hmm. It feels like her adventures could go in a hundred different directions, right? Because they’re sort of absurd. Like I, and we tongue in cheek the idea of the Florida man story, but you hear some of these Florida man story headlines and you’re just like, truth is stranger than fiction sometimes.

But where do you plan? On taking her character, how far can you really go and how do you balance the absurd with the grounded

Jesse Fresco: in terms of plots? I just kind of come up with what would be interesting to me at the time. What are legitimate threats that we’re dealing with currently in America? I mean, black and blue.

The main threat is ice agents. There was that whistleblower came out, said that ICE agents are being trained to disobey the constitution and violate human rights. I was like, oh, okay. Then they’re bad guys. Not one of them stood up and said, Hey, this is wrong. So I thought I said to myself, okay, what if I [00:13:00] made them the villains?

I don’t have to explain anything. Everyone sees it now, and no matter where you land on the political spectrum, if you see people being dragged outta their homes. This is inherently wrong. And so black and blue is about autumn protecting a 15-year-old kid who is on the run from ice, and it’s a case of mistaken identity.

They got the wrong person. The wrong person was listed on their poll sheet, like, whoop, we gotta bring this person in. It’s like, no, that’s the wrong name. But they’re already committed. So they say, well, the hell with it, let’s just get ’em anyways. And then the third one that’s gonna be probably coming out around September called Funland Fury.

Autumn is gonna be on vacation with her girlfriend Becky in Rehoboth Beach, and they’re at a nightclub one night and there’s a shooting. Very much is similar to the Pulse nightclub shooting that happened down in Florida. And it turns out there is a neo-Nazi initiation ritual happening. Gotta kill somebody.

And so Autumn, instead of being sort of on the run like she is in the first two books, she is out for revenge.

Crew Chief Eric: Oh, interesting.

Jesse Fresco: Yeah. One of her friends gets killed at the nightclub and so she’s taking a more proactive approach in the third book.

Crew Chief Eric: Alright, well this being a. We’re gonna put [00:14:00] air quotes, car show, you know, cars play a central role in Autumn’s world as a to and from driver.

And they’re practical characters in the story. I mean, you talk a lot about her Honda, right? And

Jesse Fresco: yeah, the Honda Accord.

Crew Chief Eric: I have so many questions. I could put so many threads and I’m like,

Jesse Fresco: why? Why a Honda Accord? Because it’s plain Jane. Normal.

Crew Chief Eric: It is. But then I kept thinking, well, is it the four cylinder? Is it the sixth?

Well, she doesn’t drive a stick. I figured that out.

Jesse Fresco: She knows how to drive a stick. All right. She knows how to drive a stick, which she, Dr. She does get one in black and blue, and there’s a bit where somebody meets up with her and she has to drive his car ’cause he’s been shot in the shoulder so he can’t drive.

And it’s a Subaru and she says A Subaru. Really? Yeah. But the, but the Subaru is a manual. It’s a stick shift and it’s got a supercharger in it. So it’s like, oh, this is gonna be great for a chase sequence. Great. We’re gonna totally overpower these guys.

Crew Chief Eric: So it’s, it’s fun things like that where you say, well, the Subaru’s got a supercharger in it.

’cause it’s like, okay, so that’s some fast and furious mods. ’cause it came with turbos from the factory.

Jesse Fresco: Mm-hmm.

Crew Chief Eric: So I found little things [00:15:00] like that as a car nerd. They just kind of stuck out at me like the scene at the mall. Where she’s trying to evade the guy in the old Land Rover, which if you’ve ever driven a Land Rover of that era, they’re not that fast.

That made me laugh for one, but then she’s like up on two wheels and I’m like, oh wow, this is getting interesting. I would’ve assumed Honda Accord icy night, that would’ve under steered and maybe she would’ve rubbed the jersey wall going down the ramp or something. I was like, okay, well he put up on two wheels.

I’ll take it. I’ll take it. You know, you take the absurd with the realistic.

Crew Chief Brad: Yeah,

Crew Chief Eric: like the tire change scene. I don’t wanna give any. Spoilers out, but I’m so glad it didn’t escalate. ’cause I was like, spare tire, this is gonna get really good, really quick ’cause uh, it’s not gonna hold up to her previous driving, you know, stuff like that.

Mm. So I was thankful for those little tidbits, those little extras. And then again, as a car nerd, things stuck out to me and I’m like, well.

Jesse Fresco: Mm-hmm. Weird thing, I’m not a supercar nerd. I do like vehicles. I li I appreciate them. I currently drive a, uh, a Hyundai Tucson. Not a great car. ’cause my previous [00:16:00] car was a Buick Sare and I love that thing because hey

Crew Chief Eric: now,

Jesse Fresco: hey, it was a very efficient car, great gas mileage, smooth ride, and then I hit a deer.

So, so my mother was looking to get rid of her car, so I inherited the Tucson and she got something else for herself. I got this one for free.

Crew Chief Eric: So in drive like hell, is that deer hitting scene, is that part of your actual experience?

Jesse Fresco: Yeah, it was there because I needed to get rid of one of these trucks that’s chasing her, and I was like, well, I did hit a deer last time, so I wanted to do that.

It wasn’t as bad as that. It, it was just, I kind of just bumped it and it fell forward and then it got up and ran off. But it was enough damage that it was so out of date that they said, yeah, insurance isn’t gonna cover it. It’s basically just, just totaled. It would drive fine. It’s just I can’t drive something that’s damaged like that on the road.

Crew Chief Eric: I found the car chase scenes, which there are a lot of in drive like hell to be entertaining, especially because growing up in that area as well, I knew the roads you were talking about. I was like, I know exactly where they’re going. I’m like, I can visualize that [00:17:00] intersection in my head right now. I don’t know if I would’ve survived it the same way she did some of those cases.

Jesse Fresco: She’s bad luck in life, which she’s good luck in driving.

Crew Chief Eric: Yeah, that’s what everybody keeps saying in the book. So I, I thoroughly enjoyed that and I expect to see that obviously. In black and blue and in the, in the following ones as well. So that being said, do you feel like you’re gonna grow that because it is the central point she’s driving and she’s out there.

What do the future car chase scenes look like? Can you give us some idea of like, do you get a little bit more into the driving part of it?

Jesse Fresco: Uh, well definitely in black and blue. I mean, first chapter it starts off, it’s like right on the road. Kid jumps in the backseat is being chased by ice agents. They speed off, they’re in Canton in uh, Baltimore.

She makes a drop off of there. And after her lunch breaks, kid jumps in, they speed off, and they try hiding out in a factory that’s been closed down. And agents, uh, surround the building and they realize there’s only one way out that loading ramp for where they bring tractor trailers in. So it’s like she’s gonna pull a fast and furious and leap out of it.

Unlike the Fast and Furious movies where cars are impervious, [00:18:00] the moment she lands like, okay, wheels shaking, there’s a vibration in the pedals, what’s going on? Like just a tiny drop of like three feet. Immediately something goes wrong.

Crew Chief Eric: So do you see a future for Autumn where. Again, based in the area that we live in and the resources we have available to us, where maybe she becomes one of the defensive drivers for like Department of State.

I don’t know if you’re aware, but that training actually happens at Summit Point, Motorsports Park.

Jesse Fresco: Oh, I didn’t know that.

Crew Chief Eric: Yeah, West Virginia. That’s where they train all the Department of State people. So like do you see a future for her where she goes into. Law enforcement or something like that, or is that too far in the future for her?

Jesse Fresco: Uh, that’s probably too far in the future. I did have an idea where a politician jumps in the back of her car, like there’s some kind of an assassination attempt and the agents like, shove the, uh, politician in the back seat. Just say, just get outta here. We’ll tell you where to meet up. Like, I’m just not sure how to get to that one.

Crew Chief Eric: You referenced in the book about she lost her welding job and she

Jesse Fresco: mm-hmm.

Crew Chief Eric: You know, she got the to and from gig and, and now her life is driving and to [00:19:00] me I was like, wow, that’d be a really cool progression if like in a TV show where suddenly she went from pulling herself by her bootstraps, losing the job that she had for such a long time, and now becomes like this superstar part of Department of State.

Like I could see that’d be a cool way to sunset that adventure in some ways where she became a. Super heroine in a way

Jesse Fresco: that could happen. The issue though is if you look at the current department of state, they have basically said LGBT characters or people like that, not welcome here. So we’re going backwards in that direction.

She is, at one point, I was gonna say, she’s a straight up lesbian and I think that she’s just pan

Crew Chief Eric: right

Jesse Fresco: open to everything, but she does have a girlfriend that’s not really gonna fly with the current political administration because this is set in Trump’s America.

Crew Chief Eric: Got it. Yeah.

Jesse Fresco: Yeah, I, I think I could probably get to maybe her being sort of a bodyguard.

I had one idea about her being a bouncer at one point at a club, maybe doing something like that because in black and blue, due to the events of drive like hell, she has a little arsenal in her car now. She has, um, all non-lethal weapons. She has a [00:20:00] taser, a, an extendable baton, mace, and a. There was something else I had in there as well.

Anyways. She has like non-lethal stuff. The two rules I had for myself was writing this, this series, she has to be in a vehicle at least three-fourths of the time driving. And two, she’ll never fire a gun, never fires a gun. Because I remember seeing a movie called Entrapment years ago with Sean Connery and Katherine Jada Jones and Sean Connery says, captain Jada Jones.

He says, never own a gun. You’ll be too tempted to use it.

Crew Chief Eric: Interesting.

Jesse Fresco: Yeah, I

Crew Chief Eric: like

Jesse Fresco: that. I needed to put some restrictions on myself. ’cause the more barriers and boxes you put yourself in as a writer, the more creative you can get as a story.

Crew Chief Eric: Since we’re talking about universe building, let’s switch gears a little bit away from Autumn Frost and the Autumn Frosts series and talk a little bit more about Skyhawk.

Jesse Fresco: Mm-hmm.

Crew Chief Eric: Skyhawk is a lot longer than Autumn Frost.

Jesse Fresco: Yeah. I had a lot to get outta my system,

Crew Chief Eric: and I will say it reads fast. I gotta pay you a huge compliment because in terms of tone. This feels more like Earnest Klein. It’s very much more like [00:21:00] ready player one in terms of style compared to Autumn Frost, which is very fast and very easy to get through.

I’ve been enjoying Skyhawk, but in, in the back of my head, I’m always going, I wonder if this part came from the game. I gotta go back and play it. You know? I got all my old NES cartridges and stuff. I’m like, where did he get his inspiration for that? Although there were no spinning space docks or anything like that.

Jesse Fresco: Yeah, none of that.

Crew Chief Eric: But it’s all good. But. He’s such a interesting character. There’s a lot of things going on. Not yet Captain, but Cyril Eisner, his flight handle is Skyhawk. Call

Jesse Fresco: sign, call sign.

Crew Chief Eric: Yeah. It’s call sign is Skyhawk.

Jesse Fresco: Which is funny because that’s the name of his ship and it is like you gave your ship and the call sign the same thing.

He is like, well, it’s too good. I can’t, can not use it’s,

Crew Chief Eric: it’s overconfident and a little pretentious.

Jesse Fresco: Well, that’s kind of the point. He is overcompensating.

Crew Chief Eric: Tell us about Skyhawk. I get that the inspiration is from the NES Classic, but where are you going with this one?

Jesse Fresco: That one is a much more personal story ’cause Cyril is based 70% on me.

I started writing that in earnest in, I think it was August of [00:22:00] 2024, when I was like, okay. I have a lot to get outta my system ’cause I’d had like a bad falling out with somebody. I had a thing for a lot of relationships, kind of imploded one after another. And at the time I had another po. I had a podcast that I was working on at the time for film and tv, and that was beginning to wrap up.

So I needed some sort of creative outlet. So I said, why don’t I just start writing Skyhawk? Why don’t I just start with that? So it’s intended to be the first in a series of seven. The character came out of me just trying to get a lot of junk outta my system, like Cyril’s father. That’s based upon a combination of my father and my stepfather, the life that he leads as a freelance star fighter.

That’s basically just my freelance life. Uh, he. Likes to work out. I enjoy going to the gym and working out. And so he has an addiction to coffee. I’m addicted to coffee. I’m up to three cups a day. I know my kidneys hate me. Uh, so, but yeah, he also has a lot of mental issues. Probably some sort of bipolar problem, probably some anger issues that comes in a little bit later.

And he is a [00:23:00] womanizer. He sleeps around a bit, and I’ve since gotten out of that part of my life. I’m 40 now. I gotta kind of stop doing that, you know. But, uh, yeah, it, it kind of was me just sort of what would I like to read? What would I enjoy reading? And I got to meet one of my writing inspirations, Lee Child, who writes the Jack Reacher books.

I met him in 2019 at the Hamilton in Washington, dc. I told him I was a struggling writer. I was trying to figure out what I wanted to talk about, and he just said, just write what you enjoy and have fun while you’re doing it. And that’s basically what he did with his first book Killing Floor, which now super well known.

It’s not a great book, but it’s, it’s a good first attempt for a writer. It the early Jack Reacher books. There’s some questionable parts in them. So I just started writing Skyhawk the way I wanted it. Like what do I want? He’s an ACE pilot. He does the right thing. He’s probably got some anger problems, but he ultimately will do the right thing no matter what.

He cares about his team, but he also doesn’t like the idea of command ’cause at a certain point later on, he really fucks up.

Crew Chief Eric: No spoilers.

Jesse Fresco: He fucks up really, [00:24:00] really bad. I put in, a lot of those characters are based on people that I know, like Jess is based on close friend of mine, ghosty Muffin cosplay named withheld upon request for her privacy.

But yeah, that’s just her. There’s an actual artwork image of her in the book that’s her, that is just her face and she does have a split tongue. So yeah, there’s lots of characters that are based on people that I know, and I put them all into the book and they all appreciated it.

Crew Chief Eric: For the folks that might start reading your books, and they may start with the Autumn Frost series and then jump over to Skyhawk like I did.

There’s a big question that I have about Skyhawk that maybe other people will come to the same conclusion I did pretty quickly, because it’s something you realize very early in the book. The first chapter sort of sets the tone politically. Yeah. 700 years after the revolution, we all went on to space.

Yeah. And these things happen. I’m exaggerating the dateline here. The

Jesse Fresco: prologue. Yeah. Yeah. Everybody kept telling me to cut that prologue. It was like, it’s too long. It, it’s not important. It’s like, no, it, it, it, it’s necessary.

Crew Chief Eric: It is, it, it makes me [00:25:00] understand, okay, we’re not on earth. But there’s earth-like things, you know, we’re in proxima B and there’s all the surrounding new alien species that are very humanoid or you know, sort of like Star Trek, where the Vulcans are basically humans with pointy, they’re like elves, right?

I mean,

Jesse Fresco: yeah. I didn’t want people with head tendrils walking around. There’s no twills in this universe.

Crew Chief Eric: Exactly. But the one thing that I struggle with, and I’m wondering if anybody else will, and I’m, this is why I’m asking you to explain it, is. When we get to Proxima B, where I’m just gonna say, captain Skyhawk lives and makes his life, right?

Mm-hmm. It is very much like Earth. There’s cars and there’s regular planes, and there’s this and there’s that, and there’s the coffee shops and the police precinct and all these things that I’m like. But aren’t we so many years in the future? Sh I I felt like it’s slightly devoid of sci-fi, which is not a bad thing.

But what I’m asking is why did you make the choice not to set it in, let’s say the same timeline as Star Trek? The next generation would’ve been in.

Jesse Fresco: The main reason is because. [00:26:00] When you’re writing sci-fi, you’re not talking about the future, you’re talking about the time in which you’re living. I’m a hardcore cynic.

My professional name on the podcast that used to be part of was the professional cynic. I, I think we’re at the point where this is as good as it gets. I don’t think we’re gonna really improve beyond this. There’s a really good book series I like call the Remembrance of Earth’s past trilogy. Three body problem, dark forest and deaths end.

And in that book it does get very ridiculous and kind of super sci-fi by the time you get to the second book and where people are using unique forms of transportation to get around, people are living in underground cities because up top, it’s nearly unlivable due to climate change. And that’s. Great, but it’s not relatable.

And I wanted things that are more relatable, more believable. And the reason I explained the situation on earth is because in book six we go back to Earth. Like I have the whole series planned out. We’re going back to earth at some point, and it’s wrecked.

Crew Chief Eric: Ah, okay.

Jesse Fresco: It does get cleaned up a bit because there’s less people there.

That’s the big problem we’re having now is that there’s just too many [00:27:00] people. There’s just too many people. Like this planet was not built to house 8.5 billion people. It’s built for like four, and I think we’re about to go through massive die off pretty soon, which is what happens in the book, the Dark Forest, which is that there’s this timeframe called the Great Ravine where due to.

Misallocation of funds, climate change and militarization of various nations due to this impending alien invasion, 5 billion people die. And I feel like that’s what we’re headed towards right now. We’re not getting off this planet, let’s just be honest. We’re not getting off this planet. And so I wanted things that are more relatable because I, I’m a big fan of the Expanse books as well as well, also the, uh, the TV show, which is phenomenal.

And that does feel like realistic sci-fi. If you wanna see what the future’s like. This is pretty much it. And it looks generally like what we do now. Yeah, there’s a little more technology. They have some holograms, which I didn’t care for. And I also prefer the Alien and Star Wars design of the used universe.

Things are kind of broken down. Things are kind of running on empty, things are kind of scratched up and scuffed up. Like Cy [00:28:00] Skyhawk is constantly being repaired, so there’s like plates that are misshapen and. Coloring is wrong. It’s like it’s things are just barely holding together. I wanted it to feel a little more relatable.

Like there’s a point later on in, I don’t think you’ve reached this point. They go to a pizzeria in the future. Like there, there’s a, there’s a pizzeria. Why? Because there’s always gonna be pizzerias in the future. Like it’s always gonna be that.

Crew Chief Eric: Well, and I think that’s part of its charm. It just feels very normal.

It feels very relatable, even though. The Skyhawk series picks up, if I remember from the prologue, it’s like 200 years from now or 250 years from now or something like that. Mm-hmm. So it’s in the not so distant future.

Jesse Fresco: Yeah.

Crew Chief Eric: What I noticed was there weren’t gigantic technological leaps outside of his ship and a couple of other things.

Yeah. I felt that that was believable. Now you do take a massive leap with the foil system.

Jesse Fresco: Yeah.

Crew Chief Eric: Where they’re doing the basically faster than light type transport teleporting type of thing.

Jesse Fresco: We recently did achieve it. We did achieve it. I, I think just recently, I think, think it was a, we teleported, [00:29:00] I wanna say it was an atom from one end of a room to another.

So technically we have achieved teleportation. Technically, uh, there’s a lot of hoops to jump through to get to it, but we have technically achieved it. It’s basically the Battlestar Galactica thing with the FTL drives. That’s, that’s all it is. I just need to get from point A to point B much faster because.

If I was to just not have that, I would have to use something like what they do in The Expanse, which is the Epstein Drive, unfortunate name

Crew Chief Eric: or something like Mass Effect, where they use the mass generators.

Jesse Fresco: Yeah. But even that, that series relies upon, well, we found this alien technology that we don’t understand.

It’s like, eh, I don’t really want that. It’s. The closest I get to that is in chapter three, where uh, they go to this planet where they find these ancient ruins and there’s like this whole alien civilization that’s been wiped out. It’s like, no, that’s the closest you get. It’s like going and visiting like the Incan Temples in Mexico.

It’s just an ex exploration of something that was bigger. That’s all you get.

Crew Chief Eric: It felt very Indiana Jones there for a minute.

Jesse Fresco: Yeah,

Crew Chief Eric: [00:30:00] and then it ended sort of Jurassic Parky, which I liked. I enjoyed that whole chapter though too.

Jesse Fresco: That was very much inspired by the video game. Hell divers.

Crew Chief Eric: Ah, there you go.

Jesse Fresco: Yeah, because I was, I was super into playing Hell Divers. I had a whole team I would play with. We would jump on every night, jump into hell divers two, and we would drop in and it was just always killing bugs and bots. It was so much fun. So bugs were on my mind. I was like, I’m gonna put that in. Yeah.

Crew Chief Eric: So the one thing I found funny though, to talk about the future by way of Skyhawk, was that you kept the cell phone around.

Jesse Fresco: Yep. I mean, I don’t say how big it is or how small it is,

Crew Chief Eric: right.

Jesse Fresco: In terms of like communications, like I remember seeing an interview with the Expanse writers and they said, these people like Mark Zuckerberg, think we’re gonna have like implants in our heads and we’re gonna have like biomechanical parts shoved into us.

And all the writers that were like, no, that sounds terrible. Why would anybody want that? That sounds awful. What if it breaks down? What if you’re trying to like download a file to like a chip in your head and you don’t have enough, you’re not connected to a wifi, you can’t get it. Why would you want that?

It’s like, yeah, so I just, I feel like the phone [00:31:00] will always be around. It’s the 21st century slave bracelet. It’s like we’re stuck with it. Like, I don’t think it’s gonna disappear. It might change its shape. It might look a little different, but it’s, I think we’re just gonna be stuck with it. I don’t see it really changing too much.

Like I said, I’m a professional cynic. I don’t see us moving too far away from the phone.

Crew Chief Eric: Let’s switch gears here a little bit since you’ve made the journey into not just one, but two series of books, what else are you working on? Got a third series in there that you’re cooking up.

Jesse Fresco: I have a one off science fiction book about artificial filmmaking that I’m working on called Artificial or.

The denouncement of false creativity. I see all these AI videos that pop up on social media, and I’m just like, Ugh. It drives me nuts. I can’t stand it. And you just look at the environmental devastation that it causes. It’s like, this isn’t worth it. But yeah, it’s about how I think the film industry is gonna look in the future.

Everything has been consolidated into one studio. There’s no competition left, and everything is done by [00:32:00] mainly one or two people to make a movie, and everything is just made in an artificial environment. Actors sell off their likenesses so they can just make money off of their likeness, but they don’t actually show up to do anything.

It delves into the concept of super intelligence with artificial intelligence, and that’s. If it achieves that, what would that look like? How would that affect society? What are the environmental effects of that? How does an AI come to terms with its own existence when all it knows how to do is just that one thing to make movies?

It’s that Rick and Morty bit the Butter Robot. Pass the butter. Yes. What is my purpose? You pass butter, but what is my purpose? You pass the butter. Oh my God. Yeah. Welcome to the club. Imagine telling that to a super intelligent machine. It has nowhere to go. It’s like it’s stuck in a box. It would lose its mind,

Crew Chief Eric: but does it really have a mind?

Jesse Fresco: If it’s super intelligent, it’s aware of itself.

Crew Chief Eric: That’s true.

Jesse Fresco: It’s aware,

Crew Chief Eric: sentient, right?

Jesse Fresco: Yeah.

Crew Chief Eric: So is there a passion project, something you’ve always wanted to write about that would be totally off of the stuff you’ve been working on now?

Jesse Fresco: I mean, I’ve got a bunch of the Autumn [00:33:00] Frost series working on, I’m, I’m still working on the seven Star fighters books.

I’m working on book two, which is called Seven Star Fighters. Sorcerers Gambit takes place about 20 months after the end of Skyhawk. Basically a big war breaks out after the end of that war. The human race basically loses they capitulate and say, yes, we give in, we’re done fighting. The story is basically a prison escape storyline.

It delves into, I dunno if you’ve ever heard of this thing called Unit 7 31. Back in World War ii, there was a Japanese medical program called Unit 7 31 for human experimentation. They said it was experimentation, it was actually torture. Really, really grim time. And the worst part is that there were no survivors and no one was prosecuted.

Crew Chief Eric: Again, you’re on this journey of many, many thousands of words. Mm-hmm. What would you say to, you know, an aspiring author, somebody that’s you a couple years ago, five years ago, 10 years ago, that’s thinking about writing a book, like you mentioned, write what you know, and, and you said at the top of the conversation, how hard could it be?

Famous last words on top gear as well.

Jesse Fresco: Yeah.

Crew Chief Eric: So what have you learned and what advice can [00:34:00] you share for aspiring authors?

Jesse Fresco: Number one, have an editor. Uh, absolutely get an editor. Uh, my, my editor, Brian Paone, who’s also a writer in Maryland, great editor. Also, he points out some continuity issues with some of my, some of my work.

Also, make sure to have people read your stuff before you start to publish it. Make sure you get feedback. Make sure that. You’re also a reader as well. You can’t write if you don’t read. Read everything. Read literally everything you can. Crime fiction, read biographies, read horror, read the classics, you know, but read anything and everything that you can.

You have to be a reader. If you’re gonna write, like I’m currently in the middle of Thomas Pins, gravity’s Rainbow, which I’m not enjoying. I don’t like it, but I feel like I have to read it because it’s considered a literary classic and I feel like I should read it. I’m also in the middle of Infinite Jest by David Foster Wallace, which I am enjoying very long book.

Feels like the ramblings of a madman, but it’s very good. And I’m also in the middle of the next volume of a series called Hammer Slammers by David Drake, [00:35:00] about a mercenary tank battalion in the year 3000. That very much inspired a lot of skyhawk in that in the future all warfare is fought with pmcs.

There are no official militaries anymore. Easier to just pay people, well to fight for you rather than using patriotism. It’s like, well, if nobody believes in your country, it’s not gonna matter. But if you pay them well, they will absolutely show up

Crew Chief Eric: as a writer, especially in today’s times, you know, a lot of folks have always relied on publishing companies, but there’s been a new trend, especially for younger authors, to go the self-published route, especially through organizations like Amazon.

For those aspiring writers, is that something you would recommend? Do self-publishing or go through a proper publisher? What has your experience been like for that?

Jesse Fresco: I tried pitching Skyhawk to various agents, and I got a lot of rejections because it’s not a traditional writing format. Very much inspired by Derek Robinson’s Hornet Squadron books, which are written very slice of life.

There’s not really a traditional plot structure. There’s not the standard bell curve, very morally ambiguous characters, and I got a lot of rejections also. Length of it. Kind of put a lot [00:36:00] of people off. So if you are really passionate about a story and really think this could be something, I would say go ahead and do self-publishing.

Just know you are gonna pay a lot of money, so if you can afford it, go ahead and do the self-publishing. I go through Ingram Spark, which is very efficient. They’re a little on the slow side, but overall I’ve had pretty good experiences. It’s also efficient in terms of payments. Every three months, you get a nice little check and direct deposited to your accounts.

I get a nice, like 10 bucks every three months, which is nice. They do take a cut because it’s basically print to order and it does link up to things like eBooks and Amazon and books a Million and things like that. So if you look there, you can find that stuff. But if you go to Ingram Spark, it does go more directly to them.

So it’s not like a six degrees separation kind of thing. It is a tough thing to self-publish because you have to do a lot of it yourself. You have to market it yourself, you have to share it yourself, signings. You have to organize that yourself. Whereas if you’re going through an actual publisher. They handle that, they handle the marketing, they get it out there, and so it’s a [00:37:00] little bit more efficient for them.

But, uh, self-publishing, I haven’t really had too many problems. Like I could have pitched Autumn Frost as a series to some major publisher, and they probably would’ve taken it because it’s a very straightforward story. But they would’ve said, oh, make it longer. Make it like 150 to 200 pages. And I didn’t want that because I just want ’em to be short, sweet to the point.

But they’re not gonna publish a book that’s only about 80 to a hundred pages. So I just said, I’ll just do it myself.

Crew Chief Eric: And in today’s publishing world, it’s a mixed media format too. So we’re just talking about printed media, and you mentioned eBooks in there. Do you see a future where Autumn Frost, or even Skyhawk will show up maybe on Audible as a audiobook?

Jesse Fresco: I am working on that. The problem with that is that it’s very expensive. I did finally get somebody that would be willing to do the audiobook. Friend of mine, she’s a musician in Maryland, and she will more than likely be doing the, uh, audiobook for Skyhawk and drive like hell. And so. I would probably just pay her directly and then I’ll have the audio file and then I’ll just send that to Audible and [00:38:00] they’ll have to approve it because she is a musician, she has the proper equipment for it, so it shouldn’t be a problem.

But yeah, it, I kept trying to get other people to do it, and schedules didn’t work out, and I saw people’s rates on various websites for what they wanted. It was like $3,000 for Skyhawk, and I was like, I can’t afford that. That’s three thousand’s way outta my price range. But yeah, because Skyhawk technically to print it, publish it, edit.

All that stuff was about 5K. So I’ll never make return on investment for Skyhawk, but it’s mine. That is exactly what I wanted. So with doing something like an audiobook, at one point I was gonna do it myself, but I just, I just don’t have the time. I just don’t have the time. It’s just way too time intensive.

It’s better to just pay somebody, have them do it professionally, and then I can send that off to some audiobook publisher and then they can handle it from there. So I’m working on it. It takes time.

Crew Chief Eric: Well with that, Jesse, we’ve reached that part of the episode where I like to invite our guests to share any shout outs, thank yous, promotions, or anything else we haven’t covered thus far.

Things like how do we get a copy of the Autumn Frost Series or Skyhawk?

Jesse Fresco: You can find both of [00:39:00] these on Ingram Spark, or you can find them over on Amazon. There’s links to places like Books A Million pretty much. If you just Google it, it should pop up just fine. Although the Amazon one, it does have another.

Cover that I rejected at a certain point because apparently the artist was using an AI tracing program and I said, Nope, you’re fired. So they lied. They said, yeah, I did it by hand. And then I saw it and I was like, no, that’s an AI tracing program. You traced over another cover. I see it right now. So I had to fire them.

And unfortunately, the one that’s on Amazon is the old cover. So if you want the new cover, go to IngramSpark and get the new one directly from that.

Crew Chief Eric: Well, and since we’re talking about covers. Wanna talk about the font on Skyhawk?

Jesse Fresco: It’s just the Captain Skyhawk font. It is just, it’s because I checked with the National Archives for Copyright Registry and because that game is so old, Nintendo did not re-up the copyright on it.

It’s technically, I think, public domain. So I just said, I’m just gonna take that. I had my artist, Fark Poko, who’s an artist over in [00:40:00] Hungary. I found him on Artscape. He does a lot of Star Wars stuff. I said, you have a really good look. I’m gonna hire you. So it’s like 500 for the front cover and it was well worth it.

It’s a great cover. I love it. At one point he was gonna do like a different kind of font for it. It was gonna be a different kind of design, and we went through it like a dozen different versions, and I just said, just use the original Captain Skyhawk font. It just looks better. And the way it kind of swooshes around the, uh, the wing kind of swooshes around the, uh, the title.

It just looked too good. I was like, no, just do that. Prefer that there is gonna be a change to it because once book two comes out, I am gonna redo the title and it’s gonna be called Skyhawk, A Seven Star Fighters Prequel. ’cause this is meant to be the setup for the next six books. This will continue in, uh, ongoing form once the second book is done.

These books take a long time to finish.

Crew Chief Eric: Yeah. And these are retailing four.

Jesse Fresco: Skyhawk is 20 and drive like hell is 10.

Crew Chief Eric: There you go.

Jesse Fresco: Yeah.

Crew Chief Eric: Well, that’s gonna wrap up our ride through this wild, weird and wonderfully unhinged world of Autumn Frost, as well as skyhawk. And huge thanks to Jesse Fresco for hanging out [00:41:00] with us and pulling back the curtain on the Florida man fueled madness That powers drive like hell, as well as the upcoming sequel, black and Blue.

It’s not every day you get to talk to someone who can turn chaos, questionable car chases, and pure adrenaline into storytelling style that feels this alive. So if today’s conversation has you itching for more of Autumn’s Misadventures, good news. This novella is just the ignition spark and Jesse’s already building out the larger autumn frost universe.

And if what we heard today is any indication, the upcoming stories are going to crank the insanity, the humor, and the horsepower even higher. And of course, keep your eyes on the horizon for Skyhawk. Jesse’s next big series, and it takes flight with a retro inspired punch tipping its hat to the NES classic Captain Skyhawk, while launching a whole new world of high flying adventure.

So if you love bold characters, big stakes. And that’s signature Jesse Fresco Energy. You’re going to want to be there from page one and beyond. So thanks for listening and thanks for riding along. And as always, buckle up, stay curious, and if you’re [00:42:00] dying for more automotive floor demand stories, don’t miss our monthly drive through News series here on Break Fix.

And with that, Jesse, I can’t thank you enough for sharing your evening with us. Keep up the great work. I’m looking forward to the misadventures of Autumn Frost and all her car hijinx. And again, it’s been an awesome ride so far with Skyhawk and I can’t wait to see where this goes to.

Jesse Fresco: Oh, I think you’re really gonna enjoy the, uh, there’s one battle that I was really proud of riding the Battle of Lightfoot Station towards the tail end.

I’m really proud of that ’cause there’s a bit where. People forget about a pilot that ejected out of his ship and everyone kind of goes, Hey, are we forgetting something? Oh shit, we forgot him. There’s a lot of dark humor towards the tail end of the book. I’m very happy with that. So think you’re gonna enjoy it.

Crew Chief Eric: We hope you enjoyed another awesome episode of Break Fix Podcast, brought to you by Grand Tour Motorsports. If you’d like to be a guest on the show or get involved, be sure to follow us on all social media platforms at Grand Touring Motorsports. And if you’d like to learn [00:43:00] more about the content of this episode, be sure to check out the follow on article@gtmotorsports.org.

We remain a commercial free and no annual fees organization through our sponsors, but also through the generous support of our fans, families, and friends through Patreon. For as little as $2 and 50 cents a month, you can get access to more behind the scenes action, additional pit stop, minisodes and other VIP goodies, as well as keeping our team of creators.

Fed on their strict diet of fig Newton’s, Gumby bears, and monster. So consider signing up for Patreon today at www.patreon.com/gt motorsports. And remember, without you, none of this would be possible.

Highlights

Skip ahead if you must… Here’s the highlights from this episode you might be most interested in and their corresponding time stamps.

  • 00:00 Jesse Fresco’s Origins
  • 03:19 Film Industry Burnout & Becoming a Writer
  • 06:21 Who is Autumn Frost?
  • 09:05 Writing Fast Novellas
  • 12:03 Future Books and Villains
  • 13:57 Cars and Chase Craft
  • 20:35 Switching to Skyhawk
  • 24:24 Worldbuilding Choices & Relatable Future Tech
  • 31:18 New AI Film Novel
  • 33:36 Advice For Authors and the Self Publishing Reality
  • 37:24 Audiobook Plans
  • 38:46 Covers, Fonts, and Pricing
  • 40:50 Wrap Up And Credits

Learn More

Both Drive Like Hell and Skyhawk are available through:

Audiobooks are in the works, with production handled by a Maryland‑based musician using professional studio equipment. So, if you’re looking for storytelling that refuses to slow down, buckle up. Jesse’s universes are just getting started.

Bonus Content

There's more to this story!

Be sure to check out the behind the scenes for this episode, filled with extras, bloopers, and other great moments not found in the final version. Become a Break/Fix VIP today by joining our Patreon.

All of our BEHIND THE SCENES (BTS) Break/Fix episodes are raw and unedited, and expressly shared with the permission and consent of our guests.

Drive Like Hell introduces Autumn Frost — a muscular, red‑haired, no‑nonsense to‑and‑from driver who finds herself caught in a nightmare after discovering two pounds of fentanyl in her trunk. The inspiration came from a mix of real‑world issues and a desire to write a character who wasn’t weighed down by trauma: “I just wanted a character that doesn’t have a ton of baggage… She’s just a good person.”

Autumn’s physical design was inspired by cosplayer Autumn Ivy, while her moral compass was shaped by Jesse’s desire to create someone who simply does the right thing — even when the world around her doesn’t. Her adventures are fast, punchy, and intentionally structured like classic 1970s novellas: quick reads with high stakes and relentless pacing.

Autumn Frost Never wanted much out of life. A nice home in Annapolis, Maryland, a decent job to live comfortably, a woman to love and wake up to every morning. Life had other plans though.

Cars aren’t just props in Drive Like Hell — they’re characters. Jesse writes with a grounded understanding of how vehicles behave, especially when pushed to their limits. Many scenes are inspired by his own experiences: “I did hit a deer… It wasn’t as bad as that, but it was enough damage that insurance said it was totaled.”

Readers familiar with the DC–Maryland–Virginia region will recognize the roads, the traffic patterns, and the absurdity of trying to outrun danger in a Honda Accord. And yes — Autumn knows how to drive stick.

Jesse isn’t stopping with Drive Like Hell. The sequel, Black and Blue, takes Autumn to Baltimore and throws her into a tighter, more intense timeline — just five hours of escalating danger. The third book, Funland Fury, shifts gears again, placing Autumn in Rehoboth Beach during a violent nightclub attack inspired by real‑world events.

Each story tackles a different contemporary threat, from fentanyl trafficking to ICE misconduct to extremist violence. Jesse doesn’t shy away from uncomfortable topics — he uses them as fuel.


Skyhawk: A Sci‑Fi Epic with Heart (and Bugs)

If Autumn Frost is Jesse’s pulpy, grounded side, Skyhawk is his sprawling, emotional one.

THE FUTURE IS FREELANCE
The most dangerous profession in the galaxy is the starfighter, and ace pilot Cyril Eisner knows very well what it costs to be one.

The book follows Cyril Eisner — call sign Skyhawk — a freelance starfighter pilot navigating political tension, alien threats, and his own messy personal life. The story draws heavily from Jesse’s experiences, relationships, and frustrations: “Cyril is based 70% on me… I had a lot to get out of my system.” 

Despite being set centuries in the future, the world of Skyhawk feels familiar. There are still coffee shops, pizzerias, and cell phones. Jesse intentionally avoided hyper‑futuristic tropes: “When you’re writing sci‑fi, you’re not talking about the future — you’re talking about the time in which you’re living.” The result is a universe that feels lived‑in, relatable, and grounded — even when giant alien bugs show up (a nod to Helldivers).


Advice on Writing, Publishing, and Doing the Work

Jesse’s advice for aspiring writers is refreshingly blunt: “Here’s how you become a writer: you just start.”

He emphasizes the importance of:

  • Reading widely
  • Getting feedback
  • Hiring an editor
  • Being willing to self‑publish

Traditional publishing didn’t know what to do with Skyhawk — its structure didn’t fit the mold. So Jesse took control, investing thousands of dollars to bring the book to life exactly as he envisioned it. He doesn’t expect to make that money back. And that’s the point.

Jesse Fresco writes like someone who has lived several lives — because he has. His stories are fueled by real experiences, real frustrations, and real curiosity about the world. Whether he’s sending Autumn Frost barreling through a mall parking garage or dropping Cyril Eisner onto a bug‑infested alien planet, Jesse brings the same energy: bold, unfiltered, and deeply human.


Other Recommended Reads

Reading List

Don't miss out on great book like this one, or other titles we've read and covered as part of the GTM Bookclub on Break/Fix Podcast.
My Travels On Racer Road: Can-Am and Formula 1 in their golden age
DeLorean: The Rise, Fall and Second Acts of the DeLorean Motor Company
A French Kiss with Death
Driving to the Future: Living life following Formula One racing
Tales From the Garage
Geared for Life: Making the Shift Into Your Full Potential
Ultimate Garages
Fenders, Fins & Friends: Confessions of a Car Guy
Racing While Black: How an African-American Stock Car Team Made Its Mark on NASCAR
The Last Lap: The Mysterious Demise of Pete Kreis at The Indianapolis 500
James Dean: On The Road To Salinas
Performance Thinking: Mental Skills for the Competitive World...and for Life!
The Other Side of the Fence: Six Decades of Motorsport Photography
Racing with Rich Energy
Little Anton: A Historical Novel Complete Series
Lone Rider: The First British Woman to Motorcycle Around the World
Iacocca: An Autobiography
Colin Chapman: The Man and His Cars: The Authorized Biography by Gerard Crombac
Paved Paradise: How Parking Explains the World
Shipwrecked and Rescued: Cars and Crew: The


Gran Touring Motorsports's favorite books »

Goodreads

Gran Touring's book recommendations, liked quotes, book clubs, book lists (read shelf)

CarSupermarket.com expands with new Stockport store

CarSupermarket.com has officially opened the doors to its new Stockport store, marking the latest addition to its portfolio.

The Stockport store, located on Buxton Road, will provide a range of quality reconditioned cars on site, with thousands more available to choose from across its online stock.

By visiting the store, customers can speak to one of the knowledgeable CarSupermarket.com team members, who will guide them through their journey to find the perfect car. Vehicles can be delivered in as little as 24 hours, with free delivery available until the end of July as part of their opening offers.

The brand’s Reconditioned Promise is designed to give customers greater confidence when buying a used car, by combining a rigorous reconditioning process with a minimum 12-month warranty on every car.

The promise is built around three commitments: renewed quality, reliable motoring, and reassured value.

Renewed quality is delivered through a consistent vehicle preparation standard. Every car is HPI-checked, test-driven, and given a full interior and exterior 159-point inspection by experienced technicians, covering major areas including the engine, brakes, tires, and other critical components.

Reliable motoring is supported by the work carried out before handover. Each vehicle is supplied with a recent service, a minimum of six months’ MOT and a minimum 12-month warranty, giving customers added reassurance from the moment they drive away.

Reassured value is reflected in practical customer safeguards, including CarSupermarket.com’s Lowest Price Guarantee and 30-day no-quibble returns policy, This gives both in-store and home delivery customers the option to return or exchange the car if it does not meet their expectations.

Photo courtesy CarSupermarket.com and 72point.com

Matt Barrick, CEO of CarSupermarket.com, said: “It’s an exciting time, and we are delighted to be able to provide the local community with the unique CarSupermarket.com offer. Our work is built on renewed quality, reliable motoring, and reassuring value, which underpins everything we do and gives customers confidence in the vehicles we sell. As part of our commitment to the local Stockport area, we have sponsored the Colour Run at St Peter’s Catholic Primary School. We are excited to introduce ourselves to the local community and hope to get involved in even more local activities.” 

The Stockport store is the 2nd CarSupermarket.com location in the Northwest and the 13th across the UK, with more locations set to be unveiled soon.

Research commissioned by the business found that 51% of UK consumers believe buying a new car is now more difficult financially than it was five years ago, while 40% said rising living costs have made them more likely to consider a used car.

The retailer believes its reconditioning model is a key differentiator in the current market, helping to bridge the gap between affordability and reassurance for buyers who want the value of a used car without compromising quality or peace of mind.

The same research found that 70% of consumers would be more likely to buy a used car if it had undergone a full reconditioning process, while 63% agreed that a properly reconditioned used car can offer similar confidence to a new one.

Barrick added: “A used car is still new to the person buying it. Customers should feel that the car has been properly inspected and prepared for them. We take real pride in the work that happens before a customer ever sees the car. That’s what gives us the confidence to stand behind every vehicle we sell, including offering a minimum 12-month warranty – significantly more than the three months typically seen elsewhere.” 

For more information or additional media information, please reach out to Conor Pharo, Account Director, 72point.com 

From MotorTrend to Masterpieces: The Remarkable Reinvention of Wallace Wyss

For more than half a century, Wallace Wyss has lived at the intersection of automotive culture, chronicling the machines, the people, and the moments that shaped modern motoring. His journey has taken him from the gritty editorial rooms of MotorTrend to the quiet focus of a fine‑art studio in San Bernardino — a path defined not by straight lines, but by unexpected turns.

Photo courtesy Wallace Wyss

Today, Wyss is known as both a celebrated automotive writer and a fine artist whose exotic‑car paintings hang in homes, galleries, and museums around the world. But his story begins long before the paintbrush.

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Wyss grew up in Detroit, surrounded by the hum of factories and the pulse of American car culture. His father worked in Ford’s legendary Rouge plant — immortalized in Diego Rivera’s vast murals — and young Wally spent his early years absorbing the creativity and industrial might around him.

One of his first brushes with automotive greatness came while working a high‑school job cleaning swimming pools. At one home, he found the Corvette Stingray prototype sitting in the driveway. Minutes later, the Mako Shark concept rolled in. The homeowner? GM design chief Bill Mitchell.

Mitchell took the young Wyss under his wing, giving him rides on GM’s private test track and exposing him to the world of automotive design. It was a spark that would ignite a lifelong passion.

Spotlight

Synopsis

Break/Fix Podcast’s mission is to preserve automotive living history and welcomes returning co-host Don Weberg from Garage Style Magazine alongside guest Wallace “Wally” Wyss, a longtime automotive writer turned fine artist. Wally recounts how early exposure to GM design chief Bill Mitchell and a British magazine feature on the Iso Grifo shifted him from poetry and art studies into advertising and then automotive journalism, including stints at Car Life and MotorTrend with vivid Sunset Strip stories. He explains how a chance ride in a 427 Cobra led to meeting Carroll Shelby, and launching a best-selling Cobra book and deep Shelby insights about Shelby’s deal-driven approach. Wyss describes becoming a “barn find” hunter and author, then “accidentally” transitioning into painting exotic and classic cars after selling a Shelby portrait, outlining his process, commissions, design critiques, and ongoing radio show, while reflecting on creativity, reinvention, and concerns about AI’s impact on writing.

  • When you look back at the moment you first chose writing as your path, what drew you into the automotive world specifically, and what kept you there for four decades?
  • You’ve had a long connection with the Shelby world, including Carroll Shelby himself, and you’ve authored 3 books on his life and his cars. How did that relationship begin, and what do you think people misunderstand most about Carroll Shelby or the culture around his cars?
  • Across your eighteen automotive books, including a 4-part series (Incredible Barn Finds: The Highly Entertaining Stories Behind 50 Treasured Cars, published in 2013.), How did you become “the barn finder”?
  • Having watched the automotive landscape evolve for decades, what changes—good or bad—have surprised you the most?
  • As mentioned, you’ve described becoming an artist as something that “accidentally” happened—what was the turning point when you realized painting exotic cars was becoming a second career rather than a side experiment?
  • Living and working in San Bernardino, how has your environment influenced your creative process or the subjects you choose to focus on?
  • Looking back at both careers—writer and artist—what moments feel like the most defining chapters of your life in the automotive world?
  • Any words of wisdom for both aspiring Automotive writers and/or Artists that you can share?

Transcript

Crew Chief Brad: [00:00:00] Break Fix podcast is all about capturing the living history of people from all over the autos sphere, from wrench, turners, and racers to artists, authors, designers, and everything in between. Our goal is to inspire a new generation of Petrolhead that wonder. How did they get that job or become that person?

The road to success is paved by all of us because everyone has a story.

Crew Chief Eric: For more than 40 years, Wallace Wyss has lived at the crossroads of automotive culture. First as a celebrated writer and journalist authoring 18 car books, including a bestseller, and later in life, becoming a fine artist whose exotic car paintings now circulate around the world.

Don Weberg: From his early days at MotorTrend to his deep Shelby connections, while he has chronicled the machines and the people who shaped modern motoring, only to reinvent himself decades later, with a paintbrush in hand based in San Bernardino, and [00:01:00] still chasing the stories that move him, he joins us today to talk about the craft, the cars, the creativity, and the unexpected turns that define a life in the automotive arts.

Crew Chief Eric: That’s right. And joining me tonight is returning co-host Don Weiberg from Garage Style Magazine, one of the many personalities on the Motor Inc podcast network. Welcome back, Don.

Don Weberg: Thank you, Eric. Good to be back. Thanks for having me.

Crew Chief Eric: And with that, let’s officially welcome Wally to break fix.

Don Weberg: Thank you.

Welcome, Wally. Pleasure to be here.

Crew Chief Eric: Well, Wally, like all good break fix stories. There’s a superhero origin story you’ve been quoted as saying, I’ve been a writer for over 40 years that accidentally became an artist. So take us back to the moment when you’ve. First chose writing as your path, especially automotive writing.

And what drew you into the automotive world specifically, and what kept you there for four decades?

Wallace Wyss: I’m glad we didn’t get into age, so I don’t know how that will work. ’cause then I start saying, I was born before television. I was born with four [00:02:00] computers and when I was a kid you went down to trade station.

You had a choice of steam locomotive or, and then I was thinking the other day, it’s something that really blows my mind. I have to figure it out with the pencil. But when I went to a Veteran’s Day parade, guess what war the veterans were from the Spanish American War. You know, like they must have been born, uh, in the, uh, 18 hundreds, you know, or else they knew people born in the 18 hundreds and those people they knew knew people in the 17 hundreds.

So it’s like, here we are 2026. It’s hard to believe that I knew people who talked to people who were two centuries ago. Mm-hmm.

Don Weberg: Wow.

Wallace Wyss: But I’m trying to disguise it as well as I can. Another job I had in, uh, high school was cleaning swimming pools. So one time I’m at this guy’s house in Birmingham, Michigan.

He has the Corvette Stingray prototype in his driveway. A few minutes later, the Mako Shark shows up. Few minutes later, something else. So turns out he is a design chief of [00:03:00] gm, bill Mitchell. And so I got to talking with him and, uh. I hung out with them for a while and went to his job and he would drive me on a little race course they have there, and he gave me his opinion of this and that.

And so I was just a really enamored of the, you know, the creativity of that field. But I never really did. You know, I got into it with my fine art, but I never got into it where I could affect the cars. And by the way, another great thing about living in Detroit was they have a museum there. Art museum.

They have several rooms of one painting continuous mural by Diego Rivera, and it’s the Ford Factory. And my father worked there at 32 Building by Lace. So I always wonder, is he this guy tightening the wheels or is he this guy over here? Because, uh, Diego Rivera would make all the workers look alike. That really sparked the back half of my brain.

The funny half said, oh, you wanna design cars with back half? Said, no, no. Leave the cars aside. Go to art. Find art. First [00:04:00] I started at Wayne State in Detroit as a uh, art major, and I was kind of just an average artist. Didn’t have any particular style, but then I was a poet a little bit. So one time I’m in the library looking for a new book on poetry, and I saw a British sports car magazine.

I opened it up. There’s a three page story and the ESO Griffo A three C race car, which. It was made in Italy, but had a Chevrolet engine. And that picture, even though it was black and white, it was so stunning that right there, I forgot everything about poetry, didn’t care about poetry anymore. I came outta that library saying, I gotta get involved with cars.

And then a little while later, some ad agency scouts came and said, we’re looking for summer interns who wants to be an artist? I raised my hand and they said. Oh, we already got ours. Okay. Who wants to be a writer? And so right there I switched my major and became an ad writer writing kinda the modern version of C-D-U-S-A and your Chevrolet.

And I was in advertising for like five or 10 years before I moved to California.

Don Weberg: [00:05:00] What agency were you working for?

Wallace Wyss: Campbell Eald was the second one. The first one. I think it was called DP Brother. That was a Oldsmobile account. I’m kind of embarrassed that I worked for Account Square. The marks have disappeared since then, but I guess they didn’t do the right car at the right time.

Crew Chief Eric: Don, it seems like when we look at Wally’s resume, you two share a publisher in common. Both of you spent some time at MotorTrend.

Don Weberg: Yeah. Are are you still in, in, uh, in therapy too, Wallace? Are you still in therapy?

Crew Chief Eric: Well,

Don Weberg: I, I, I, I’m still in therapy for my tenure there.

Wallace Wyss: I actually worked for two different places.

I worked in Hollywood Boulevard and uh, that was kind of a crummy little building. It probably used to be a porno theater or something. And then I came back a few years later and when I worked at Car Life Magazine, 1970, the art director tipped me off, Hey, they’re gonna shut down this magazine. So I rushed over to Hollywood and I had more chutzpah in those days.

I just walked in, called the personnel department and said. [00:06:00] I’m the new guy at MotorTrend. You know, the editor didn’t even know who I was. Sent me the paperwork, I signed it and suddenly I was working there. I don’t have the nerve to do that now, but that was great to work on that street because it was a street called Sunset Strip.

And all these movie stars and rock stars would celebrate their signing the contract by driving some exotic car. And several times I tried to buy the car, but sometimes by the time I found out what it was, it was too late. I missed my chance. I’d follow them to a house and put a check in mailbox.

Don Weberg: Yeah.

Yeah. The sunset building was really neat. You’re right though, with a crummy building.

Wallace Wyss: Yeah. I do have one more story though, about working in that street where the famous people were. I was on the sixth floor. I looked down, I saw a yellow Ferrari P three slash four, like the kind that race to Lamonts.

Don Weberg: Mm-hmm.

Wallace Wyss: A full race car going down the street and for some reason, well, I didn’t wanna take the elevator take too long, so I ran down six flights of stairs. I go out into traffic and I stop the [00:07:00] guy and I said, I, I need to take your picture from magazine. And he turned out he had bought the car and converted it to street use and was having a blast with it.

It turned out that he was not only a good looking movie star type, but he was a movie star and he was a rock and roll star, and his father was Dean Martin. And so I got the story in the magazine, and then the real sad part was he didn’t live to enjoy it that long because he volunteered for the Air Force to be a fighter pilot.

And then the airport said, okay, you can fly 5,000 feet, but they didn’t mention it was 8,000 foot Mountain in the fog. So I thought, well, that guy really lived the life as much as he could.

Crew Chief Eric: From there, you went into the world of writing automotive books, and in your bio there’s 18 book credits to your name.

So what started that journey, because that’s a whole different thing than just, you know, writing ads or writing articles.

Wallace Wyss: That started with picture books I was doing for classic motor books. It was called In Wisconsin, run by a British man. [00:08:00] And what I did was I would do these picture collections and captions and believe it or not, I could write the book in one day.

’cause just like 80 or 90 pictures with the captions. And I would even fly over to like England and go to Jaguar or something and say, can I look at the files? Walking with an empty suitcase, walk out with a full one. That became the book. But then I started thinking about Cobras and Shelby’s and all that, and then I was mulling that in my brain.

And then what happened was is just by accident, I actually lost my job at the second magazine. First it was Car Life, then MotorTrend in Hollywood. I was back in Detroit doing advertising editorial work. I’m walking down the street and I hear a roar. And I look up and I see this 4 27 comp Cobra with a big wide fenders and big wide tires.

And a woman is driving it and she’s sliding around the corner and everybody’s panicking. So the horse of the Mount of policeman was bucking and I was [00:09:00] debating whether to help with the horse ’cause I actually was a cowboy for a little while. But then, uh, the lady happened to pull up next to me and she said, you, which way is Cobo Hall?

That’s the convention center. I said, well, I’ll show you if you give me a ride. So she opens the door, the Cobra. I get in, strap myself in. She takes off. Again, top speed. I said, you’re going the wrong direction. But anyhow, I corrected her. Five minutes later we were at the convention center. Just as I got outta the car, Carol Shelby comes up.

So I introduced myself and then I thought, oh, he’s approachable. So then I contacted this publisher and said, I wanna do a book in the Ferrari. He said, there’s too many books in Ferrari, but there’s none on the Cobra. So I said, oh, well, okay, that’s an American engine, but I was kind of snobby already. And so, uh, that’s how it happened.

And the book sold. 50,000 copies.

Crew Chief Eric: So I wanna pull this thread. Who was the lady behind the wheel? Was she a celebrity?

Wallace Wyss: I know her name. Pat Marone. M-E-R-O-N-E. But I never checked on what happened to her since or how she did in [00:10:00] racing. But that’s the p rrg of Shelby was to say, because he told me personally, the 4 27 will kill you in a second.

You know, if you don’t know what you’re doing, it’s just too much power. Yet having a woman drive it at these different occasions made it like, well, maybe it can be tamed. So it’s kinda like having a pet lion, you know?

Crew Chief Eric: Well, you sort of buried the lead here. As we dig into your career, you’ve had a long connection with the Shelby world and part of the 18 books you’ve written, three of which are on Carol Shelby and his life and his cars.

So you described how the relationship began. So as you dug into his story and you, you met a living legend. You worked with a living legend. What do you think most people misunderstand about the man, the cars and the Shelby culture itself?

Wallace Wyss: I think he was a real deal maker at heart. I mean, of course he loved cars and he loved airplanes.

He had plenty of both. But when push came to shove some design that they worked on for years that was [00:11:00] gonna revolutionize the car industry. That would disappear. Like there was one called the Lone Star that was pretty sure it was front engine. But anyhow, it was just his assistant, Al Dow told me once I had to crawl across the gas tank to get to my bucket seat, I lost interest in it.

He didn’t wanna be in a high performance car sitting on top of the gas tank. And so anyhow, I was shocked that Shelby would develop a prototype and then it would be gone and it would never, never be mentioned again. So. He always was preparing for the next meeting with Ford executives. Shall I pull the, the bunny out of this pocket or that pocket?

In what way they go for, that’s the way he operated and you just had to get used to it. If you were working on one of those projects that he canned, well, too bad for you. Like Pete Brock, you know, the Daytona Coop with a 4 27 engine that would’ve actually perpetuated the Daytona coop into another year of racing.

But then four thought, well wait a minute. What if it beats the four gt, which is their baby?

Don Weberg: Mm-hmm.

Wallace Wyss: It had to [00:12:00] go,

Don Weberg: I just gotta dig in here a little bit. 18 automotive books with a four part series. The Incredible Barn finds the highly entertaining stories behind 50 Treasured Par published in 2013. How did you become the barn finder guy?

Wallace Wyss: You want the actual barn finding or the writing about ’em Both?

Don Weberg: Yeah. Start with that and move into the other one.

Wallace Wyss: Okay. I was at a convention. It wasn’t really watching dc it was in like Virginia. I mean, you know, just a few hundred feet away from Washington, went to a Ferrari convention and talking to everybody.

One of the funny things was there was some illegal gray market boxer there and there was some ultra enthusiast engineer from Detroit who ended up being in charge of catching the gray market car smugglers the cars that weren’t really legal, and he was like prowling around if that car leaves this hotel property.

I’m gonna grab it, you know, for the US government. And so that was interesting to me that I was dealing with the haunted species. And then I found out this [00:13:00] New York man I met who was a landlord in downtown Manhattan. He loved Italian cars and so did a lot of his friends. And I don’t know what occupations they had, but one of ’em made some food, I can’t remember what it is now, a real popular thing, but they would meet every week in New York and they would sit around the table and they would say.

Now I’m gonna imitate a New York accent. Much to your horror. But one of ’em would say, Hey, yeah, what do you got? You got anything new? And then they’d say, yeah, I got a Ghibli coming in from Chicago. What color is it yellow? Is it five speed? No, it’s an automatic. Within five minutes they decide which of the group is gonna get it.

Then somewhere out in the road in Indiana or something, two reliable trucking semis would meet and then unload, and then move the yellow car from this truck to that truck so it could go to the new guy. So anyhow, when I heard that, I said, well, I can look around out on the West coast and see. So then I started advertising in um, Autotrader, and I would always show a picture of a [00:14:00] scruffy car, not a clean one, that would win a concord kinda dirty.

And then I would say, I want this car. It doesn’t matter if it runs, you know, if you got a clear title, call me. And then my wife at the time worked for American Airlines and you know, that old slogan of the airline employee Marry me Fly free. So I would go home and say, oh, I need a ticket for, um, Kokomo, Indiana tomorrow.

My technique was to go out there and. Knock on the door. Not even call them first. ’cause the flight wasn’t costing me anything. I’d knock on the door and they’d answer and I’d say, I’d say, this is a check with your name on it, cashier’s check. Let’s go see if the bank will cash it. I didn’t say, let me look at the car, let me check the engine, let me check for rust.

I said, this is a check with your name on it. And 90% of the time I succeeded. I mean, some car club people were really mad that I just blew it outta nowhere, didn’t. Know the seller and didn’t know the car, but I had the check that would cash.

Don Weberg: This is like something Eric would do. Eric would [00:15:00] totally do something like this.

I could just see him doing this, you know?

Wallace Wyss: Now it wouldn’t work so well because of the internet. There’d be gossip about me in the internet. Watch out for this guy, Wally. You know? Oh, and now it’s about writing about him. What happened was, there was some other book, I can’t remember the series, but another book about.

Rare cars that were hidden. And so I kept trying to upstage myself and find a car that you could not have guessed when you saw it, what was underneath it, but if you did guess right and then re bodied it, its correct configuration. You’d have a million dollar car, and I think out of all of ’em, my favorite is the uh, two 50 P or two 50 LM Ferrari, a full racing car that I think won one lama in 65.

So some guy was racing in Switzerland and he crashes it and then he’s sitting there like, when am I gonna do? I called the Ferrari factory. They refused to make a new body that’s an old car to them. So he just sitting there, this guy comes up and says, well, how many meters long is it? And he [00:16:00] tells him and he says, you know, I got a Porsche body that will fit on that if you cut the nose the tail off a little bit.

So they did. They called it the poor fare, and I thought that’s where the American collectors really miss it. They didn’t look at the obscure little series in Switzerland where a real two 50 LM Ferrari was racing. It just didn’t look like a Ferrari. So that’d be a real shot in the dark to guess that one.

Crew Chief Eric: So is that the kind of cars and stories that are included in the barn? Find books?

Wallace Wyss: Yeah. Uh, the main type of stories I was trying to do is how a car was neglected for a long time and nobody knew what it was, and that before the computer you weren’t able to do the homework in 15 minutes and find out about the car.

And I’m still looking for one now. I’ll tell you about the one that eluded me. It was so close and I missed it. It’s my favorite car. It’s called the Bini. It’s Italian car, Corvette Engine. So I worked at MotorTrend Magazine in Sunset Strip. There’s one of these at a car lot across the street. So you think if it’s ’cause it’s [00:17:00] my favorite car, am I gonna walk over there and look at it?

No, because it was charcoal gray. I didn’t like the paint. It didn’t have the right rear window, but now I realize that that car was put together of two smashed ones, the front half of one, the back half of the other. So if you had that, theoretically you could build a new front for the existing back and for the other one you could build a new rear.

You’d have two cars from one, but now it’s 50 years later. Who knows where that car is? It could still be sitting in San Fernando Valley. So that’s one of my favorites. Said Who would guess and why didn’t I go look at it?

Crew Chief Eric: So the premise behind the series is these are unrestored cars that you’re looking for.

You’re literally legitimate barn finds.

Wallace Wyss: Yeah. And then sometimes people would re body a car because at the time it seemed like a good idea and the manufacturer didn’t want it anymore. But then. Years later, the body they put on it wasn’t so appealing. And then the smart guy checked the serial numbers and said, I’ll build the original body again.

Crew Chief Eric: So Dom, this reminds me of a story you told me a [00:18:00] while back about the Bugatti in the bar, I believe is what it’s known as. Wally. Are there. Some cars in that book that if somebody was picking it up for the first time would really shock them. Like something like the Bugatti in the barn.

Wallace Wyss: I don’t even remember all the cars that are in it now, but there’s several cars in that book that are more valuable now than they were then because there’s more education on the cars and more.

Actually, you know, who has some of the best cars? Like this one Cobra that was, I don’t know if it was bodied by Gia, but it’s got a different body, I think, of 4 27 chassis. But in Detroit, these automakers would donate the concept cars. And after a while, you know, your garage gets full 50 concept cars. So you’d call up the Detroit Historical Museum across from the art museum.

And say, Hey, would you like this car? Hey, they’re not gonna turn it down. So now the sad thing is their museum’s way too small to show more than two or three cars, so they’ve got him in storage, at least they’re protected from rust. But I mean, that story happens over and over again where a [00:19:00] rip Coner gets the car, but he can’t keep it anymore.

So he donates it, and then who knows where it goes from there. You have to have good records.

Crew Chief Eric: You know? And that’s a great segue into something I know is very passionate subject for you, which is car design. You kind of alluded to it with the Beats arena. Part of what you’ve written about over the years is all the design changes in the evolution in the car world.

So I wanna get your take now that you’re looking back over 50 plus years in the automotive space, what your thoughts are on car design.

Wallace Wyss: Well, sometimes I’m elated with. Some new prototype and then most of the time I’m not because I can remember something way back that was a lot better. Like the new Rolls Royce, they have one, it’s called the Nightingale series.

The price is so bizarre and the press release is from 1 million to 30 million and each car will be individual. But it’s like, I can remember one from 1970 that like better. So I’m constantly in turmoil. I can barely embrace the new one when I [00:20:00] think, but that old one was so good. I’m a frustrated car designer and I do write critiques of new cars that came out.

And this one former GM designer keeps writing critiques of my critiques and says they’re not critiques, they’re analysis. And I looked up critique and it says, you say some good things, you say some bad things. That’s what I do.

Crew Chief Eric: So if, if you were to pick top five most beautiful cars,

Wallace Wyss: near the top would be the thero male 33.

It’s some clip that actually copies about 90% of the old one, but they still screwed it up in the details like the little, the headlights trim and stuff like that. But just to capture that shape, I would say it’s as good as the bini shape. And by the way, when I came across this French word called Lu, I think L-O-U-C-H-E, I really like that word to describe this because that means a beautiful.

Woman that’s got a little too much makeup on, you know, you don’t wanna take her home and introduce her mother. I mean that car is like wicked looking. [00:21:00]

Crew Chief Eric: Well if we’re staying with the classic cars, you mentioned one, so your top five most beautiful cars of all time. ’cause this is a question we actually used to ask guests quite a bit.

What’s the sexiest car of all time or what’s the most beautiful car of all time?

Wallace Wyss: Well, the Aston Martin DB 4G TZ, Aston Martin’s a gto. I remember when an owner couldn’t get rid of it compared to a Ferrari and it’s worth a lot more than most Ferrari. Well Rolls Royce Silver Cloud convertible series three with the forehead lamps.

Uh, Monteverdi had a, A one-off Palm Beach I think it was called, and that was a Swiss car with the Chrysler engine and then the 4 27 Cobra with the wide body. I think I’m up to five

Crew Chief Eric: and I find it interesting that you have chosen five cars that no one else has ever selected. You know, we get a lot of E type jags and two 50 pontoon fender Ferraris.

And stuff like that is, is that, you know, Coke bottle shape if you will. So, really interesting picks you have there. But I think there’s an opposite side to this design question, isn’t there, Don?

Don Weberg: Oh yes. Oh yes [00:22:00] indeed. Yes. ’cause we understand that you have a connection with Jerry Wgar and the Vector, is that right?

Wallace Wyss: I was a friend of his and I wrote a novel, which didn’t go any place. I didn’t find a publisher for it, and I only self-published a few. But that was about. A small entrepreneurial car developer like DeLorean or like Weigert. And so I kept comparing in real life. Every time I met Jerry Weigert, I’d ask him something and what he would tell me would, oh, that’s so good for my book.

And now that he has died, I found some more scandalous things, which I might put in the book if I ever published it or not. But I gotta admire his pluck, though. He came from bad Acts, Michigan. Came out to California and developed his own car and actually got to where a few were sold, but he never compromised and sold it to another company.

He tied in with the Indonesian company, but in the end he ended up with the car again. He was like Shelby, but he was going for high tech all the [00:23:00] way, even though the real high tech world was outpacing him far ahead of where he was at.

Crew Chief Eric: Since you’re sharing celebrity stories, one you told me off camera was about Roger Penske.

You wanna share that one too?

Wallace Wyss: I would love to tell that at a party. If I’m never near him. Maybe I’ll have to look for him at Pebble Beach, but as I was working in this ad agency, I’m driving along in my opal. I see Roger Penske on the sidewalk looking perturbed. And so I pulled over and I said, Hey, Roger, what’s wrong?

He said, somebody took my Corvette and I want it back. And I said, well, hop in. We’re driving around. We only drove for a few blocks and we saw a cop, and he pointed at the cop, said, somebody took my Corvette, I want it back now. And the cop said, yes, sir. Hop in. So he goes over the police car. It goes away and gets his car back.

But I thought that’s what made him a business success. Maybe a billionaire that he didn’t have to explain who he was. I want it back. You know, you took it. I want it, you know, and I thought he’s gonna go play for that boy.

Crew Chief Eric: You said you were [00:24:00] driving in an opal. Was it an opal gt?

Wallace Wyss: Uh, no, a man.

Crew Chief Eric: Oh, that’s a shame.

’cause if you had been driving a gt, you could have told them, Roger, I took your car to get washed. And it shrunk when it came out the other side.

Wallace Wyss: He has a big publishing company now. I think they published one very lavish car magazine.

Crew Chief Eric: So as a connoisseur of car design, Wally, how would you critique the vector?

Wallace Wyss: Uh, it was a very bold design for the time, but I don’t know wind tunnel wise how it came out. I thought it would, it was the ultimate wedge, so it was probably pretty good. But when you get those cars up past 180, sometimes just a couple inches difference here and there can cause a lot of trouble. And that’s actually what happened with the.

First mirrors, you know, when they got ’em out there was, it was way faster than they had ever planned for and now they’re overdoing it the other way. We’re making a lot of exotic cars look alike ’cause they wanna get good arrow number.

Crew Chief Eric: Let’s take a little pit stop. And for those that are watching this episode behind the scenes on our Patreon.[00:25:00]

They’ll notice that you are wearing all white, and apparently this is one of your signature styles. There’s a story behind why you’re wearing all white, isn’t that right?

Wallace Wyss: Yes. What happened was during that first time was with MotorTrend. I’m not sure it’s the first or second time, but anyhow, I went to a bookstore in Hollywood and they had this writer from New York in his thirties or forties.

Wearing all white with the white hat, and he was Tom Wolf, who later became real famous. I think he wrote that book that became a movie about the astronauts. But that book was, first book was called The Candy Color Chance Ring Flake Streamlined Baby About Custom Cars and George Barris and all that. I invited him to lunch and nobody was buying his book.

Nobody knew who he was, so he said, okay, I’ll go to lunch with him. And during lunch, he admitted that he wasn’t really in the car world, that he lived in New York City. So he didn’t really relate to cars that much, but his mind was so blown by the custom cars that he had to write a story for Esquire. Then he couldn’t get the story written.

He couldn’t get his mind [00:26:00] around it. So the editor of Esquire just said, that’s okay, we’ll just take your letters and that will be the story. And so that became his story and that became the book. And uh, he always wore white. And so then I started wearing white Years later, and all kinds of good things came of it.

Like one time when I was at Pebble Beach, walking with my wife, passed this big mansion, they were having a party and they yelled out and said, oh, we’re over here. They thought that it must be a celebrity. Coming to their party and I was lost. And so I come in and I meet the Governor Schwarzenegger and all that, you know, I never explained that I wasn’t going to their place, but I feel good when I wear it.

And it, it’s a, a tip of my hat to the Tom.

Don Weberg: You look good. You wear the white. Well, not many people wear all white. Well, but you seem to pull off the Clorox look very well.

Wallace Wyss: I’m still trying to work out the, uh, walking, there’s a certain way of walking that I just can’t get it down. Like when you walk that way, then everybody cleared.

Here comes the boss.

Don Weberg: Yeah. It’s a swagger.

Wallace Wyss: Yeah. I just can’t do it. I go into, uh, you know, [00:27:00] little old man mode.

Don Weberg: I’m just wondering, in your painting, in your work, do you still wear the all white? Does it go with you everywhere? I mean, what do you do there?

Wallace Wyss: Oh, when I show the paintings, I’m even going to a show this Sunday in, uh, LA Jolla, and that’ll be the right atmosphere, the ambiance, you know, right by the ocean and all that.

So I’ll wear it, but. I’m gonna wear ’em at different shows because then people who bought one of my paintings before will come up and say, well, what do you got that’s newer? You know, kind of continue the conversation from three years ago or something.

Crew Chief Eric: Mm-hmm. It’s kind of funny because Ben Collins, better known as the Stig on Top Gear, his book is called The Man in the White Suit.

So not to also be confused with the Del Monte commercials from the seventies. So, you know, we’ll leave that where it is. All right. Well, let’s come back from our pit stop and carry on with your chronology. Wally, as mentioned in the intro, you have self-described becoming an artist as something that accidentally happened.

Let’s go back to that turning point when you realized that painting [00:28:00] exotic cars and what we consider today classic cars was becoming your second career rather than a side experiment.

Wallace Wyss: Well, that happened because. I had done the third Shelby book, and I knew they were gonna have this parade, not a parade, but kind of an informal concourse on Rodeo Drive, one of the fanciest streets in the United States.

I thought, well, I’ll bring a few of the books and then I’ll bring the painting. I made a painting of Shelby. I said, I’ll leave that in the car. Just show people pictures of it. So the first guy I sold a book to, I said, oh, by the way, I got this portrait of Shelby here. He said, go get it. You sold that too.

And I thought that was a good sign. ’cause you didn’t say, how much is it? So as I’m walking back from the car, I thought, you know what? I think I’ll be an artist.

Crew Chief Eric: You talked about going to school for writing and when you changed careers, did you go back to school to become a fine artist or did you learn all this on your own?

Wallace Wyss: Believe it or not, it was just at a print shop. And before, I never liked real oils ’cause the linseed oil smelled so bad. But now [00:29:00] people paint oils told me, oh, they use a different brush cleaner now, it doesn’t smell bad, but how fast it dries, that acrylic oil dries in seconds and that paper is good. And so once I got all that together and I learned how to take the right pictures, I do sort of tend to shoot the front three quarter and rear three quarter views a lot.

But each car kind of. It tells me how it wants to be shot and uh, I throw a lot away. You know, I think I’m throwing about 50% of my pictures away ’cause it’s just either the right car at the wrong angle or I got the car too realistically and you see its flaws. All I have to do is learn how to make copies.

I don’t wanna sell the original. Then I bought some paid supplies and then did more and more of ’em. But I do only sell the, the print, like this is a print.

Don Weberg: Wally, do you do commission work? In other words, could somebody hire you? Oh

Wallace Wyss: yeah. Yeah. That one of ’em wants some, A museum owner in uh. Georgia or someplace, you could tell where he got the money ’cause he owned a water company.

Maybe what could be better to own than a water company.

Don Weberg: [00:30:00] That’s the best.

Wallace Wyss: And uh, he had a hundred dollars and he started reading off the list. And when he got to 2 75 gtb four Ferrari, I said, it’s a red. He said, yes, that’s okay. I’ll do that one. But sometimes it’s a challenge because maybe I don’t like the color of the car.

Like I did a white Ferrari and I was like, how am I gonna make the interesting, white is a dull color. But then he happened to mention that where he worked, there was a office that with his own little waterfall, so I parked it in front of the waterfall and lots of little spurts of white water in the background.

Perfect. Sometimes you’d even have to do it twice, you know? And then another thing was is commissions. People don’t like to get up early. I said, well, I’d like to be up at 6:00 AM when the sun comes up. I mean, they don’t understand. The middle of the day is the worst time to shoot a car.

Don Weberg: Mm-hmm. Yeah. You gotta get that sweet light going on.

Wallace Wyss: And by the way, I do different cars in different categories. This is the rarest category. This is called art deco. Streamlined modern with the E on the end of modern to make it very French. [00:31:00] And the French just love this smooth airflow cars around 36 to 39. Then unfortunately the war came along. Then after the war, the economy was so whacked outta shape that nobody had the money to buy one of these.

So it’s just this golden era. That’s a Bugatti, I think. This one’s in the A museum in the valley, San Fernando Valley, and then I do sports Cars of the sixties. Like Ferrari, short wheel base two 50 gt. I like to do a car with the atmosphere behind it. Now, sometimes I wish I could have the right background behind the right car, but it just doesn’t turn out that way.

Sometimes the great picture of the car, great lighting, but there’s a a tractor trailer behind it. You know, a Peterbilt. I wanna be real, but I don’t wanna be that real. I want people to enjoy the nostalgia of the car. So then I. I’ve done a lot back. I said when the marry me fly free days, I took pictures all over the world so I can combine one thing with another and sometimes [00:32:00] nature, but like Villa DTE is a good place to shoot, but I don’t know how you get in the show now.

That’s the famous Concord in Italy, lake Como? Mm-hmm. But I don’t know who you have to be to get in or, or whether they’ll gimme a trespass.

Don Weberg: So back to your, your bini or whatever that is in Paradise Cove. That actually wasn’t taken at Paradise Cove.

Wallace Wyss: No, that was,

Don Weberg: it was.

Wallace Wyss: That’s the weird thing about that car.

My favorite car, the one that converted me from a poet to a rider. So I went to Paradise Co. When Andy Cohen, who used to have Beverly Hills motor accessories, he started that very exclusive show there. He had to be invited to it. So I went there at seven o’clock in the morning waiting for the first car, and out of all the cars in the world, only 150 or so made comes my favorite car by itself.

So I shot that.

Don Weberg: Yeah, I, I remember that show really well. It was always a fun, fun show to go to. He always had the greatest cars. I really miss him and I miss that. I miss that event. That was a lot of fun.

Wallace Wyss: Some people do a car with a white background, but when you [00:33:00] do that, you deny all the pleasure of relating to the environment.

Like I have another one with Paris and uh, I don’t know how to pronounce it, I don’t know French, but there’s some restaurant called LED Mago. Sounds to me like it’s in the two maggots. But anyhow, people have come up to me and say, I eat in that restaurant. I sat at that table. So it brings a whole lot to it when you have the atmosphere, and even this vRAN one is in a beach called Paradise Cove.

So a lot of people have been to Malibu, but they didn’t know there’s this place called Paradise Cove. But if you ever watch the movie, the TV show, Rockford Files, that’s where his house trailer was.

Crew Chief Eric: Don just finished rewatching it for the hundredth time. So yeah.

Wallace Wyss: Oh, okay. Oh, by the way, this is called gallery wrap.

When you have the canvas wrap around, you don’t have to bother to get a frame or anything. This is another short whale based Ferrari in Pasadena. Again, Ferrari’s on Colorado Boulevard.

Crew Chief Eric: How long does it take you to create one of these near photorealistic paintings? [00:34:00]

Wallace Wyss: And it should takes me like a week or so to do it.

It’s a lot of back and forth work. I do it on paper first, then I get a canvas done. Then I embellish the canvas.

Don Weberg: What are we looking at? Is it paint on canvas?

Wallace Wyss: Yeah, paint on canvas, but it’s a print underneath made from my original paint of acrylic oil on paper. Those are very inexpensive to do. The paper is very special.

I discovered it by accident. It’s called. Linen. L-I-N-E-N. If you look at it real close, it looks like cloth.

Don Weberg: So you’re designing them on a computer and then printing them on on linen?

Wallace Wyss: No, no. I’m taking a picture with my camera at all these events I go to, I have thousands of pictures.

Don Weberg: Oh,

Wallace Wyss: I have maybe a hundred, 150 paper prints and only a few canvas ones.

So I’m looking for a, a gallery that wants to put them on consignment, and I’ve actually sold ’em to museums. Big collectors that have a hundred cars, they’ll say, well pick one of my cars. Okay, I’ll take that one. So I’ve had a dealer say, I don’t want it ’cause [00:35:00] it’s not original. But now this is the only one that I don’t know ’cause of glass if you’ll be able to see it.

But this is an American hot rod and I very rarely have people. Because you don’t often have people that look like models that look like just right for that car. So here’s kind of a dumpy looking guy, but he’s looking at like a 32 Ford hot rod with a supercharger on it, Pomona. And I like it ’cause it’s, it’s real, people doing real things.

But then sometimes I think, what if I do, people in the people don’t come out right. I’ve ruined all the work doing the car. That’s kind of what I’m trying to capture in my paintings. But, you know, I admire so many artists for what they could do, and I think I’m, I got my own little area to work in. I, one of my favorites was Ken Dallas, a British artist.

And ironically, when I was riding Chevy ads, they hired him to come in and draw some of the cars. So it’s like it’s a big world, but we run into each other.

Crew Chief Eric: Wally, one thing I’ve noticed in listening to your stories is it sounds like everywhere you go, you have the luck or the [00:36:00] fortune of running into car people.

Wallace Wyss: Yeah, a lot of times I don’t know who they are, kinda like movie stars. I don’t know who they are till later and somebody says, oh, didn’t you recognize Najaro? You know, it was like, that is a problem. But one was meeting the people I did in Detroit. Being a journalist, I’m interviewing people all the time, even if I have no reason to, uh, I’m not writing a story, but you know, somebody waiting in a restaurant line, you know, I’ll get down to, you know, where’s the best place to fish in New Orleans, you know?

Crew Chief Eric: So when you look back at both of your careers as a writer and as an artist, what moments over the last 50 years would you consider a defining chapters for you and in the automotive world?

Wallace Wyss: I wanna say one thing about art in general, though. Since I became an artist, I appreciate nature a lot more. I don’t go out and paint nature, but I remember looking at this tree in, in some doctor’s front office yard and thinking, God, that’s fascinating.

Look at those roots. The roots are outside the [00:37:00] ground. It. I thought, I mean, before 2009, I would’ve never noticed that. And so colors, sunsets, color of water, the feel of cloth every, the whole world’s become more exciting since I rediscovered art.

Crew Chief Eric: And I’ll refine that by saying, since you’ve witnessed so much of automotive history you’ve lived through, I’ll give examples, you know, from.

The autos sphere, let’s say the death of Eton Sena to, you know, the, the arrest of John DeLorean and everything in between. Are there standout moments as a witness to automotive history that have resonated with you and maybe changed you as a person?

Wallace Wyss: One very recent one was, I went to Monterey, and again, gotta get up early in the morning.

I was out there at Laguna Seka about seven in the morning. Empty parking lot. Suddenly a Ferrari SR two shows up. That’s a real rare car. Sp being special project. There are two or 3 million a piece and they have another version SR one with no windshield and only one seat, and anyhow, one shows up, then another one, then another one.

Suddenly [00:38:00] I’m in the middle of a parking lot of 20 or 30 of ’em. I thought there couldn’t be that many in the whole world. But they’re all gunning their engines. And then I thought, I wonder if these people have racing licenses or they just bought a $2 million car and Ferrari waved the green flag. But anyhow, they went out in the track and I got a picture of that and made one or two paintings of ’em.

And that’s like a moment I, I mean you couldn’t plan that to be there at the right time when that many show up in one place. And Ferrari does that a lot. They have these private race course events only for owners and you have to, and to buy the car. There’s all kinds of things. You can’t customize it. If you own a, a recent model SP Ferrari and you say, well, I’m gonna put my doggies picture on the hood, you know, they won’t sell you another one.

So that’s really a, a marketing story in itself, how they got to that point.

Don Weberg: Let me ask you something, uh, from one writer to another, what words of wisdom for both aspiring automotive writers or artists. Can you share what, what would you [00:39:00] espouse upon people trying to make in the art world or the journalism world?

Wallace Wyss: I’ve met a lot of artists by joining these art associations. And by the way, if you join them, as long as you paid the dues, you can submit your work and they’ll put your work in the local show. So you get the first time experience of having your work in a show. The public looks at it. And by the way, one other thing I like about fine art is when I had a painting in the Monterey Mecca auction.

I didn’t stay around to find out what it sold for. I couldn’t afford another night in a hotel. So I drive home, called ’em up to say, oh yeah, we sold that for 1400. And I thought, oh my god, in, in the, uh, writing field, it would take, you’d have to sell a hell of a lot of books at a dollar and a half royalty to make that money.

And here I made it in one day, you know? The last thing that the rules makers haven’t determined is how much is art worth? You know, that was the case where two people wound up by that painting, they kept bidding. Uh, I tell them if they’re really good at one particular subject, like they do outdoor [00:40:00] scenes, but they’re really good at horses.

I say, develop that as a sub strata of your work and become known as the horse artist. And uh, and then you’ll get those people inviting you to their events, you know, so that’s what I’ve become. Even though some of the cars I paint, nobody wants a picture like the Bini. I’ve written a couple stories about that.

10 paintings of cars that nobody knows what the car is. But anyhow, now writing, I don’t know. I’m so scared of ai. I’ve had AI pop up on my computer and say. Oh, would you like a story on this? And all you have to do is give them the first line and, you know, the evolution of the, uh, model A Ford, you know, the machine takes over and does the writing.

I wouldn’t recommend somebody go into just journalistic writing. They’ll have to do some specialty that the computer can’t push ’em out of the way.

Don Weberg: I think that’s a big fear with a lot of writers is AI is coming about. In fact, it’s interesting right now there are tech companies that are hiring writers and [00:41:00] English professors, et cetera, who teach AI how to write better, how to better research.

I, it’s incredible.

Wallace Wyss: I’ve seen the ads. And then in art field too, there’s, well, right now there’s a new TV series, I can’t remember the title of it, but the beautiful female star doesn’t exist at all. Yes, she just, I thought, what are you gonna do when she has to go to the Oscars or something to get a prize?

Send a robot up at stage?

Don Weberg: Hey, they might

Wallace Wyss: at least she’ll never age. Look at it that way.

Crew Chief Eric: Well with that, Wally, we’ve reached that part of the episode where I’d like to invite our guests to share any shout outs, thank yous, promotions, or anything else that we haven’t covered thus far.

Wallace Wyss: I’d like to hear from an art gallery that wants to try out my art.

I’ll send you some paper ones at no cost. You put it up there and hope that you find a market in your town and that it’s a good price because maybe it’s not so good a price in, uh, well, even two towns like Fort Bragg, California is only five miles from Mendocino, but in Mendocino you get 10 [00:42:00] times the money.

But the thing is, I’ll give you my email address. This is all I could do is mendo, R seven M-E-N-D-O-R-A-R-T, number seven gmail.com. And if you’re a. You got a brick and mortar store, write me and I’ll send you some pictures and you could choose some.

Don Weberg: Now do you have your own radio show?

Wallace Wyss: Yes, I do a UCR.

Actually, my co-host has a, an assumed name on the show, I think. ’cause he has so many shows. But anyhow, I’ve had that show for over 30 years.

Don Weberg: Oh wow.

Wallace Wyss: Once a week. We’ve changed the format of what’s covered a lot because you can’t help it. I mean, when there’s. These crises, like the electric cars were coming on and everybody had to go electric and they were gonna ban internal combustion.

And now suddenly a lot of automakers said, yeah, we went electric. Look what happened. Nobody bought it. And then I was doing more testing of test cars than I do now. So the thing is, is that, um, we have to evolve with the times, and I’m still nostalgic for the old cars, so it’s [00:43:00] like I’m torn between the two.

It’s kinda like they’re saying we have a new movie just shot in 2026. They could come see us. Well, I don’t know. They’re gonna show an old Humphrey Bogart movie over here. I’d kinda like to see that.

Don Weberg: In the end, Wally reminds us that a life in the automotive world isn’t always a straight road. Sometimes it’s a series of unexpected turns.

One that can take you from the pages of MotorTrend to the quiet focus of a studio. From interviewing legends to becoming one in your own right is journey shows that reinvention isn’t a departure from who you were, an expression of who you can be.

Crew Chief Eric: So whether through words or through paint, Wally has spent decades capturing the soul of the machines we love and the people who shape them.

And as he continues creating from his home in San Bernardino, his story stands as proof. That passion doesn’t fade, it just finds new forms. With that. Wally, I can’t thank you enough for coming on Break Fix and sharing your story with us, and please keep chasing those stories, the stories that [00:44:00] move you and move the rest of us as we look at your photographs, at your paintings and read your words.

Wallace Wyss: Thank you.

Don Weberg: The following episode is brought to us in part by Garage Style Magazine. Since 2007, garage Style Magazine has been the definitive source for car collectors, continually delivering information about Automobilia petroleum events and more. To learn more about the annual publication and its new website, be sure to follow them on social media at.

Garage Style magazine or log onto www.garagestylemagazine.com because after all, what doesn’t belong in your garage?

Crew Chief Eric: We hope you enjoyed another awesome episode of Break Fix Podcasts, brought to you by Grand Tour Motorsports. If you’d like to be a guest on the show or get involved, be sure to follow us on all social media platforms at Grand Touring Motorsports.

And if you’d like to learn more [00:45:00] about the content of this episode, be sure to check out the follow on article@gtmotorsports.org. We remain a commercial free and no annual fees organization through our sponsors, but also through the generous support of our fans, families, and friends through Patreon. For as little as $2 and 50 cents a month, you can get access to more behind the scenes action, additional pit stop, minisodes and other VIP goodies, as well as keeping our team of creators.

Fed on their strict diet of fig Newton’s, Gumby bears, and monster. So consider signing up for Patreon today at www.patreon.com/gt motorsports. And remember, without you, none of this would be possible.

Highlights

Skip ahead if you must… Here’s the highlights from this episode you might be most interested in and their corresponding time stamps.

  • 00:00 Meet Wallace Wyss
  • 01:51 Early Influences Detroit and How Cars Spark Writing Path
  • 05:15 MotorTrend Hustle Stories
  • 07:39 First Cobra Book Breakthrough
  • 12:02 Becoming “The Barn Find” Guy
  • 19:08 Car Design Critiques & Most Beautiful Cars List
  • 22:00 Vector and Jerry Weigert Tales
  • 22:56 Roger Penske Corvette Story
  • 24:53 Pitstop: “The Man In White” Origin Story
  • 27:48 Accidental Art Career
  • 33:55 Wally’s Painting Process
  • 36:28 Witnessing Car History
  • 38:49 Advice And AI Fears; Shout Outs and Wrap Up!

Learn More

1949 Delahaye 175S; Photo courtesy Wallace Wyss

For collectors interested in owning one of Wallace Wyss’s automotive portraits, the process is refreshingly personal — much like the stories behind his work. As he explains in the transcript, he sells his pieces directly and keeps his prices intentionally accessible, noting that his goal is to share the emotion of the cars rather than treat the art as an exclusive luxury. Wyss often brings finished paintings or prints to events, where enthusiasts can see them up close, and he welcomes inquiries from anyone who connects with a particular piece. He emphasizes that each work is created with the same journalistic curiosity that shaped his writing career — capturing not just the car, but the atmosphere, the moment, and the story behind it. For those who want to bring that storytelling into their home or garage, Wyss makes it clear: just reach out to mendorart7@gmail.com, start the conversation, and he’ll help you find the right piece.

Bonus Content

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Be sure to check out the behind the scenes for this episode, filled with extras, bloopers, and other great moments not found in the final version. Become a Break/Fix VIP today by joining our Patreon.

All of our BEHIND THE SCENES (BTS) Break/Fix episodes are raw and unedited, and expressly shared with the permission and consent of our guests.

Wyss originally entered college as an art major and part‑time poet. But one day in the library, he opened a British sports‑car magazine and saw a three‑page spread of a Bizzarrini. The image hit him like lightning. “I forgot everything about poetry,” he recalls. “I came out of that library saying, I’ve got to get involved with cars.”

Soon after, he switched his major to advertising and began writing copy for major automotive accounts. That path eventually led him to MotorTrend — twice — where he worked in the heart of Hollywood’s car‑obsessed culture.

Photo courtesy Wallace Wyss

One of Wyss’s most pivotal moments came not in an office, but on a Detroit street. After losing a job, he heard the roar of a 427 Competition Cobra sliding around a corner — driven by a woman.

She asked for directions to Cobo Hall. Wyss offered to show her the way… if she gave him a ride.

Minutes later, he stepped out of the Cobra and straight into the path of Carroll Shelby himself.

That chance encounter led to Wyss’s first major book: Shelby’s Wildlife, which went on to sell more than 50,000 copies and launched his career as an automotive author. Over the years, he would write 18 books, including three on Shelby.


The Barn‑Find Hunter

Wyss became known for uncovering the stories behind forgotten, neglected, and rebodied classics — the kinds of cars that sat hidden for decades before being rediscovered.

His Incredible Barn Finds series captured tales of million‑dollar Ferraris disguised under Porsche bodies, concept cars donated to museums, and rare machines that collectors overlooked simply because they didn’t recognize them.

His favorite? A Bizzarrini — the car that first converted him from poet to automotive writer — that he once ignored because he didn’t like the paint color. Decades later, he still wonders where it ended up.

Photo courtesy Wallace Wyss

Wyss has spent decades analyzing automotive design, often comparing modern concepts to the icons of the past. His top five most beautiful cars? Not the usual E‑Types or 250 Ferraris. Instead, he names:

  • Alfa Romeo 33 Stradale
  • Aston Martin DB4 GT Zagato
  • Rolls‑Royce Silver Cloud III Drophead
  • Monteverdi Palm Beach
  • 427 Cobra with wide bodywork

His taste leans toward the dramatic — the “louche,” as he puts it — cars with seductive curves and a hint of danger.


Accidentally Becoming an Artist

Wyss’s second career began almost by accident. After completing his third Shelby book, he brought a portrait of Carroll Shelby to an event on Rodeo Drive. He planned to leave it in the car and simply show photos.

The first person who bought a book asked to see the painting — and bought that too.

Walking back to his car, Wyss had a revelation: I think I’ll be an artist.

Today, he creates atmospheric, near‑photorealistic paintings of exotic and classic cars, often set against evocative backdrops like Paris cafés, Malibu beaches, or Villa d’Este. His work blends nostalgia, storytelling, and a deep understanding of automotive form.

Photo courtesy Wallace Wyss

If you’ve ever seen Wyss at a concours or art show, you’ve likely noticed his signature all‑white attire. The inspiration came from writer Tom Wolfe, whom Wyss met early in his career. Wearing white has led to some unexpected moments — including accidentally being ushered into a Pebble Beach mansion and introduced to Governor Schwarzenegger because the hosts assumed he must be a celebrity.

Whether interviewing legends, chasing barn finds, or capturing the soul of a Ferrari on canvas, Wyss approaches everything with the same curiosity that first pulled him into the automotive world. He still hosts a weekly radio show, still paints, still writes, and still finds himself in the right place at the right time — like the morning he stumbled into a private gathering of 20 Ferrari SP hypercars at Laguna Seca.

Photo courtesy Wallace Wyss

Wyss’s story is a reminder that reinvention isn’t a departure from who we are — it’s an evolution. His life shows that passion doesn’t fade; it simply finds new forms.

From MotorTrend journalist to barn‑find detective to fine artist, Wallace Wyss has spent decades capturing the machines we love and the people who shape them. And as he continues creating from his home in San Bernardino, his journey remains a testament to the power of curiosity, creativity, and the roads we choose to follow.


Guest Co-Host: Don Weberg

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Mark Raffauf on Five Decades of IMSA, Le Mans, and the Future of Endurance Racing

For more than fifty years, Mark Raffauf has been one of the most influential figures in American endurance racing. From IMSA’s scrappy early days to its modern global alignment with the FIA WEC and the ACO, Raffauf has lived through — and helped shape — every major era of sports car racing. His appearance on Evening With a Legend offered a rare, panoramic look at how the sport evolved, why certain decisions were made, and what the future might hold.

Photo courtesy Mark Raffauf, IMSA Archives

This wasn’t just a conversation about racing. It was a masterclass in motorsport history from someone who has been in the room — often literally — for every pivotal moment.

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Raffauf’s story begins in the early 1970s, when IMSA was still defining itself. In 1973, RJ Reynolds threw its weight behind the Camel GT series, and IMSA took over sanctioning of the 12 Hours of Sebring and later the Daytona 24 Hours. These moves set the stage for IMSA’s long relationship with the ACO and the 24 Hours of Le Mans.

Photo courtesy Mark Raffauf, IMSA Archives

By the mid‑1970s, American teams were making waves in France. John Greenwood’s big‑block Corvette famously hit 225+ mph on the Mulsanne, faster than the Porsche 936s. NASCAR even sent cars to Le Mans in 1976 — a moment so iconic that Raffauf notes IMSA is bringing 30 historic NASCAR stock cars back to the Le Mans Classic this year.

These early exchanges laid the foundation for decades of technical collaboration between IMSA and the ACO.

Synopsis

In this “Evening With a Legend” episode, we interview Mark Raffauf, IMSA’s Senior Director of Competition, tracing how IMSA’s early relationship with the ACO grew from the 1970s through the creation of GTP, the split from FIA Group C’s fuel-formula approach, and the IMSA-driven development that helped shape cars like the Porsche 962. Mark recounts 1980s GTP’s manufacturer battles and behind-the-scenes antics, then explains the 1990s shift to World Sports Car, Ferrari’s 333 SP, and how rule changes at Le Mans affected competitiveness. He details IMSA’s organizational split that led to ALMS and Grand-Am, the rise of Daytona Prototypes, and today’s cost-control challenges. The conversation culminates in a deep discussion of Balance of Performance, LMDh vs hypercar sustainability, lift-and-coast strategy, and the need for a common future platform beyond 2030, while emphasizing Le Mans as a global mega-event.

Mark Raffauf with Hurley Haywood’s IMSA F40 at the Ferrari Museum in Italy
  • Let’s quickly talk about IMSA history, and its metamorphosis into the leader in Endurance Racing in the US; 1978 is a Pivotal Year, this is when IMSA and the ACO first really come together, and in cooperation developed the “GTP” class – which resurfaced officially last year (2025).
  • There’s a great story about Fitzpatrick testing one of the Kremer 935s (circa 1981/82) on the Highway before Le Mans? Any other crazy stories or antics from this time period that carry over to the 24H?
  • There’s also a sense that the World Sports Car effort in the early 90s was also designed to influence WEC/ACO to change the scene at the 24H, how did that play out? And one of the “most successful” WSC cars actually did very well at LeMans in those few years 1994/95?; won both times, and finished 2nd at Petit LeMans in 1998. 
  • As we talk more about the History and Overlap with WEC/ACO – let’s shed some light on IMSA’s involvement/relationship with the American Le Mans Series and GrandAm which were eventually merged back into IMSA during its “rebirth” in the 2010s. 
  • Let’s talk about Balance of Performance; which is something very complicated and IMSA has been at the forefront of perfecting for years; What are the conversations like between IMSA and the WEC/ACO over the last few seasons, and how do they get closer to a unified set of rules and BoP?
  • Many IMSA teams have found themselves at the 24H of Le Mans in the last couple of years, I’ll use Lexus as an example; and that’s really due to these rules changes and negotiations, it’s awesome to see; But how do we convince teams like Ferrari (499 P) or Peugeot (9X8) to come stateside like Audi did in the 2000s?
  • What are your thoughts on how Le Mans has evolved over the decades?, and what does that say about the direction of endurance racing as a whole?
  • Looking ahead, what goals or unfinished business do you feel IMSA still has when it comes to its relationship with WEC, the ACO and the 24H of Le Mans?

Transcript

Crew Chief Brad: [00:00:00] Evening With a Legend is a series of presentations exclusive to legends of the famous 24 hours of Le Mans giving us an opportunity to bring a piece of Le Mans to you. By sharing stories and highlights of the big event, you get a chance to become part of the Legend of Le Mans with guests from different eras of over 100 years of racing.

Crew Chief Eric: Tonight we have an opportunity to bring a piece of Le Mans to you sharing in the Legend of Le Mans with guests from different eras of over 100 years of racing. And as your host, I am delighted to introduce. Mark Raffauf, who has been part of the fabric of American endurance racing for more than five decades. A steady hand in the chaos, a strategist in the storm, and one of the few people who can say they lived.

Im SA from its early scrappy [00:01:00] beginnings to its modern global stature. Joining the organization in 1974, he’s now the senior Director of competition and his understanding of how the rules, the philosophies, and the politics have evolved between IMSA Grand Am A LMS wec, and especially the A CO, gives him a rare panoramic view of the sport.

That perspective naturally leads us to the 24 hours of Le Mans, the race that has shaped, challenged, and sometimes divided these organizations, yet ultimately brought them closer together. So tonight we chat with Mark to explore how endurance racing has changed, what unites the paddocks on both sides of the Atlantic, and what the future looks like as IMSA and Weck move toward unprecedented alignment.

And with that, I’m your host Rou chief Erik from the Motoring Podcast Network, welcoming everyone to this evening with a legend. So Mark, welcome to the show.

Mark Raffauf: First, Eric, thank you for having me. I’m happy to be here and looking forward to this for a while.

Crew Chief Eric: Well, I know we could probably talk all night about IMSA [00:02:00] history and its metamorphosis into the leader of endurance racing in the United States, but take us back to one of its most pivotal years, that being 1978, this is when Im SA and the A CO kind of first really crossed paths and came together to develop the GTP class.

So can you walk us through the importance of that and being there and what that means?

Mark Raffauf: Well, actually it was 1973 because in 73, RJ Reynolds threw their weight behind the Camel gt, which was GT racing. That’s what IMSA was. The coup that year is we took over the sanction of the 12 hours of Sebring. We then took over the sanction of the Daytona 24 in 1974, but there was no race ’cause that was the fuel deal where it was odd even probably some people remember that, but you could only get guess and it wasn’t because of racing using fuels ’cause there was no fuel for spectators to come and go.

So both Daytona and Sebring didn’t happen. However, that started the relationship because in 1975 or in 74, there was already a Daytona Le Mans cup between the two [00:03:00] events that had nothing to do with Ipsa. However, it was, I think 10 grand for the car that did both and did the best in both. It was 10 grand back then was a lot of money.

So in 75 what happened was John Greenwood took a big block Corvette, which turned out to be the fastest car at Mosan, even faster than the 9 36 Porsches, like 225 or 230 miles an hour. 500 cubic engine engine, a gearbox that lasted about two hours. Mike Kaiser brought a small block, decon Monza, but the fans loved it because it was the big v eights, the people, there was a very different structure.

There were three guys. It was, uh, JPI. Moreau was like the sporting guy. Beit Ro was the communication press guy, and he had actually worked for Bill France Sr. Here in Daytona for a few years. And Al Lamberto, who was a driver, was the competition guy. So they really wanted this American influx. The next year, 76, 50 years ago was when they sent the first NASCARs over there.

We created with nascar, [00:04:00] grand National International. So we had the Pearsons and Childress and the Allisons. All those, like seven or eight of ’em ran at Daytona. But only two went there. So we’re going back just as a side note with 30 historic NASCAR cars to the Le Mansr Classic in July this year. But we’re taking 30 NASCAR stock cars.

Not current, I mean, 2010 and earlier. So that should be pretty good. So the relationship started there. So we then got really good communication with, and got to be really friendly with Al Lamberto, and he and John Bishop sat down and realized that the FIA and what they were doing, they were kind of lost.

They had group six cars, the Renos, the mantras, but there were like four or five of them. So they created essentially GTP to be a class where private guys could win big races. So obviously the first and most successful one was Jean Rondo winning at LA Mall with a Cosworth powered car that he designed and built in LA Mall.

So those rules and that cooperation carried on late [00:05:00] seventies, well into the eighties, the ISA class within which, uh, the Corvette and the Monza ran in. And then subsequently nine 30 fives both from Europe and the US could modify the cars outside of the FIA raid. So that IPS a, there was an ims, a class ISA tech decal whole deal.

So I had the opportunity, I pretty much was there from 79 to 1990 every year. So watch this development. So GTP started in, in the eighties, early eighties when the rules went out and people like March and Lola and all those guys built cars to those rules and they raced at LA Mall with cause words. They raced here with Chevys or bors, turbo engines, all kinds of engine.

But the engine and the car. Had to be available to everybody. It was a, an across the board effort because group five, the nine 30 fives, once Porsche stopped building them, or BMW stopped building them, you couldn’t get one. There weren’t any. So the A A GT, Corvette, Mazda Bigger engines, we tried to keep.

[00:06:00] The big GT cars going, but essentially, you know, by 1979 we had 15,930 fives. Now no two of ’em were the same on the grid ’cause everybody hot rotted them over here. But it was all Porsche’s, occasional Ford victory, occasional BMW victory with hops. So we had to do something to keep the ball rolling. I think meanwhile, like 1981, there was a fairly major economic downturn as well.

A lot of car. I mean, I think car sales dropped like a million and a half vehicles in the US in a year. So that’s kind of where it really started up until GTP.

Crew Chief Eric: So let’s walk backwards just a little bit because I’ve heard you also tell the story about how GTP was also birthed in a weird way from the Group C regulations, which I’ve heard you refer to as a fuel formula.

Mark Raffauf: Correct.

Crew Chief Eric: And this is where you see the rise of the 9 56 s and then the later nine 60 twos, which IMSA had a hand in basically creating the nine 60 twos.

Mark Raffauf: Correct. So that story was, since we had put these rules out and people had built [00:07:00] cars, when the FIA approached the A CO and us about doing Group C, I’ll get to the 9 56 specifically two problems.

One, a fuel formula at that time in this country wasn’t felt to be what spectators and fans wanted to see. They wanted to see people race the cars, hard, spectacular cars. We were transitioning, you know, we had the K four with John Fitzpatrick and JLP three with John Paul racing against Redmond and the T 600, uh, Ray Hall in the first march.

You know, there was just this diversity of prototypes and nine 30 fives. The big difference was the prototype. The first Lola T six hundreds were $75,000. Even a 9 35 back then was twice that if you could get one. And there weren’t anymore. They built so many, they made a few spare tubs and a couple were built California.

Uh, the Fitzpatrick Sacks car was one that was made from a Porsche factory tub. So the problem was when we got to the Group C thing, we said, we’re not doing the [00:08:00] fuel formula. I could tell you some stories about the politics, but it was pretty much the structure back then of the FIA was there was a manufacturer’s commission, which represented everybody.

So we went to a couple meetings, Paris, and at one point all these people were sitting around trying to decide what the Group C rules were gonna be. And I think Bill France Sr. Got up and he said, which one of you people here would commit two cars to the Camel GT in the US and two cars to the World Sports Guard Championship?

One hand went up Porsche. That was it. None of the people deciding on what the cars would be, whether fuel formula, power to weight, basically the cars were very similar but in three areas. The GTP US one and the early A CO ones were a power to weight. You got this amount of power for that amount of weight.

The group C thing was you could do anything you want. You only got this amount of fuel. So there were a lot of races early on where guys ran outta gas on the last lap after a thousand kilometers. We didn’t think RJ Reynolds, our main sponsor, nobody here thought that was a [00:09:00] good product to present. So the 9 56 comes along and we went, no, we’re not taking this car because of three things.

One part of the GTP formula was everything had to be available to anybody. So you, the engine in that car was the indie engine, the 2.65 liter indie engine. It had an aluminum roll cage, which we had banned after Kathy Root’s big crash at Brainerd and all the BMWM ones and Porsches had aluminum roll cages.

They all had to change ’em to steel. Well, third point was the driver’s feet were out in front of the front axle. So after a year, and I think Fitzpatrick ran one in a Can-Am race once at Road America, 56, the car, never, nobody here really wanted it. So a year later, Holbert stuffed a, basically a 9 34 and a half Porsche turbo motor in the back of a march to develop an engine with Andile Allen Springer in California, which was bigger because all the people here said 2.65 ain’t big enough.

You need torque. So you need a bigger engine. So they build a three and then a three, two air cooled engine out of parts [00:10:00] that anybody could buy. So you could go to Andal. They put those engines in Lolas, they put ’em in marches and they put ’em in the 9 62. So the actual 9 62 is the IMSA car. The 9 62 C was the World Championship car Fuel formula car, which had air cooled, uh, water cooled heads.

So it was even a different engine ’cause it was derived from the Indian engine. So that took us to the point where eventually, and I could tell you a little story, you know, John Bishop went over to Porsche and I think in my first book there’s a drawing of the tub and he was trying to explain to him what they had to change in that tub to beat the rules.

Steel cage. Put the driver behind the front axle and the pedals are fully depressed. So they finally did that because if you remember, I think Stepan Beloff got killed in the 56th at spa cars. Were not anywhere near as safe as they are today. Obviously that’s got nothing to do with Porsche, but everybody built things the way they thought they knew was the best way to build it then, which, when you look at one today, you kind of wonder who, who guys were brave?

That’s a big time. His cars are [00:11:00] fast and they were brave. So that’s kind of the story of how GTP and then ultimately Group C adopted, not the engine part. ’cause Mercedes did their thing. Jaguar did their, everybody did their own thing engine wise, but the cars were, steel cage driver was behind the front axle.

So everybody adopted that. Not that that made us feel any better. We weren’t rocket scientists, but it just made sense to us. If the driver was further back in the car, it’d be a better situation when he hit something right. So that takes us to like the early eighties and then of course it took off with Jaguar, Mercedes, Mazda, Nissan, Toyota, and during the eighties, Le Mans specifically is a huge difference across the board was on the grid at the start of the race.

This is probably, it was 48 cars. Half of them could have won the race. The competition was ferocious. Porsche won Jaguar one, Mercedes won. Mazda eventually won. So everybody got a piece of the pie over the next 10 to 12 years with those kind of cars. That’s kind of the story of GTP and as. What happened here [00:12:00] also happened there, which.

The drawing in the IMSA rule book that John Bishop drew on his desk remained in the IMSA rule book with four pages of regulations unchanged for a decade. The only thing that ever changed was the engine specs, different weight for different types of engines that changed, but the rest of the car, how it was built, how it was run, everything about it.

The other problem with ’em was Group C had a hundred liter tanks. We needed 120, so they had to put a bigger fuel tank in a 9 62 over a 9 56. ’cause we ran what was then 32 gallons and they were not running 32 gallons, they were running less because of the fuel forming. So that kind of takes us through that era, the a CO people back to Berto.

Kind of got, I hate to use the word, but they kind of got blackmailed by Jean Marie Burlesque, who was the president of the FIA at the time. He was also the president of the FFSA, which is the French A SN, and he pretty much told them that the World Sports Guard Championship could not exist if Le Mans was not in it.[00:13:00]

So he kind of mean, I don’t know, that’s a bad word to use, but there was a lot of politics then between the French and the French. We had nothing to do with it. We said, we’re doing this, this is how we’re doing it. You guys decide what you want to do, but they kind of argued over it. And, and finally, the A CO who as sort of co originators of GTP with us were kind of disappointed, but they had to go with the FIA’s World Championship.

Otherwise it probably never would’ve taken off.

Crew Chief Eric: We’ll take a pause there and rejoined the conversation. Talk about the nineties. Before we do that, you know, you mentioned something about getting all the group C cars together, and I’m sure you’re aware of this photo shoot that was done a couple of years ago where they did a, a group C reunion at one of the airports with some jumbo jets behind them and it’s just unbelievably mind blowing to see them all together in the variety of the cars and all that.

David Lowe: Yeah.

Crew Chief Eric: It also reminds me of some of the funny stories you’ve told about that time period because you had some big names in racing them, like you mentioned Holbert and Fitzpatrick and Garson

Mark Raffauf: Bell [00:14:00] shook Wallach,

Crew Chief Eric: Brian Redmond and David Hobbs, and you just go down the list.

Mark Raffauf: Everybody, Ludwig, all the Europeans wanted to come race here because the drivers didn’t like the fuel formula.

I mean, I was at LA Mall when Klaus won it a couple times in the New Man car where pretty much from the bridge all the way after you went past the pits, all the way down through that set of S’s, before you got the Mosan, they were outta gear coasting. That’s how you ran the race. They weren’t driving the car to the extent the car could be driven because of the fuel deal.

And they hated that they were managing fuel consumption as opposed to actually racing. They liked it here.

Crew Chief Eric: So one of the stories I’ve heard you tell is the hijinks that went on, especially during the eighties behind the scenes, and one of them especially is Fitzpatrick testing the Kremer nine 30 fives on the auto bond.

Yeah. Are there any other stories like that, just crazy stuff that happened during that period where there was alignment?

Mark Raffauf: Yeah. Back then, particularly in Europe, you know, you could put a dealer plate on just about anything. So once, [00:15:00] once they got the card done, somebody you know, would take it out. And I think that photo that you saw is like a week before Le Mansr, that was a brand new car.

And so it’s a picture of the car next to a Volkswagen Beetle on the auto bond. It’s pretty funny. So the other stuff, I mean, here in the States, there’s certain people in certain places, they’d run a 9 62 out the door, down the street and around the block a few times just to check it out. So that was fairly common practice if you were in the right place.

The other antics, I mean, everybody in racing is constantly trying to make it go faster. So you know, a lot of times people were using stuff that they shouldn’t have used. The rules were a little bit more. In that era, if it didn’t say you couldn’t, you could so pouring dry ice into the air intake before qualifying in an air cooled 9 62 became normal.

So they’d be hustling down the track and you’d see all that dry ice team coming out all over the back of the car, and everybody says, we can’t do that. This says, no, you can disappears. It evaporates. It’s not putting anything on the [00:16:00] racetrack. But they did that to cool the air charge going in the intercooler and then into the turbo, particularly with the air cooled engine.

So there were a lot of tricks like that. You know, basically the competition back then with, at one point there were nine OE manufacturers in SS GTP at about six or seven in the World championship. Some manufacturers had completely different cars. They would have, the Nissan here was a V six stock block that anybody could get.

The Nissan and the World Championship was a V eight race motor, more or less. Same with Toyota Mazda four Roter. A lot of the big powerful cars here were the gm, Buicks, and Chevys that had a thousand, 1200 horsepower. They also went through a quite an evolution as far as antics of playing with aerodynamics without having a lot of the tools that we have today.

I mean, CAD and wind tunnel stuff. Yeah, they had wind tunnels, but they’re using little models now. We put cars in the wind tunnel full size first. We do a model, then we do the whole car. So there was a lot of stuff there where at the end cars [00:17:00] were running. The downforce was. Tons cars were running 72 to 7,500 pound rear springs to simply keep the car off the racetrack.

That’s how much downforce they could produce that tunnel concept, which is what made GTP probably a better car. The tunnels in GTP were bigger, are longer than they were in group C, so the American style car had more downforce and bigger engines, which was torque, which was cornering speed, which is what you needed for our circuits more so than La Mall.

La Mall was 252 with a low wing 9 62, and the Mosan was okay, but you wouldn’t want to drive that at Road America or Watkins Glen or Daytona. It’s a Streamliner, not a, not a road racing car for our tracks.

Crew Chief Eric: So as we jump into the nineties and the nineties is a really interesting period ’cause we kind of have to address the front end of it and then what happened at the tail end as we get into the Audi Dynasty and things like that.

But let’s kind of walk before we run. And there’s a sense that [00:18:00] in the World Sports car effort, and you kind of alluded to this before, especially in the early nineties, the way you guys were changing that it was designed to really influence WEC and the A CO to change the scene at the 24 hours of Le Mans.

And I’ve heard you say that one of the most successful WSC cars actually did really, really well at Le Mans, like 94, 95. It won both times and it finished second at petite later in that decade.

Mark Raffauf: Ran three races. That was it.

Crew Chief Eric: So let’s talk a little bit more about the WSC and how that eventually gets us to another period of overlap between wec, the A CO and imsa, especially with A LMS involved.

Mark Raffauf: You gotta go back a little bit. By 19 88, 89, the federal government had already told the tobacco companies you’re gonna be done in 1993. So by that point in time, GTP had gone beyond its original concept, which was once again, manufacture exclusive. Cars. You could buy an old Nissan 1-year-old and you could buy an old Toyota because [00:19:00] there was a new one.

No wanted to do. Nobody wanted to do that. You know, 9 62 won races in 1984, and then one races in 1993. So that one car carried through the decade, so to speak. We realized in the early nineties, again, another economic downturn worldwide, I think it was two and a half million fewer car sales in the US in 1991.

And that sort of put some writing on the wall that this was sort of running its course. So we went back to the basics of what GTP was 10 years early and created what was essentially a camel light car with the roof cut off of it with a bigger engine. Narrower tires, no tunnels, no ground effects. Just upper body arrow.

We didn’t need 7,000 pounds of down force anymore. The cars just were too fast. You’ve seen some of the crashes at Atlanta before the chicane was put in with the Nissans. Huge accidents. The cars were going faster than the tracks could handle, so to speak. The tracks had to spend millions of dollars changing the tracks, which some did.

Thankfully, Don [00:20:00] Panos did it at Atlanta, but at the other side, the cars were just unbelievable. I mean, we’re talking about doing a throwback video at Laguna Laguna without the inter loop of GTP car went over 200 miles an hour where the bridge is ’cause turns one and two are flat out. So we, we came back with this concept.

The funny thing was when we did that. There was immediately a response here from Riley cr. All kinds of people looked at this and said, these cars are reasonable. They’re fast enough. A lot of people could drive them. They’re, they’re not scary fast, like the GTP cars were in the early nineties. You had to beat grab them or Chip Robinson or Juan.

Fun Joe, to actually pedal one of those things. Quickly. So when we did that, I actually was at the press conference. The coup was, I went to, well actually Jean Piro Moretti went to Ferrari and convinced Piro Ferrari, we need you to build a customer car. Not a Ferrari rate, but a customer car. And there was a lot of talk, uh, Monte Zelo was the president of the time.

Pierro was the vice president, but Moretti was still thee supplier [00:21:00] for steering wheels. He was always welcome there. So the two of us go a second time and you know, we have the political stuff and everything else. And at the time, Ferrari wasn’t doing well in Formula One and they were pretty adamant that was the priority.

But Pierro said, I want to do this. And Montelo agreed. So they went and designed this car, the 3 3 3 sp, which still today ranks as one of the greatest, in my opinion, sports cars ever made.

Crew Chief Eric: It’s funny how history tends to repeat itself. Ferrari not doing so well at Formula One. So the 4 9 9 P comes out right.

Mark Raffauf: It’s how it works. It’s either that or the Pope will excommunicate ’em all or something. So they build this car. I was at the press conference at the mall where they were doing the GT one cars, the Porsches, the Mercedes, the McLaren’s. That was the top class at the mall. There were no more prototypes. So I was at the press conference when Auto Sprint, which is the Italian weekly magazine, puts the first rendering of the 3, 3, 3 on the cover that week.

I’m sitting in the press room and all these media guys from all over Europe have this magazine and the a [00:22:00] CO guys are up front and they’re all asking us, why aren’t these cars gonna race in the mall? Because we felt here, even though we had strong GT racing with Nissan and the Audi Quatro, the F 40, we had a lot of really cool GT cars.

It wasn’t a big enough deal to sell as the top class here. We had to have a prototype, didn’t need to be 12 seconds, a lot faster, it could be five seconds, a lot faster. And that was kind of the goal technically was to make it a little bit faster than a GT car. So they went another year or so using the GT ones.

And then because of Gabrielle, KD Ringer from the FIA and again, Al Barto was still there going, we gotta have these kind of cars here. All right. Now certain ones like the Riley was made for here, high down force, no top speed. Wayne Taylor did go, uh, with the olds Riley that won at Daytona and Sebring that year in 96.

We basically had Dyson and, uh, four or five Ferrari, six or seven, I think the first world sports car race with [00:23:00] just world sports cars. There were 17 of them at Road Atlanta the first time, you know, so that kind of stuff spawned a lot of people to build cars. Spice built a car, Roger Mandeville built a car, downing built a car.

All these private guys were able to build a car and compete and potentially win big races, and that was the intent. The Ferrari, even though at the time was a Ferrari, the joke was the badge on the nose was 250,000. The rest of the car was 250,000. So it wasn’t really that bad if you took the badge off, but that whole deal, that mid nineties, early nineties, after 93 by 95, it was storming.

It was pretty good. It was excellent racing. The cars were super competitive with each other. Again, a lot of world class guys came over and eventually Le Mans adopted it. However, as we get into the later nineties, we made an effort right then we did not allow turbos. The story about that one world sports car, WSC car is the Porsche with the turbo motor in it.

We made that effort to try and bridge a gap with the A [00:24:00] CO and let them have turbo cars and our cars. They took it, but they also did a couple other things, which were kind of not right, which was they allowed BMW to come in with a six liter motor when everybody else had a four or five, and they used that BOP term for the first time.

Oh, we’ll fix it with BOP. We got no, you’re not. All you’re gonna do is cap the power. You can’t cap the torque. They also put diffusers on that car, and they also put a single roll hoop instead of a full roll hoop with no bracing forward. They did a couple things with the rules that we gave them. Say here, if you wanna do it, here’s the rules to kind of put their mark on it.

And it did attract new cars, but it immediately obsoleted the ones that already existed because they had too small of an engine. Things like the Porsche was based on the XJR 14 Jaguar, which was a ground effect car, which then became a Mazda car and then became the Porsche World Sports Car. And that car ran three races.

It won Le Mans twice, and it finished second at [00:25:00] Petite Le Mans the first year after Wayne Taylor’s Ferrari. So it, we proved there that it could be competitive with turbos, but they changed the rest of the car and you couldn’t take a Ferrari 3, 3 3, which was a flat bottom car with an open rear with no tunnels and just stick diffusers on it.

It doesn’t work that way. The whole car would have to be redesigned to take advantage of that. The Porsche was an exception because it was already built with tunnels. The new cars from Audi and BMW by 98, 99 were all ground effects cars to some extent.

Crew Chief Eric: And the BMW we’re talking about for those, you know, maybe Googling it, that might not know the history, that’s the LM RV 12, which is infamous.

Mark Raffauf: Correct.

Crew Chief Eric: To your point, you mentioned a very specific brand that was in the shadows with the original R eight Roadster, which looks nothing like the McNish car and the ones that we know. It was kind of plain Jane, sort of in the style of the 3 3 3 sp, and that’s the original R eight. So Audi’s in there in the shadows trying to figure out what they’re doing, what their play [00:26:00] is, all the politics with Porsche and all that kind of stuff.

Because you’re right, we were still transitioning out of GT one with the nine 11 GT one and some of those other car, the BM, bmw GTR, all that kind stuff. So it was an interesting period. But at the same time, there’s a lot of stuff going on on our side of the ocean, especially 98 99 with A LMS. So let’s talk a little bit more about that history and overlap, and can you shed some light on IMSA’s involvement in A LMS and how that grew out of Grand Am and eventually they merged back into what we consider the rebirth of IMSA as we know it today.

Mark Raffauf: So what happened was when Andy Evans acquired imsa, who was the fifth owner since 1990, okay, this is 96 7. Basically the management of imsa, old Generation one ended up here in Daytona. Myself, George Silverman, our director of operations, so on so forth. The race staff became the contracted staff and they were part-time people that ran the A LMS races.

So basically [00:27:00] IMSA split in half. Management came to Daytona. We worked with the France family for a long time, so Don Panos vision was to accept the Le Mansr rules and run them here. Looking back at that, it was a great idea, but it didn’t really work that way because most of the LA MA stuff, even today, is designed for Le Mans.

Okay? So you gotta think about, all right, how’s this gonna work at Lime Rock? How’s this gonna work at mid Ohio? How’s this gonna work at Sonoma? Okay. Or the places where, where we raised, you know? So initially it was good. It attracted the manufacturers, okay? Tried new stuff. The Audi, I think was a V eight.

It was black. They ran two of those against the BMWs at Sebring in 99, I believe. And the other side of the equation that didn’t adhere to that philosophy because fundamentally costs just like doubled and tripled within a year. So all of the people that had the original world sports guards were kind of like, we [00:28:00] can’t race against these guys.

It’s not possible. So there was a, not an appeal, but there was people like Rob Dyson, there was people like Moretti, there was people like Freddie Leinart, people with Ferraris and Riley’s and everything who could not race these new factory cars because they were a completely different kind of car, though they looked the same, technically very different.

So the U-S-R-R-C was restarted with the SCCA, the France tracks, which at the time were Watkins Glen. Daytona, middle Ohio, joined that group. So USRC ran a few races in 98, 1 in 99, and at that point is where the people here decided we’re gonna start Grand Dam. On the same principle of the original GTP in the original World Sports Car, which is every component engine and car has to be available to anybody.

They’re gonna be low down force cars. They may not be pretty, but they were designed for close competition and Grand Dam provided that with the DP car as we rolled into 2000 and started Grand Dam’s. First race was the 24 hours of Daytona with [00:29:00] 80 cars. 2000 no prototypes. We were still running the Delara with Lista.

The Riley’s, the Cadillacs were eligible because of how they were made, both sets of rules. They could run in A LMS and run in Grand Dam. And then by 2003 is when the Daytona prototype car was introduced. And then that propagated rapidly because again, reasonable little guys could get one race and have a chance to win the big races.

So that’s kind of taken you through that transition. The transition was difficult times. I’m just gonna speculate, but I know it was hard for Don Panos to understand that people like Daytona we’re not gonna brand an event with Le Mansr at Daytona. They have an interest in the physical plant here, or Watkins Glen, they’re not gonna call it Le Mansr.

We have the petite Le Mansr because we inherited that with the reassembly of the two halves in 20. 13 actually. So for a decade there were two different paths that actually both were part of imsa, but separate. They’re [00:30:00] doing completely different things technically and philosophically. Uh, grand Am was all about reasonable costs, reasonable schedule.

A MS was all about manufacture teams and having gone through the late seventies and then the GTP area where the manufacturers come and then go. After they fulfill whatever their need was. There was a big reluctance to go that way. That kind of takes us to the early two thousands. But by 2005, six and seven Grand AM was booming.

We had just as good a TV audience. We had just as good crowds and we had way more cars. And A LMS was beginning to struggle a little bit with manufacturer dominated Penske and the P two car Audi and the P one car. But. Who else was there? Nobody. They all went away and in gt, I mean the Corvettes ran one year against themselves.

GT Le Mansr had two Astons and two Corvettes the year before, and then Aston stopped because it was too expensive to run the GT car to those rules. [00:31:00] They just parked them in England. So they began to struggle. They put the Porsche Cup cars in there. They came up with the PC car. They came up all of a sudden with similar concepts of cars that were easily accessible that people could get and go participate.

Not win overall, but participate in their big races, which were Atlanta and Sea R, so on and so forth. The other thing that Grand Am had the benefit of was the company owns a lot of racetracks. So the road course at Fontana, the road course at Phoenix, obviously Daytona. Obviously Watkins Glen, we could build a schedule on our own tracks right away.

We also added mid Ohio Lime Rock, three Rivers, uh, San Jovi, you know, uh, we went to Canada twice. Panos owned, uh, most ports, so we didn’t go there. And he owned Atlanta and we owned Seabring. We didn’t go there, but pretty much everywhere else, grand Dam, we went to Sears, we went to, we went to all the same places and did well.

Tracks did well. So that kind of, how should I put it? It kind of created a, a split, but the split, [00:32:00] the long-term view was gonna be the one that succeeded. And the long-term view has always been you have to keep some sort of cost control in place. It’s a discussion item today. It’s cost control. Cars are super technologically oriented, difficult for the little guy to run, if at all.

No customer cars, so it’s got a limited field size. There’s, there’s no cars. Porsche’s the only one that’s made a customer car, so that is a, a current problem, but that recurring problem of economic explosion out of the realm of people being able to do it, including car companies. It’s a constant thing with sports car racing.

Going back to World War ii, what Ford spent in 1967 was crazy to win them all.

Crew Chief Eric: Mark, let’s get into one of my favorite discussions. You and I shared a beer about this particular topic last year. It’s Balance of Performance. I ask all our pro drivers about this. This is something that I know you know very, very well because it’s at the heart of your job and what you [00:33:00] do, and it’s very complicated and it’s very nuanced.

And IMSA has been at the forefront of perfecting balance and performance for years. And I know that there’s been conversations, especially as we get closer to the unification of the rules between IMSA and we in the modern times of how does BOP work? So can you put it in perspective for us? Because as fans, BOP is like, it’s like the worst thing ever, right?

We want people to build better mouse traps, but that’s not how racing works.

Mark Raffauf: No. So BOP, the way it works, the relationship we have with the A CO first, people have to understand there’s two kinds of cars. A hypercar is a hypercar, an LMDH car is an IPSA car. Our class of those two cars together and they’re all eligible for, or you can come, POEO can come.

They can come if they want, is based on a process that we developed over three or four years with all of the manufacturers that were building LMDH cars. And if you think back, other than those three original ones, there have been [00:34:00] no new lm, no new hypercar. Why It cost about eight to nine times more to develop because everything is proprietary technology.

LMDH was decided to be standard hybrid units, standard batteries, standard gearbox. So the system that runs all of the cars in LMDH is the same, so the manufacturers didn’t have to go out and develop that. The Bosch management systems that run it all are the same. They can program it the way they want, but they’re using the same hardware, so that solves everything.

The other thing is there are four chassis options in LMDH. You pick one, you put your stuff in it, and then the manufacturer pretty much, and they are cost capped. Those chassis, the, the what we call the spine. So the manufacturers, really all they had to do was do a body work. Everybody in LMDH is using an engine they already have, I think the genesis will be the first car that has a new engine.

But the BMW engine is two generations ago. DTM engine, the Porsche engine’s out of a nine 18, I think the [00:35:00] Honda engine in DPI was actually the turbo version of the minivan engine. Now it’s more of like, it’s the IndyCar engine, but it’s stuff they had, they didn’t have to go and make new stuff that made the decision economically acceptable to the board of directors to go racing.

Meanwhile, in hypercar, everything is from scratch, so you gotta develop a whole hybrid system. You gotta develop the body work, you gotta develop, and the rules of the cars themselves are not the same. Hypercar has all wheel drive. It’s been reduced a lot at the front from the electric motors, but we learned in 1989 with the Audi GT car, you got a road racing four wheel drive car, see ya.

There’s no way to really match it. So the BOP on both sides of the water is what those two groups us and them want for their championships. World Endurance championship, weather tech championship here. So we don’t do the same thing or do it the same way. They’re trying to get LMDH cars in the game and I’m not being critical, but they’ve changed their [00:36:00] process, we’ve evolved our process.

It isn’t perfect. It’s really kind of like bracket racing. For drag racing. You want, unlike things to go around a racetrack ranging from Daytona to. Long Beach the same way. Well, that’s not possible. So we work within a margin, but the margin of difference of the demonstrated performance during a race at an IPSA race is usually about 0.2%.

It’s smaller than LMP two, which is a spec car. So the quality and the quantity of those cars is unfortunately limited because there aren’t that many cars. But trying to make all that stuff work the same way. You have three tools. You have power, and the power is controlled by torque sensors on the axles, and WC uses it the same.

So we manage that and it has a split. There’s low RPM power and high RPM power, so they have two levels. And then you have a couple other things such as. Weight, but there [00:37:00] are limitations on how heavy the car can be because the battery and all that stuff is heavy. And then you run into tire problems. If the car is too heavy, tires are made for a certain weight range.

You’d really like to put 20 kilos on a car to slow. Its cornering down, weight handles cornering power straightaway, speed. And then there’s the arrow. And all the cars have been in our wind tunnel using our protocol. And now just this last fall is the first time the hypercar went to the wind shear wind tunnel that we use.

And they got different results. If you’ve read the press, Ferrari’s gotta make some, everybody’s gotta make changes over there because the process they were using before. Was, uh, at the Sauber Wind Tunnel, which is a small wind tunnel. Wind shear is probably the best wind tunnel for race cars on the planet.

And we’ve used that really since about 2009 in dp. We were putting cars in there, 10, 20, somewhere around there. So we do the same thing in principle, but not the same way. And that’s been agreed to all along. So when we talk about real convergence for the [00:38:00] future, our opinion is there has to be one car, that’s it.

One car type. These are the rules, and everybody has the same rules. So for an example, a hypercar has a much more active aerodynamic floor than an LMDH car. It has all wheel drive. LMDH doesn’t have that. So there’s some fundamental things that are. My opinion almost impossible to make really equal. One may rise above the other based on a track specification.

It might do better at this kind of track versus that kind of track. It’s a difficult problem because you have two kinds of cars and they are very advanced aerodynamically. And then when you look step back, first off, you gotta remember, BOP does not dictate the results. How you run the race dictates the results.

That’s number one. Number two is trying to make ’em all equal. Even at small percentage, you get differences of where certain cars work well on others. That allows ’em to pass each other. If they were identical, it would like a Formula One race. They’d drive around in line the way they qualified. Be boring.[00:39:00]

Sorry. I’m just saying technically when you get it too good, that’s what happens. And the same, what I’m talking about applies in gt. Except in GT it’s much harder because the base cars are so different. You can see on TV how much bigger a Mustang is over a Lamborghini, but same three tools. So if you drew a circle, I would say the BOP makes up maybe 40% of the performance of the car.

All the other things are in the controls of the teams. What kind of tires when they change ’em, who’s, you know, all these other variables. How long is your pit stop? I mean, just did Seing. Penske’s making three to four seconds on pit stops. Just better. They’re better at it. Making that up on the racetrack when you’re 0.2% apart on performance, actual real performance in the race is really hard.

It’s really hard. The final thing is we run our races where we bring all of the classes back together after a yellow and there’s gonna be yellows and long races. And the first car over in each group, it’s GTP, MP two GTD Pro GTD is the leader [00:40:00] of that class and everybody’s behind them. So some people say, well that’s, no, that’s what it is.

It’s four races separate from one another going on. So our sporting regulations are how we run the races are different than the ACOs and it’s not a right or wrong thing. That’s how they do what they do. They come over and watch what we do and they’ve slowly began to look at how they deploy pace cars on an eight mile track.

Big problem. It’s tough. Um, but they’re beginning to see what we do to make the product. And that’s how we look at what our racing is. It’s a product, it’s an entertainment product. We want people to go there and go, yeah, there’s eight or nine guys that can win this race. I’m gonna watch to see who does the best job to do that.

So we go to the extra mile to do that. But it isn’t easy because basically the game is the OE manufacturers will never go faster than they need to go to win. Which means they’ve always got something in their pocket and we’re always looking for what that is. So [00:41:00] even though we have all this data and all this stuff, and again I’ll emphasize that we only use performance demonstrated in a race.

So we don’t use qualifying, we don’t use practice. You go to the roar here, they’re three seconds elapsed slower than they are at the race or in the 24 hour race. They go faster on Sunday morning after they’ve been racing 16 hours. ’cause there’s what we call go time. Go time is when everybody looks around and says, okay, it’s so many pit stops for fuel and energy to the end of the race.

How am I gonna do this? You know, am I gonna push now or do I push later? But they all go faster. They did it seem too, they’re going as fast at night as they were qualifying us because they push, they really run hard at the end of the race. ’cause that’s what it’s all about. I think that explains it. But it’s basically making, unlike things.

Performing as much as you humanly can, kind of the same way.

Crew Chief Eric: And there’s a couple threads here that we can pull and I’ll, I’ll just pull two of them.

Mark Raffauf: Yep.

Crew Chief Eric: You talked about LMDH versus hypercar. Yeah. And how they’re sort of trying to edge each other out. But in the end, this is just Mark’s opinion. You [00:42:00] know, take your IMSA hat off.

Mark Raffauf: Yeah.

Crew Chief Eric: Who do you think is gonna come out on top in terms of, this is the spec that we’re gonna see in the future When you’re just looking at the P one class?

Mark Raffauf: The sustainability path is LMDH. Look at it. Ford, LMDH. McLaren, LMDH, Genesis LMDH. Nobody has done a hypercar since the initial run. The Aston is kind of a a bit of a bastard car because it was originally done on the original hypercar concept, which it had to be based on a road car, and it is, it’s the Valkyrie Road car, so it has an elements to it that are different.

Again, like the cockpit side, it has certain dimensional things that are required for use on the road in Europe or the UK that you really don’t have to do if you started with a clean sheet of paper. So it’s a little bit of a problem. It’s got a great engine. It’s not gotten the development that the other ones have had, so it’s a little bit awkward.

But again, my opinion is the LMDH concept of standardization of some significant [00:43:00] components that don’t require the manufacturer to have to go develop from scratch is gonna be more welcoming to more people, and that’s what’s happening. Of course, the guys that got the other cars want to keep doing what they’re doing because they hold all that technology to their chest and nobody knows about what they’re doing, which is.

Politics to some extent. And I can’t really speak on that ’cause I don’t know the juicy details of that. But I do know more of the people who have done an LMDH said the only way they would’ve ever done it is that way they will not do hypercar.

Crew Chief Eric: Right. So another thing that came up recently and, and this gave me pause when thinking about motorsports as a whole, and you mentioned before Formula One and Formula One has always been considered at the pinnacle of motorsport.

I’ll make the argument that I think that the P one cars, you know, whether it’s at WE or a CO or IMSA or whatever, they’re as technologically advanced, maybe more so in some ways in Formula One, because I think Formula One cars are hamstrung these days. But there’s something really interesting happening here in the [00:44:00] 2026 season with the new regulations and what gave me pause was someone said, what happens if this new hurry up in Coast methodology that they have in Formula One makes its way to sports, car, and endurance racing because of their mgus.

And their fuel consumption and energy management and that. Do you see a future where it’ll be hurry up and coast in IMSA’s? What?

Mark Raffauf: It’s already there.

Crew Chief Eric: Oh,

Mark Raffauf: it’s already here. It has been from the beginning. We call it Lift and Coast. So Lift and Coast shows up on the data where people are off the gas going into a corner much sooner than you would have to be.

And the reason for that is back to my comment about Penske. If you can save that energy and come into the pits and not take as much, you’re gonna gain time on everybody. There are drivers that can drop 750,000 RPM off an engine and do pretty close to the time they need to do in the race. The other part of Lifted Coast, which a lot of people don’t realize.

The theoretical best performance a car [00:45:00] can do is usually engineering reviewed based on it being by itself, not sharing the track with at Daytona 59 other cars, a lot of lift and coast that you see in data is basically the guy has to lift because he’s gonna run into somebody. He’s got three GT cars in front of ’em.

There’s traffic I figured out a few years ago to win Daytona, you gotta pass like 15 cars a lap for 700 and something laps. So it’s pretty monumental. And we’re running 60 cars on 3.65 miles while they’re, I think running 50 or 55 on eight. So the density of what’s going on impacts the performance that a car potentially can do, regardless of who’s driving it.

So the strategy of. Energy management, it’s not backing off like F1. The problem with F1, in my opinion, is it’s too much dependent on that. It’s sort of like halfway to Formula E. We’re working with like 10 or 15% of the potential energy being that, and that’s manageable, [00:46:00] and the drivers can manage that and the teams can manage that.

But it is a factor in the outcome of the race is who manages their energy the best. It really isn’t different with us than if it was just straight fuel. There are guys that would save fuel and they would get one more lap in a stint just because they saved enough fuel. So what happens, like at Sebring is a lot of cars early in the race or actually in the middle of the race when it went around and around for like hours with just no yellows or nothing.

They’re all basically running laps, but they’re saving energy so that at the end, at night, they could push.

Crew Chief Eric: We’ve talked a lot about the alignment of Im SA and WC and a CO in the modern times, and we saw evidence of this, you know, it was rumored for a long time, but we’ve seen evidence of this over the last couple years and we knew it was real when you saw the Lexuses show up at Le Mans for the first time and it was like, whoa, this is really cool, and that’s awesome that our guys are going over there and competing in GT three, and there’s a lot of excitement and a lot of action in that class, which is awesome.

But how do we do [00:47:00] the reverse? How do we convince Ferrari or EO to bring their cars here?

Mark Raffauf: Some of the reasons that they don’t have some, in my opinion. There’s some technical reasons. Like I said, they for a long time did not want to go through our protocol of how you get Homologated in Ipsa. The deal was both sides have tested all the cars that compete with them the way they want to test them.

We have, you know, 15 years of experience working in a big wind tunnel and have great aerodynamic consultants who have been with us with IMSA or Grand Am since like 2005. Okay. So work with the same people, understand how the cars are made, understand how, what can be done to them, so on and so forth. So they may, I mean, it’s just a matter of, there’s a big expense to that.

The cars are super expensive. Ferrari calls the yellow on a cus it’s not a customer car. The development costs for LMDH cars in the [00:48:00] beginning from design to being at their first test is. Not yet. 10 million hypercar, probably 35 to 40 to develop the car. So there’s, there’s no growth there. So it’s not like they got a stable of eight cars.

They don’t, yeah, there’s like, what you see in a wet race is pretty much what exists. There’s some spare chassis, but they don’t have built up cars sitting around.

Crew Chief Eric: And the reason I bring it up is because if we take Porsche off the table, ’cause Porsche’s always. Built a car to race in every series so they could dominate and do that kinda thing.

There was one brand, and it’s the close cousin of Porsche, and that’s Audi that was able, at the time, at least in the nineties, in the early two thousands, was able to build a car that could compete in both series without really making a lot of changes.

Mark Raffauf: Lot of changes. Yeah.

Crew Chief Eric: And that might have been because there was even closer alignment at the time, and there’s not a schism like there is, as you mentioned.

Mark Raffauf: Keep in mind A LMS was running Le Mans’s rules.

Crew Chief Eric: Exactly.

Mark Raffauf: Grand Am was not, that’s why there was no Audis there. Okay. Or that Audi powered car. You gotta remember in the beginning [00:49:00] of LMDH, the other manufacturer was Audi and Multimatic was gonna provide the chassis for Audis and Porsches factory and customer cars.

Audi then made the shift to F1. Well, they can’t afford to do both. Let’s just tell you where the money is. You can’t do both. They chose to go to F1 and that killed half of Multimatic build of cars because then it was just Porsche’s.

Crew Chief Eric: So that brings up a really interesting point, and I’m glad you went there.

The lineup for the 24 hours of Le Mans for 2026 was released earlier this year than it’s ever been in the past. And you look at the line, you know, you see the usual players. It’s Ferrari, it’s BMW, it’s Cadillac, and you’ve got Genesis in there Now, Ford’s coming next year, this and that. Yep. As you go down the list, even in the production based classes, GT three, there’s only a private tier group.

Of nine elevens, Porsche has pulled out. Is that a result of the F1 program?

Mark Raffauf: No, because Manthey is here. They just won Sebring. AO is getting the same treatment it looks like, as the man’s been the sort of [00:50:00] favored Porsche over there. So they’re going back over there. It’s a perfect example of your previous question.

You can’t do both. So they’re gonna run the endurance races, five endurance races here and the wec. And that’s a huge difference from just running the wec. Okay. There is that. They really can’t do both. You have to have completely separate entities. And you gotta remember GT three is essentially customer programs.

You know? And Le Mans, they have to have, they don’t have a GTD Pro, you’ve gotta have. Am drivers in your car here? We broke it in half because there’s two distinctly, same car, same rules, different teams, different drivers.

Crew Chief Eric: When we step back and we look at what we’ve been talking about tonight, we’ve talked a lot about the influence of Im SA on the A CO and the relationship and this and that.

But if we take that lens away and you look at how Le Mans has evolved over the decades as you’ve been evolved, you’ve been going over there, you’ve been going to the races, all the changes you’ve seen, whether it was adding the Chicanes at Mosan, changing the pits. We hear a lot about that from the drivers, all the politics, [00:51:00] everything that’s going on behind the scenes.

What do you think about the direction of endurance racing as you look at the evolution of Le Mans, what does that say? For Motorsport,

Mark Raffauf: having been to Le Mans as early as the late seventies and having been there recently, Le Mans has transcended as I think both Daytona and Sebring have, that they’re just not car races.

They are events that you need to be at. And Le Mans is a massive event. We had 180,000 people over three days at Daytona. It’s massive. So when you look at the influencers and the people that show up now, those key endurance races are now referred to as events you just need to be at because of the whole experience.

It’s not watching cars drive around for 24 hours, it’s the manufactured Wi Bay. It’s all the stuff you can do and the places you can go. Uh, here you can leave the track and go over to BJ’s and have a really nice dinner and then come back. You know, Le Mans a little different, but they’ve created an event which is a massively [00:52:00] solidly good event.

May not always necessarily be the best racing, but it’s an event you need to go to. And we kind of over the years have seen that and have taken some of those principles of making our bigger events, petite Laal, Sebring, and Daytona. Are essentially almost sold out. I mean, we had to block people from getting in in Atlanta last year ’cause there was no place for ’em.

Actually, the police did. They said, we’re done. We can’t handle this. So when you get to that point, you go, okay, we we’re there. It’s places that people want to be, but I think for us, we’ve still tried to keep the entertainment value of the competition because to us, again, that’s the product. It’s gotta be entertaining.

But I think you gotta give Le Mans credit for establishing a level of event in motor sports that certainly a lot of people might argue. I mean, I think the biggest thing I’ve ever seen is the Indy 500. As far as a one day thing, Le Mans is right up there. I mean, it’s a major sporting event that happens to be with cars, which makes it [00:53:00] cool for car people like us.

But it’s an event that you can go to. Like Sebring, I mean thousands of people go to Sebring and I don’t think they have a clue what’s on the racetrack. They’re having a great time. Okay. And the environment fosters that

Crew Chief Eric: now that Le Mans has made the classic a every year event rather than every so many year event.

If you compare classic to the 24, what does Mark like better?

Mark Raffauf: So the classic I’ll, I’ll probably go, ’cause I mentioned earlier we’re taking 30 stock cars over there from HSR, historic stock cars. But I would say this historic racing in Europe is much more, there’s a lot more finess to it. The cars are much more accurate in their, I argue with people about, there’s no such thing as an original race car.

As soon as it leaves, wherever it was built and gets in the hands of the team, it gets changed. So race cars have a different life than classic cars, for instance. But the classic and Daytona here. 24 Classic or historic classic. It’s different here. We’re a little bit more like cowboys. We kind of do [00:54:00] different things.

A lot of replicas, but there’s a lot of real cars and our whole goal is to try and get people who have worked all their lives to get a car that they’ve loved, an opportunity to take it out on the racetrack, safely compete if they want, but they wanna drive around in the back. They could do that too over there.

It’s hardcore. I mean they, they blow up all kinds of really valuable stuff running the crap out of them and they’re like 45 years old. It’s like stuff wasn’t that good back when it was new and it’s worse today. Okay. I’ve had some significant 9 62 drivers who have been to the 24 here when we’ve had nine 60 twos who take the cars out and they come back in and basically say, if I knew then what I knew now, I probably wouldn’t have done this because they are scary cars and Le Mansr is a serious place.

So I think that the difference is in Europe, it’s a much more pure form of the classic element. While here it’s more Americanized hot rods, you know.

Crew Chief Eric: Well, mark, as we wrap this up, looking [00:55:00] ahead, what goals or unfinished business do you feel that IMSA still has when it comes to the relationship with Weck and the A CO and of course the 24 hours of Le Mans?

Mark Raffauf: We touched on it. I think the goal should be a common platform. If everybody’s using the same kind of car, a lot of the difficulties that we both have would be resolved. WEC does what they do the way they want to do it, and they have changed their process for BOP during the season, which is why you see Ferraris go from winning to 10th or the Porsche being eighth and all of a sudden winning.

There’s an up and down there. And I don’t know that that’s good or bad. I’m not saying it’s wrong. That’s what they choose to do. We go the other way. We’re trying to smash ’em all together in this very narrow window of performance and let the other elements that the teams and drivers decide to determine what the outcome is.

In other words, we want everybody to show up at the race thinking they have a solid chance if they execute correctly and basically perfectly is what you have to do nowadays. It’s not correctly, [00:56:00] perfectly no mistakes, but you know, the Lexus at Sebring, they should have won the GT race. The wheel falls off.

It’s like guys. You can’t do that. You have to be Penske ish. And there’s a reason he has succeeded with all of his racing is the way they execute the races is something everybody should be looking at.

Crew Chief Eric: Well, mark, we mentioned in the intro, you’ve been at this for nearly five decades. What’s next for you?

Mark Raffauf: Everybody says, when are you gonna retire? And I go, well, I’m kinda lucky. I get up every day, get to do what I want to do with the people I want to do it with. How cool is that? Right? So I think for me, what I would like to see, and you kind of touched on it, is what do we do next? You know, in 2030. It took four years to create the LMDH car from concept with the oes all involved.

Or how about we’re gonna do it this way, what? So it was very cooperative effort by all the people in LMDH in the beginning to do this. That took four years, well, it’s 2026, it’s kind 2030. Gonna be honest pretty quick. So the question [00:57:00] is what do, what do we do next? And when I say we, what does the industry do that keeps the entertainment part of it and the return on the investment to the people that funded, engaged?

That’s been the problem with the end of GTP, the end of world sports. All those programs went downhill because return on the investment versus the investment wasn’t hitting the marks. So we gotta do that. And it’s gotta be technological, which means it’s difficult.

Crew Chief Eric: Well Mark, before we close out now, I would love to pass the microphone to our a CO representative David Lowe, for some parting thoughts.

David Lowe: Mark, on behalf of the a CO and Endurance Racing fans everywhere, thank you so much for your time this evening. It’s wonderful to hear you again. Always enjoy your stories and I’m sure on our rebroadcast we’re gonna reach out to a lot of people. So thank you again.

Mark Raffauf: Enjoyed being here. I gotta say, I mean our, we have a really good relationship with the A CO, but we have different business models, so to speak.

Um, they have different influences. We are [00:58:00] actually lucky to be able to do what we do. In one country to do what they do as an operations guy at events, they come to Daytona all the time and they come up to our race control and they just go compared to what we have to deal with from country to country with different people, different systems.

We use the same people in the same stuff at Long Beach in a few weeks for a hundred minute race that we use at Daytona for 24. So we are lucky or have the opportunity to do that. Some of the hurdles or some of the things they have to deal with, they’re problematic because that’s just the way it is. But we’re all in one place, big place.

But we get to do things a little bit differently. I think because of that,

David Lowe: we certainly enjoy the partnership and, and the interaction. So again, let’s keep it rolling.

Mark Raffauf: Yeah, and like I said, we gotta get together and decide what’s 2031 gonna look like. That’s, that’s to me, to Eric’s question. I think for me, I would like to see us get through that and see what the next product looks like.

You know, the people listening gotta understand sports, car [00:59:00] racing has to change. If you do the same thing for more than five years, they look the same. I just told everybody, we need to tell these guys change the bodies. They did, they did all the evos. If you have the last year Porsche, and this year, Porsche next to each other, you would see the differences.

Same with all of BMW Acura. They’ve all made changes to their body work, but as they’re styling changes on their road cars, that’s the next step is between now and 2030, upgrade ’em to what the latest product looks like. That’s what it’s all about.

Crew Chief Eric: As our conversation winds down, it’s impossible not to appreciate just how much of this sport Mark Raffauf has carried on his shoulders and just how much of it he’s preserved for the rest of us.

His decades inside of IMSA didn’t just shape the rule book. They shaped the culture, the competitors, and the very identity of North American endurance racing. And if tonight’s stories only scratch the surface for you, that’s because Mark has spent years documenting the rest of them. His two books on IMSA’s history published through Octane Press are essential reading for anyone who wants to understand [01:00:00] how this world was built, race by race and personality by personality.

They are the written counterpart to the wisdom he shared with us here tonight, and we hope that Mark’s perspective helps you see the 24 hours of Le Mans and the global endurance landscape with a little more clarity and a little more context with a deeper appreciation for the people who’ve kept the sport moving forward.

Like Mark. And with that, we hope you enjoyed this presentation and look forward to more evening with the legend throughout the season. And on behalf of everyone here and those listening at home, thank you Mark for sharing the microphone and sharing your stories with us tonight.

Mark Raffauf: If you see me at a race, don’t hesitate to walk up.

Our policy here is we engage with everybody one-on-one, but I have spectators that come up to me and go, can you explain BOP? And I said, it’s gonna be the four minute version. But yeah, I think so. And I think maybe that helps everybody understand how hard this stuff is technically these days. I mean, back in the GTP days, like I said, it was didn’t say you couldn’t.

You could. Now it’s the exact [01:01:00] opposite. If it doesn’t say you can, you can’t. And it, and it’s a completely different dynamic. But I hope I was helpful to some people or many people that understand a little bit more about it. And like I said, if you haven’t been to Le Mans, you can go. You need to go just because it is a great event.

Crew Chief Eric: This episode has been brought to you by the Automobile Club of the West and the A-C-O-U-S-A from the awe-inspiring speed demons that have graced the track to the courageous drivers who have pushed the limits of endurance. The 24 hours of Le Mans is an automotive spectacle like no other for over a century.

The 24 hours Le Mans has urged manufacturers to innovate for the benefit of future motorists, and it’s a celebration of the relentless pursuit of speed and excellence in the world of motorsports. To learn more about or to become a member of the A-C-O-U-S-A look no further than www do Le Mansn.org, [01:02:00] click on English in the upper right corner and then click on the ACO members tab for club offers.

Once you’ve become a member, you can follow all the action on the Facebook group, A-C-O-U-S-A Members Club, and become part of the Legend with Future Evening with the legend meetups.

This episode has been brought to you by Grand Touring Motorsports as part of our Motoring Podcast network. For more episodes like this, tune in each week for more exciting and educational content from organizations like The Exotic Car Marketplace, the Motoring Historian, break Fix, and many others. If you’d like to support Grand Touring Motor Sports and the Motoring Podcast Network, sign up for one of our many sponsorship tiers at www.patreon.com/gt motorsports.

Please note that the content, opinions and materials presented and expressed in this episode are those of its creator, and this episode has been published with their [01:03:00] consent. If you have any inquiries about this program, please contact the creators of this episode via email or social media as mentioned in the episode.

Highlights

Skip ahead if you must… Here’s the highlights from this episode you might be most interested in and their corresponding time stamps.

  • 00:00 Meet Mark Raffauf
  • 02:20 Early IMSA and ACO Ties
  • 04:25 Birth of GTP Rules; Group C vs GTP Debate
  • 09:02 Porsche 956 to 962 Shift
  • 11:26 Golden Era Grid Battles
  • 17:45 Nineties Reset and WSC
  • 20:39 Ferrari 333 SP Moment
  • 23:44 Rule Drift and Audi’s Rise
  • 26:19 ALMS & Grand Am Split
  • 30:23 Cost Control Lessons
  • 32:43 How BOP Really Works
  • 33:28 LMDh versus Hypercar Basics
  • 37:56 Why One Rulebook Matters
  • 43:32 “Lift and Coast” Energy Management Explained
  • 46:33 Getting more Hypercars to IMSA
  • 50:35 Endurance Racing As Events
  • 54:58 Future Platform, 2030 and beyond
  • 59:27 Final Thanks And Wrap Up

Bonus Content

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One of the most fascinating parts of Raffauf’s story is the creation of the GTP class, a joint effort between IMSA and the ACO to give privateers a chance to win major races. But the real drama came when Porsche introduced the legendary 956.

IMSA rejected it. Why?

  • The 956 used an aluminum roll cage, which IMSA had banned for safety reasons.
  • The driver’s feet sat ahead of the front axle, another safety red flag.
  • The engine wasn’t available to private teams, violating GTP’s “open access” philosophy.

The result? Porsche built the 962, essentially the IMSA‑approved version of the 956 — a car that went on to dominate globally. It’s one of those rare moments where IMSA’s insistence on safety and accessibility changed the course of racing history.

Photo courtesy Mark Raffauf, IMSA Archives

The Wild West of the 1980s

Raffauf’s stories from the GTP era are pure gold.

  • Teams testing 935s on the Autobahn with dealer plates
  • Dry ice being dumped into intercoolers during qualifying
  • Cars producing so much downforce they needed 7,000+ lb rear springs
  • Manufacturers building different engines for IMSA vs. WEC
  • Drivers coasting for entire sectors at Le Mans to save fuel under Group C rules

It was a time of innovation, excess, and ingenuity — and Raffauf was there for all of it.

Photo courtesy Mark Raffauf, IMSA Archives

The 1990s: Reinvention, World Sports Cars, and the Rise of ALMS

By the early ’90s, costs were spiraling and tobacco sponsorship was ending. IMSA needed a reset.

Enter the World Sports Car (WSC) formula — open‑cockpit, simpler, cheaper, and designed to bring privateers back into the fold. Ferrari’s 333 SP became the crown jewel of the era, a car Raffauf still calls one of the greatest sports cars ever built. This era also set the stage for:

  • Don Panoz’s creation of the American Le Mans Series (ALMS)
  • The split between ALMS and Grand‑Am
  • The eventual reunification under the modern IMSA WeatherTech Championship

Raffauf explains the politics, the technical battles, and the philosophical divide between the two series with clarity only an insider could provide.

Photo courtesy Mark Raffauf, IMSA Archives

BOP, Hypercar vs. LMDh, and the Future of Convergence

One of the most illuminating parts of the conversation was Raffauf’s explanation of Balance of Performance (BOP) — a topic that fans love to hate. He breaks it down simply:

  • BOP is not meant to dictate results.
  • It’s designed to keep unlike cars within 0.2% of each other.
  • Teams still win or lose based on execution, pit stops, and strategy.

He also makes a bold prediction: “The future belongs to LMDh. Hypercar is too expensive, too proprietary, and too complex for long‑term sustainability.” Manufacturers like Ford, McLaren, and Genesis agree — all have chosen LMDh.


Le Mans as an Event — Not Just a Race

Raffauf has been going to Le Mans since the 1970s, and he’s watched it transform from a grueling endurance contest into a global cultural event. He compares it to The Indy 500, The Daytona 500, and Sebring’s legendary party atmosphere. But Le Mans stands alone in its scale, its history, and its ability to draw 180,000+ fans for a weekend. It’s not just a race — it’s a pilgrimage.

Raffauf closes with a challenge to the entire industry: “We need to decide what 2031 looks like.” The LMDh formula took four years to develop. If the next generation of prototypes is coming, the work must begin now.

The goals?

  • Keep costs sustainable
  • Maintain manufacturer interest
  • Preserve the entertainment value
  • Ensure safety and technological relevance

It’s a tall order — but if anyone understands how to navigate the future of endurance racing, it’s Mark Raffauf.


A Legend Who’s Still Writing the Story

As the conversation wrapped, Raffauf reflected on his career: “I get up every day and get to do what I want to do with the people I want to do it with. How cool is that?”

Available as a bundle from Octane Press!

After five decades, he’s still shaping the sport — and still thinking about what comes next. For fans of IMSA, Le Mans, and endurance racing as a whole, his insights are invaluable. And his stories? They’re the connective tissue between eras, technologies, and generations of racers.


Blind Logic – The Ralph R. Teetor Story Celebrates the “39th Annual EyesOn Design at Ford House”

Los Angeles, CA – June 4, 2026 – Blind Logic Productions proudly celebrates the 39th Annual EyesOn Design at Ford House, benefiting the Detroit Institute of Ophthalmology, Sunday, June 21, 2026.

Blind Logic Productions is honored to be a sponsor of one of the world’s most unique automotive events, held annually in the Motor City. Each Father’s Day, automotive enthusiasts’ journey to the historic home of Edsel & Eleanor Ford in Grosse Point Shores, MI, for EyesOn Design – an internationally acclaimed automotive design celebration.

The 2026 theme, “Power and Elegance,” highlights how these two ideas are woven throughout the history of design. Each year, the EyesOn Design car show celebrates design excellence of the past, present, and future. Vehicle entries are eligible for multiple awards, including a special honor judged and presented by visually impaired adults. EyesOn Design and the Detroit Institute of Ophthalmology share a commitment to help blind and visually impaired individuals maintain independence and quality of life.

Blind Logic Productions and their award-winning documentary film, “Blind Logic: The Ralph R. Teetor Story,” brings increased awareness to blindness and extraordinary achievements possible through courage and determination. The film tells the inspirational story of Ralph Teetor, a blind American visionary and automotive pioneer who overcome unthinkable odds to inspire an entire industry. As Ralph Teetor famously stated in 1945, “I am not handicapped because I never considered myself so.”

David Goldman, M.D., Director of the Detroit Institute of Ophthalmology, commented, “The story of Ralph Teetor is a powerful reminder that vision extends far beyond sight, thereby creating a natural connection between Blind Logic and EyesOn Design in their shared celebration of creativity and design.” Goldman further added, “Partnerships like this support design excellence while advancing the DIO’s mission to drive vision research. We are deeply appreciative of the opportunity to help share this remarkable story.” Filmmaker Jack Teetor noted, “We are honored to be a part of this prestigious automotive event with such a distinguished group of designers, all while benefiting such an important institute.”

Emmy Award winners Jeff Daniels and Mike Rowe bring this remarkable story to life, among other talented voice actors including Emmy nominated Barry Corbin. This film features renowned trailblazers Lyn St. James, legendary race car driver and 1992 Indy 500 “Rookie of the Year;” Franz von Holzhausen, Chief Designer at Tesla, Inc.; Sarah Cook, President of the Automotive Hall of Fame; and Leslie Mark Kendall, Chief Historian at the Petersen Automotive Museum.

Credits include an award-winning team with Editor Derek Tow, Composer Jim Andron, Photo Editor the late Daniel Teetor, and Sound Editing, Effects and Design by Darren King, Nikola Simikic, and Amanda Roy. Written, directed, and produced by Jack Teetor, this documentary is based on the book “One Man’s Vision – The Life of Automotive Pioneer Ralph R. Teetor,” by the late Marjorie Teetor Meyer.

The motion picture about Ralph Teetor is currently in development entitled “One Man’s Vision,” reuniting the creative team behind the acclaimed 2024 biopic Reagan to bring his extraordinary life to a new audience. One Man’s Vision – The Motion Picture of Automotive Pioneer Ralph R. Teetor


MEDIA CONTACT: Deborah Gilels

LA Media Consultants

Email: gilelsdeborah@gmail.com

Cell: 818-648-9513

BLIND LOGIC PRODUCTIONS, LLC   Los Angeles, CA    www.blindlogicproductions.com

Cars, Community, and Compassion: How Bob Hammer Is Driving Hope With A Brighter Day

Car culture has always been about more than machines. It’s about people — the stories behind the builds, the passion behind the wheel, and the communities that form around shared love for horsepower and heritage. But every so often, someone takes that passion and turns it into something even bigger. That someone is Bob Hammer.

Photo courtesy A Brighter Day; Bob Hammer
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Bob’s story, featured on the BreakFix podcast, is a reminder that the autosphere isn’t just a hobby — it’s a platform for change. As the show’s intro puts it, “For some people, cars are a passion, and for others, they’re a platform, and every once in a while, someone comes along who uses that platform to change lives.”

Today, Bob is using that platform to support A Brighter Day, a nonprofit dedicated to helping teens and young adults navigate stress, depression, and suicidal ideation. And he’s doing it the way car people know best: by building a car show that brings people together.

Spotlight

Synopsis

Break/Fix Podcast returns with co-host Don Weberg from Garage Style Magazine to interview car enthusiast and fundraiser Bob Hammer about using car culture to support A Brighter Day, a nonprofit helping teens and young adults facing stress, depression, and suicidal ideation. Bob shares his automotive roots (including a ’66 Barracuda, a long-owned ’65 Mustang he sold during two bouts of testicular cancer, a ’68 Corvette, and restoring his uncle’s 1957 Chevy stake bed to stock after his uncle’s death) and his fundraising background through the Have a Ball Foundation, which has raised $5.4 million for cancer. Now as A Brighter Day’s development director, Bob is expanding the charity’s car show into downtown Danville, CA on Sunday, June 14, with sponsors, vendors, music, awards, and a goal of growing attendance and fundraising over time.

  • What’s your earliest memory of cars, and how did that passion grow into something that’s stayed with you throughout your life?
  • Looking back, is there a particular car or automotive experience that shaped who you are as an enthusiast?
  • How has the car community influenced you personally, and what role has it played in your life outside the hobby?
  • What moment or experience sparked the idea to create a Car Show (now in its 4th year) that supports A Brighter Day?
  • What about A Brighter Day’s mission resonated with you, and why did you feel compelled to get involved with their work?
  • Is there a personal story or experience that made the issues of teen stress, depression, or suicide prevention especially meaningful to you?
  • When you envisioned this show, what did you want it to feel like for participants, spectators, and the families it ultimately supports?
  • What do you think makes the car community uniquely positioned to rally behind causes like this?
  • After three successful years, and building into your fourth event, what challenges or unexpected moments have shaped the journey so far?
  • When you imagine this show five or ten years from now, what impact do you hope it’s having on the community and on the young people A Brighter Day serves?

Transcript

Crew Chief Brad: [00:00:00] BreakFix podcast is all about capturing the living history of people from all over the autosphere, from wrench turners and racers to artists, authors, designers, and everything in between. Our goal is to inspire a new generation of petrol heads that wonder, how did they get that job or become that person?

The road to success is paved by all of us, because everyone has a story.

Crew Chief Eric: For some people, cars are a passion, and for others, they’re a platform, and every once in a while, someone comes along who uses that platform to change lives. And today’s guest, Bob Hammer, is doing exactly that. After years of being part of the car community, Bob is now channeling that energy into something far bigger than horsepower and polished chrome.

Don Weberg: He’s launching a brand new charity concord event with a mission that hits close to home, supporting A Brighter Day, an organization dedicated to helping teens and young [00:01:00] adults overcome stress, depression, and suicidal ideation Through outreach resources and real conversations, A Brighter Day works to turn despair into hope, and Bob is stepping up to fuel that mission in a way only our community can.

Crew Chief Eric: That’s right. And joining me tonight is returning co-host Don Wieberg from Garage Style Magazine, one of the many personalities on the Motoring Podcast Network. Welcome back, Don.

Don Weberg: Thank you, Eric. Thanks for having me.

Crew Chief Eric: And with that, let’s officially welcome Bob to BreakFix.

Don Weberg: Welcome, Bob. Good afternoon, guys.

Crew Chief Eric: Well, Bob, like all good BreakFix stories, there’s a superhero origin. Let’s talk about your earliest memories of cars, and how you got mixed up in that world, and how that passion grew into something that stayed with you for the rest of your life.

Bob Hammer: Sure. As a 16-year-old, my first car was a ’66 Barracuda.

Fixed that up, and I actually… My first job was at a used car lot in northern California. My buddy Bob K in BK Motors, a little shout-out, but my first job was at a used car lot, so, uh, that was in the ’80s. And [00:02:00] this was long before internet and social media, so I was the kid on Autotrader looking through the magazines all the time, looking at old cars.

I had a crush on Shelbys. Since the time I was probably 10, I wanted a Shelby. I was a big Mustang guy. My next car was a ’65 Mustang GT Fastback, and I had that car for 17 years. Ended up having to sell that car because I was diagnosed with cancer. When I was 29, I got testicular cancer, and then it came back.

I had it twice. So long story short, had about $60,000 in medical bills in 1992, and had to sell my ’65 Mustang. Been working ever since to get that car back or somewhat similar. But, uh, I’ve always been a car guy. I currently have a, uh, ’68 Corvette 427 convertible. I have a 1957 Chevrolet stake bed pickup truck that my Uncle Bill has owned since 1958.

It has over a million miles on the truck. Oh, my gosh. [00:03:00] And it was my uncle’s daily driver until 2010. He had said to me since I was a kid. I drove that thing to high school once in a while back in the day. It’s, like I said, it’s been in our family since ’58. My Uncle Bill passed away in 2017, killed in an auto accident.

I had these big visions of I wanted to put an LS Tremec five-speed, you know, the whole deal, and horsepower, and slam this thing. And after he died, I decided that I wanted to put this thing back in his memory, and I put it back to completely original stock. It took me about six years to do. It’s got a six-cylinder three on the tree from the old ’50s style, and I’ve taken it to lots of car shows.

It gets lots of compliments. The original color of that is Chevy orange, which was, as many of your fans know here on this podcast, that was the engine block color of Chevrolet from 1962 to, like, 1975. But that started in the ’50s and with that truck, and the truck is sitting right out right now.

Crew Chief Eric: I mean, Bob, it’s obvious you’re a car guy, but how did you get wrapped up in the world of [00:04:00] charity events?

Bob Hammer: I started my own foundation, uh, in 2005. It’s called the Have a Ball Foundation, and the very, very short story is I went through testicular cancer twice, and the second time around I was able to meet Lance Armstrong, and this was before Lance Armstrong was Lance Armstrong of today. He had a wonderful foundation.

His wife had put this foundation together. More importantly, I got to meet his oncologist. His name was Dr. Craig Nichols. I was at a, uh, a, a dinner one night and got to meet this gentleman. He heard my story and he said, “You know, you’re talking about having to have a surgery next week at Stanford Hospital.

I don’t think you need it.” Like I said, very long story short, if I would’ve had that surgery, I wouldn’t have been able to have any more children. I had a one-year-old daughter at the time. My wife and I didn’t have that surgery. We ended up conceiving our son, Josh, a year later naturally, which was a big deal even today, right, you know, after you have testicular cancer.

So I wanted to raise money and, and I was running the company golf tournament, and I ended up … I, I wanted to raise $2,500 and send a check to the Lance Armstrong Foundation and [00:05:00] say, “Hey guys, thank you for introducing me to this gentleman.” I ended up raising $52,000 that first year. That was 2005. It is now 2026.

We have been doing this, this for 22 years, and I have raised $5.4 million for cancer, and I benefit 20 to 24 cancer organizations every year from that. So that turned into me starting to help others with nonprofit foundations and events. It always sounds conceited as hell when I talk about it, and I don’t, but I’m really well connected in the town that I live in.

Like a normal golf tournament, Eric, is 144 people. Because of my Have a Ball Foundation golf tournament, we have 600.

Don Weberg: Wow.

Bob Hammer: We’ve had 600 people play in my event since 2010. So with that, there are a lot of people in this area who know about our event. It’s now considered the largest privately held golf tournament in the nation.

You know, it’s got some legs. It’s got some people that follow it, and there’s people who know it. So with that, a couple of the mayors approached me two years ago and they said, “We know you’re doing this [00:06:00] thing up in, in another city. What would it take for you to bring it to our town and bring it down to Danville?”

Because the town of Danville used to host two car shows a year. This gentleman, David, used to run these Hot Summer Sundays car shows. Great event. It’s fantastic. He’s been doing it for 20-plus years. He did it in July and September. David’s older now and he’s getting a little tired and, and he stopped, and then now he just does it once a year.

So the town approached me and said, “You’re losing money at your car show. Why don’t we work on this? Let’s get it moved to downtown Danville.”

Crew Chief Eric: So what I love about your story, Bob, is that like a lot of car people, it’s in our blood, it’s in our genes, we carry it with us everywhere we go. And coming from the car show culture, the in-between lines that I was picking up there was, “I’m building these cars to show them at car shows so that other people can appreciate the craftsmanship, you know, and get the joy that I’m getting out of my car and showing them off.”

What’s your connection to A Brighter Day? How did you get involved with that specific charity? And obviously, they were already doing a car show, as you said, [00:07:00] and you’ve taken that and you’ve amplified it with your own personal experiences and car show experience and stuff like that, but what’s the connection there?

Is there a story behind that?

Bob Hammer: Elliott started his foundation 10 years ago, and he tried to do a golf tournament, and he had 40 people at it, and he raised $3,000. And he, he had a couple people walk up to him and say, “You gotta go meet my buddy Bob. He’s gonna help you.” I gave him advice on his golf tournament, and I gave him advice on how to raise money at…

through different events type of thing, and, uh, we formed a relationship. And, uh, the job that I was at through COVID was coming to an end- And I didn’t wanna work there anymore. Elliot heard this and said, “I will hire you tomorrow.” So that was about three years ago now, and I am the development director for Elliot, and came in and created a couple new events.

We’re doing a crab feed, and we got this big benefit concert that we do, and we have a golf tournament, and now the, and now the car show.

Crew Chief Eric: Bob, you were talking about Elliot and the fact that you’ve basically inherited this car show, and it now in its fourth year. Yes. Is [00:08:00] Elliot a car guy, too? Does he bring that provenance with him?

Because, you know, when you’re, like you said, when you’re choosing charity events, you know ones that work and ones that don’t. Golf tournaments are super successful. I would say car shows probably are successful, too, if they’re operated correctly, and there’s other ones that just don’t work. So was it Elliot’s vision to do a car show, or it was just, “Hey, that seems to work for charities”?

Bob Hammer: Elliot is not a car guy. He had a board member who started this event, and the board member is a, also he’s an extremely busy man, and he, this was kind of a side thing for him to do. I think that it changed when I came in, and as a, you know, as an employee and trying to build something, and a car guy on top of it.

Knowing that I’ve been going to car shows since 1985, I know all about them, and I know what can work and what can’t.

Crew Chief Eric: So what about A Brighter Day’s mission resonated with you, and why did you feel compelled to get involved in their car show and their golf tournaments and things like that?

Bob Hammer: They were working on their second annual event.

They were hosting it at [00:09:00] a big shopping center. This big shopping center charged them $8,500 just to be there, and for a little non-profit, and me doing fundraising for 21 years at that time, I came in and said, “You’re, you’re doing this wrong. Additionally, you gotta have some corporate sponsorships on hand.”

You know, my goal was to get enough corporate sponsorships where I know that we’re, we’re gonna make money no matter what we do, and we are. We’re, I’m at $40,000 in corporate cash for this, and 150 cars at 40 bucks, you know, type of thing. We’re gonna make money.

Crew Chief Eric: So I wanna pull that thread a little bit there, Bob, because we are in the middle of car show season.

It’s a thing more now than it ever has been in the past. It seems like every other day there’s a car show somewhere. Let’s just talk in generalities. Let’s say out here out east, we had Katie’s Cars & Coffee, which kind of expanded nationwide as well. You know, their recipe was really simple. Come out, buy some coffee, have a donut, share stories about your cars with your friends, and then it blossomed into something else and it became more successful.

From your [00:10:00] experience, you know, you, you talk about the good and the bad of these events. If somebody’s looking to put on a car show and they’re like, “Oh, yeah, I could do this, ’cause Bob makes it sound so easy,” or they already have a car show and they’re struggling, what are some pointers that you could give these car show organizers to say, “Look, these are five mistakes you shouldn’t make starting out or you’re making now that you need to correct to make it actually successful”?

Bob Hammer: I’ve learned a lot about city government in the last two years, I’ll tell you that, running through the red tape, et cetera. The first year they did it, they lost $17,000 doing a car show. I came in, and they were already in the agreement with this big shopping center, so I came in and I got five auto dealers to help cover the cost and promote them, and, you know, having Chevrolet and Ford and exotic cars type of thing type of dealerships, and came in and we ended up raising about $15,000, which was not bad.

And I do know how a car show looks. Going into this, I had a couple things that I knew would work. [00:11:00] Like, I think that one of the points that I was just talking about, you could have way too many corporate sponsorships at this thing and not enough cars where there’s enough foot traffic, where there’s enough people to come down and enjoy it because all you got is a bunch of auto dealers standing there trying to sell a car.

So that would be one. Obviously, location- Is huge, just like real estate and everything else in the world. Location, location, location. Timing of the event, you know, you don’t wanna do it in December, right? I mean, you wanna do it in car show season. I think it’s a lot of the things that you just touched on yourself.

I mean, sounds like you could probably run a car show yourself. Right? But we can partner together, but you know what I mean.

Crew Chief Eric: Fair enough.

Bob Hammer: Common sense, though, on a lot of this is usually the way to go. Yeah. And, you know, you don’t wanna just have … Like, a lot of the Cars and Coffee’s concepts work, and there’s, there’s not a band.

We’re in a parking lot last year, and it went fine. I had a guy singing acoustic music really quietly over in the corner. It was [00:12:00] fine. It was a great event. I think that you can also overthink a lot of these things. At the end of the day, that’s why Katie’s Coffee and all these Cars and Coffee guys, you know, we’ve got one every Friday here on, uh, in our little town here in Danville.

Little Friday morning at this little shopping center, and guys show up, and they go get their bagel, and they have a cup of coffee, and they meet a new dude each week. Don’t overthink it is a, is another really good suggestion.

Don Weberg: Always remember to turn off the sprinklers, right? There’s that, too, yeah.

Bob Hammer: Oh, yeah, no, but then the goal is, how do we make this experience good for the, for the customer?

How do we make this fun? Last year, I told them that we need to do this differently, and we ended up moving it to a auto museum parking lot last year in the town that I live in, which is Danville, California. We moved it to the Blackhawk Auto Museum, put it in the parking lot. As a nonprofit guy, I took the cost from, I don’t know, two years ago it was, like, $26,000.

I took it to 1,000 bucks, and I did it all myself, and I did all the promotion, and, and we cleared 31,000 for the foundation.

Crew Chief Eric: And for those [00:13:00] that are unfamiliar with A Brighter Day, aside from going to the website right now as we’re talking about this, can you describe a little bit about what the charity’s about?

Bob Hammer: Elliot had, had a son who was 21 years old at the time, and he committed suicide in college. Elliot had no idea that his son was in that state. The note that he read after his son died, he left a note and- He was so closed-minded, he didn’t talk to anybody about his feelings and where he was in his life.

And Elliot took that and then one of the things I respect most about the man is he, he took a absolute horrible shit situation and he turned it into something to try to help others. So he started this foundation, and he got the backing of local schools, you know, elementary, middle school, and high school.

Predominantly more middle school and high school, but they go to schools, they have information pamphlets, they talk to the students, they have navigation services, they have a 24-hour crisis hotline. They are connected [00:14:00] with other larger foundations, you know, Better Help and other, some of these other larger organizations that they do work with.

They’re doing a lot of good. I’m happy and proud to work with Elliot and, and try to raise a little money for these guys.

Don Weberg: Bob, tell us more about the venue where the Brighter Day Foundation show is held.

Bob Hammer: Yeah. We are now fully running this in a, in our town, Danville, California, and it’s the entire street of Harts Avenue.

Downtown Danville will be closed for the event. We also have another section of another street that’s part of it, and we’d probably be able to fit 250 cars here. And I’ve been going to all the shops and talking with them and, ’cause I know a bunch of the people, and we’ve got 10 different restaurants that are doing car show specials that day, all that, all that fun stuff.

Don Weberg: What else on hand? What can people expect? Is Starbucks on hand? Are vendors on hand? Is there music? Is there a band? Is there, you know, paint the picture for us.

Bob Hammer: Well, I could just say yes and we could call it good. Yes, we have all that. Yes, so it is, it’s in downtown Danville and a lot of people are excited about this because, like I [00:15:00] said, this was an event that was running for a long, long time in the summertime in our town.

The town of Danville is happy. The chamber is, is excited. Everybody’s excited to have this thing back. You know, it’s our first year doing this in this new area, right? So it, it’s, it’s kind of a work in progress, so we gotta build it as we go, but I think we’re expecting about 150 cars, and we’re specializing in, uh, I’ve got a group of people who have exotic cars, Lambos and Ferrari, you know, that type of stuff.

But we also have just general classic cars from any genre, and a lot of muscle cars. Lots of different types of styles of autos. We have six auto dealers coming. We are presented by Diablo Subaru. I mean, I could go down the list, I probably should, but we’ve got Livermore Porsche, Livermore Audi, Land Rover Livermore, Livermore Honda, Walnut Creek Toyota.

We can go on, but we have a lot of sponsors. I could continue to get auto dealers there, right? But we’ve got a five block, six block radius of- Space. And [00:16:00] at some point, I don’t wanna saturate it with just auto dealers just to be making money for the car show for the foundation. There’s a line between trying to make enough money to, to make this a successful event, and then get the people involved from the town, and then get the people to show up.

Those are the ingredients you want. We’re gonna have the typical car show stuff. Hagerty Insurance is gonna be there on hand. We’re gonna have a f- quite a few vendor booths. We will have lots of specials that, uh, restaurants and a shoe store’s got specials going on. What I did, Don, is I created a QR code that people will be able to go to on their phone, and our volunteers are gonna have a QR code on their shirt, and it’s also gonna be on, listed on every sheet that we have of every car that registers.

They’re gonna put, you know the sheet that you put their name and what it is and that type of thing? That’s gonna have a QR code on it, and that’s gonna take everybody to a landing page. That landing page is gonna talk about the event that day- Yes, we have a band. They’re called Salvage Title. [00:17:00] They are the three-time East Bay Band of the Year here in our little East Bay of Northern California.

So they’re a very popular band, and they’re from our town of Danville. So it’s gonna talk about the band, and the hours of the band, and, and where the restrooms are, and all that fun stuff. So I know the people in this, in that band, Salvage Title. I know the people that are in downtown Danville who are gonna make the cocktails that are gonna make it fun.

I know the people that are gonna have the food, and I know a bunch of the people that are coming, and I think that’s a benefit also, you know, experience of, of knowing what works and what doesn’t, and what we should and should not have there type of thing. By doing this in downtown Danville, I’ve been honored, and I am now on the town of Danville Chamber Board of Directors.

My goal is to raise some money, have a great time, have some really cool cars, and then also bring business to downtown Danville, which they’ve been missing because of this show. So I have literally old school door-to-door for the last [00:18:00] three weeks. I know a bunch of the people, but even the people that I don’t know, I tell them what I’m doing, and they’re all in.

So I’ve got the little Auburn Lounge, for example, is, they’re creating a specialty cocktail that day. Show the QR code, and you get a pinky tusk or whatever they’re doing, like a car show special cocktail for five bucks, and a portion of the proceeds are gonna go benefit our foundation on top of it. So I’ve probably got 15 different places right now that are going to be doing these specials right there, right where the car show is.

Crew Chief Eric: Terrific.

Bob Hammer: Bunch of people have stepped up. You know, the local cigar shop, they’re gonna be outside, not smoking cigars, but they’re offering water and sodas. Okay. Where I’m going with that, guys, is the cool part is that people wanting to be involved, and they, they wanna help, and they wanna make this a success for me, and that part is wonderful.

Don Weberg: Absolutely. Absolutely. Now, is there judging involved for the cars, or is it just show up, park your car, and enjoy?

Bob Hammer: We are having judging. I’ve got 12 awards, you know, the best in class, and the muscle and … Yeah, we’ve got some awards that we’re gonna be [00:19:00] handing out.

Don Weberg: Okay. And for people who show up, let’s say you got, uh, a couple of friends, they wanna park together, but one friend has a McLaren, the other friend has a, an old VW Beetle.

Can they still park together, or are you gonna separate them by class?

Bob Hammer: We’re not separating.

Don Weberg: Is it first come, first serve, park wherever?

Bob Hammer: Yeah, and I do have, I already have a group of people, you know, a Mustang club is bringing eight Mustangs, and they wanna be together. They’re letting me know that, “We’re gonna have this group, and we wanna be together.”

If we have that organized ahead of time, absolutely, we can get that done, and we are- Terrific … we are going to be doing that.

Don Weberg: And just to say it again, what is the date of this show? Sunday, June 14th. Terrific. June 14th, that’s fantastic.

Crew Chief Eric: Let’s talk a little bit about the future, ’cause this one, the ink is almost dry.

It’s almost go time. You gotta be thinking about number five, six, seven, eight, and however many there are more are gonna be down the line. So what do you imagine for future shows? What do you imagine for the ’27 season and ’28? And what about, about Brighter Days involvement and the community of Danville?

Bob Hammer: For [00:20:00] starters, I am hoping we can go back to kind of my Mustang roots. I’m hoping that we are definitely doing this and it grows, because I am waiting on a car myself. I told you briefly that I had a ’65 Mustang that I had to sell because I got cancer. Well, because of the success of my golf tournament, my wife submitted my story to a show called Ride of Your Life with Courtney Hansen, and I was the winner.

And I was on episode, season two, episode nine with Courtney. So the car, the ’65 Mustang, was unveiled to me at the Monterey Auto Week a year and a half ago. Coming up on two years this year. They’ve been finishing the car, and the car is not in my possession, and I am bugging Courtney and, and her production team weekly right now to try to get that car out here for this car show.

Yes, I am planning on having that because if that car’s not here this year, I’m hoping to unveil it next year. Uh, but what I can say is I think that the move that I did to move it to downtown is going to be beneficial. I’ve been doing events for so many years. [00:21:00] I always have these super high expectations- It’s kinda like my golf swing.

I stand over the ball for a minute, and then I realize I am absolutely gonna crush this ball, and then I realize, well, no, I’m not, because I’m already thinking too much about it, right? Take a step back and try to think about where this could be in a couple of years. I think that this first year, it’s gonna be good to great, you know?

And I think, I think we’re gonna get 150 or so cars. I think that once we are there, and once people see it in downtown Danville, that it actually happened, I think that the following year- We could easily get 200, 250 cars because people from that other car show that have been coming, they’re gonna see it and they’re gonna hear about it, and then they’re gonna wanna get involved.

The car show that has been established in our town for 20-plus years, a gentleman, David, runs it, and he does such a fantastic job. He has 400 cars at his event. You know, it’ll take some time, for sure. He’s been doing it for a long, long time. But it’ll take some time, but, you know, that’s ultimately the goal is to, [00:22:00] I wanna get this to a point where I am honoring this gentleman who started this in our town, and I wanna be able to carry this on in his tradition, in his honor.

In fact, he’s coming down to our event. We’re gonna be talking with him and letting everybody know that this is the man, this is the guy who started car shows down here, and we’re just trying to keep this tradition going. But to answer your question, I think that in three to five years, if I do this correctly, I think we could get to, we could double this in three or four years and have a longer footprint on, in the town.

We could go a couple more blocks north type of thing, which is what they do. I think that this has the ability to grow. I’m just hoping that, uh, I can get it to that point.

Crew Chief Eric: Well, you talked about expanding the size of the show and the presence of the cars and the businesses that are involved, so let’s just pull the thread there a little bit and talk about the fiduciary side of this.

What are your goals in terms of raising money? Because this is only an annual car show, and obviously there’s other events that you coordinate with A Brighter Day. But what are your financial goals? How much money are you looking [00:23:00] to raise this year? And obviously you can donate year-round through the website and things like that, but obviously you want to exceed that.

What’s the target number this year?

Bob Hammer: I don’t have the numbers right in front of me, but we do a crab feed. That did about 40 grand. Created a benefit concert, and that fir- the first year of our benefit concert, it went okay. I raised about 80 grand. This last year, I raised 100 and- $49,000 at it, so I did very well at the benefit concert.

We had 450 people at it. Ideally, we’d like to get to around $500,000 as a s- as a little nonprofit, and we are … This year we’ll be at about three. I think that if I build this car show the right way, the benefit concert that I’m working on is trending upward, which is a good sign. In this economy too, right?

A lot of people don’t realize, but when the economy is like this and we’re at war and, and people are kind of thinking, taking a step back on a lot of different things, the first thing that they are not going to do is donate a lot of money to a, to a nonprofit. I’ve had several guys, for instance, who said, “I’m just, uh, I’m not [00:24:00] gonna be able to do that this year.”

Okay. Well, then what can you do? So you did, you did 2,500 bucks, uh, for a table of 10 last year, and I put you on some radio spots. How about you do 1,500 bucks, and I’ll still put you on the radio spots, and I’ll still pro- I’ll still promote your company? Meaning, we’re willing to work with you as long as you’re willing to work with us.

You helped me last year and you gave us good money. This year I’m gonna help you, and I’m gonna give you 1,000 bucks off. You gotta be able to work the crowd, and you gotta be able to adjust and, and kind of work on the fly as, uh, when you’re doing nonprofit work like this. And, and that’s the same type of thing with the car show.

Last year I had a group of guys who, they didn’t know me, I didn’t know them, and but they wanted to bring 10 cars, and they wanted a special deal on it. They were very adamant that they wanted a special deal. I go, uh … At the end of the day, I go, “Okay. You just tell me what you want and where you wanna park, and we’ll figure it out,” and they did, and now they’re back this year, and they’re all donating larger amounts of money.

So it’s just how you deal with people and how you work with people, and you gotta kind of read the room. Like, this year is a little bit different than [00:25:00] last year. We’re in a different state right now, so the fact that I’ve got 150 cars coming to a, basically a brand-new event, I’m, I’m proud of that, and I’m proud that I was able to get some sponsors involved and, and get some base corporate cash type of thing.

Like you said, three to four years from now, I think that we’re all in a, gonna be in a different space, and I think that this thing has the ability to go larger.

Crew Chief Eric: With that, Bob, we’ve reached that part of the episode where I like to invite our guest to share any shout-outs, thank yous, promotions, or anything else that we haven’t covered thus far.

Bob Hammer: Um, no, I can just direct people to our website, abrighterday.info, and there is a landing page. You can go right at the top of our landing, of our website, abrighterday.info, and it has events right there, and you can do the little drop-down, and it’s got information about our car show. So if you are here in this area and you wanna come check us out or in northern California, uh, we’ve got a lot of people coming from out of the area, actually.

It’s not just Danville folks. I got people coming from 30, 40, 60 miles away. So, uh, yeah, abrighterday.info. My [00:26:00] email address is right there as well. You can reach out to me. My phone number is right there, so you can call me or reach out to me with any questions, and I’m available anytime.

Don Weberg: And that wraps up our conversation with Bob Hammer, a car enthusiast with a purpose, and the driving force behind a brand new concours event dedicated to supporting A Brighter Day, an organization helping teens and young adults navigate stress, depression, and suicide prevention.

It’s a powerful reminder that car culture isn’t just about machines, it’s about community, it’s about compassion, and it’s about stepping up when it matters.

Crew Chief Eric: That’s right, Don. And if you’d like to learn more about the mission behind A Brighter Day Car Show and Shine, visit abrighterday.info. Or, if you need to talk, text Brighter to 741-741.

You’ll find the resources you need for families, teens, anyone who wants to get involved. And to stay connected with the car show, be sure to click on the events tab when you visit the website for more details, and you can always reach out to Bob [00:27:00] at bob@abrighterday.info. And with that, Bob, I can’t thank you enough for coming on Brake Fix and being part of the wonderful mosaic of folks that have made up the greater autosphere here on our show, and sharing your story with us.

And this story is really going out to all those folks who love cars or someone who might need a little extra light in their day.

Bob Hammer: Thanks for having me here today.

Don Weberg: The following episode is brought to us in part by Garage Style Magazine. Since 2007, Garage Style Magazine has been the definitive source for car collectors, continually delivering information about automobilia, petroliana, events, and more. To learn more about the annual publication and its new website, be sure to follow them on social media at Garage Style Magazine or log on to www.garagestylemagazine.com.

Because after all, what doesn’t belong in [00:28:00] your garage?

Crew Chief Eric: We hope you enjoyed another awesome episode of Brake Fix Podcast, brought to you by Grand Touring Motorsports. If you’d like to be a guest on the show or get involved, be sure to follow us on all social media platforms at GrandTouringMotorsports. And if you’d like to learn more about the content of this episode, be sure to check out the follow-on article at gtmotorsports.org.

We remain a commercial-free and no annual fees organization through our sponsors, but also through the generous support of our fans, families, and friends through Patreon. For as little as $2.50 a month, you can get access to more behind-the-scenes action, additional Pit Stop minisodes, and other VIP goodies, as well as keeping our team of creators fed on their strict diet of Fig Newtons, Gumby Bears, and Monster.

So consider signing up for Patreon today at www.patreon.com/gtmotorsports. And remember, without you, none of this would be [00:29:00] possible.

Highlights

Skip ahead if you must… Here’s the highlights from this episode you might be most interested in and their corresponding time stamps.

  • 00:00 Meet Bob Hammer
  • 01:43 Car Guy Origins
  • 03:11 Family Truck Tribute
  • 04:00 From Cancer to Foundation
  • 05:54 Danville Car Show Revival
  • 07:08 Joining A Brighter Day
  • 09:32 Car Show Success Tips
  • 12:59 A Brighter Day Mission
  • 14:12 New Downtown Event Details
  • 19:38 Future Growth & Fundraising Goals
  • 25:21 How to Get Involved
  • 27:27 Closing Sponsors Outro

Learn More

Visit abrighterday.info to learn about the mission, upcoming events, or ways to support the cause. If you or someone you know needs help, text BRIGHTER to 741‑741 for immediate support.

Bonus Content

There's more to this story!

Be sure to check out the behind the scenes for this episode, filled with extras, bloopers, and other great moments not found in the final version. Become a Break/Fix VIP today by joining our Patreon.

All of our BEHIND THE SCENES (BTS) Break/Fix episodes are raw and unedited, and expressly shared with the permission and consent of our guests.

Bob’s automotive journey began like many of ours — with a first car that sparked a lifelong obsession. At 16, he bought a 1966 Barracuda, followed by a ’65 Mustang GT Fastback he cherished for 17 years. But life threw him a curveball: a cancer diagnosis at 29 forced him to sell the Mustang to cover medical bills.

As he shared on the show: “I had about $60,000 in medical bills in 1992, and had to sell my ’65 Mustang.” That loss stayed with him. But it also fueled something bigger.


From Survivor to Philanthropist

After surviving cancer twice — and meeting Lance Armstrong’s oncologist, who helped him avoid a life‑altering surgery — Bob felt compelled to give back. What started as a goal to raise $2,500 for the Lance Armstrong Foundation turned into $52,000 in the first year and eventually grew into the Have a Ball Foundation, which has now raised $5.4 million for cancer causes.

“We have been doing this for 22 years, and I have raised $5.4 million for cancer.”

His success in fundraising made him a go‑to resource for nonprofits — including the one that would change his life again.

A Brighter Day was founded by Elliott Kallen after the heartbreaking loss of his 21‑year‑old son to suicide. Bob describes Elliott’s strength with deep respect: “He took an absolute horrible situation and turned it into something to try to help others.”

The organization now provides:

  • School outreach
  • Mental health resources
  • Navigation services
  • A 24‑hour crisis hotline
  • Partnerships with major mental‑health organizations

Bob joined the team as Development Director, helping expand their events — including a crab feed, benefit concert, golf tournament, and now, a revitalized car show.

Photo courtesy A Brighter Day; Bob Hammer

When Bob inherited the A Brighter Day Car Show, it was struggling. The previous venue cost $8,500, and the event had lost $17,000 in its first year. Bob stepped in with a simple philosophy: keep it fun, keep it simple, and keep it community‑driven.

He secured auto‑dealer sponsors, moved the show to the Blackhawk Auto Museum, and slashed costs from $26,000 to just $1,000 — turning the event into a $31,000 fundraiser.

This year, the show moves to downtown Danville, closing off Harts Avenue for a full‑scale community celebration with:

  • 150+ cars expected
  • Exotic, classic, and muscle categories
  • Six auto dealers
  • Live music from Salvage Title
  • Vendor booths
  • Restaurant specials
  • QR‑code‑powered event guides
  • Judging and awards

As Bob puts it: “My goal is to raise some money, have a great time, have some really cool cars, and also bring business to downtown Danville.”


Looking Ahead: Growth, Legacy, and a Mustang Reborn

Bob sees the show doubling in size within a few years — potentially reaching 250+ cars and expanding across more blocks downtown. But he also has a personal dream tied to the event.

Remember that ’65 Mustang he had to sell?

Thanks to the TV show Ride of Your Life with Courtney Hansen, Bob is getting a fully restored Mustang built in his honor. The car was unveiled at Monterey Auto Week and is expected to appear at a future A Brighter Day show. “If that car’s not here this year, I’m hoping to unveil it next year.”

EDITORS NOTE: Unfortunately there is not a publicly available YouTube link for Season 2, Episode 9 (“Ballin’ Pony”) of Ride of Your Life with Courtney Hansen. But if you want to watch the episode Bob’s story is featured only on subscription streaming platforms such as Discovery+ and HBO Max, click here.

Car culture is powerful. It brings people together. It creates community. And in the hands of someone like Bob Hammer, it becomes a vehicle for hope. “Car culture isn’t just about machines, it’s about community, compassion, and stepping up when it matters.”

A Brighter Day is doing exactly that — and Bob is driving the mission forward, one event at a time.


Guest Co-Host: Don Weberg

In case you missed it... be sure to check out the Break/Fix episode with our co-host.
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All your favorite episodes starring Don Weberg from Garage Style Magazine! ... Because after all, what doesn't belong in your garage?



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B/F: The Drive Thru #68

This month’s Drive Thru News mixes banter and headlines with a “What Should I Buy?” story: Brad abandons his troubled orange Mk4 GTI “Pumpkin Spice” after finding oil-and-coolant “chocolate milk” from internal failure and frame misalignment, then buys a high-mileage Vortex Blue Turbo Beetle (one of 2,000 U.S. cars) that’s clean, street legal, and likely chipped, prompting naming jokes and parts-swapping plans. The crew debates VW’s business turmoil, an allegedly Mk4-inspired Mk9 Golf design, the 2027 ID.Buzz return, Porsche EV uncertainty, a Cayenne Electric Coupe, simulated “manual” shift-by-wire, and Brembo’s non-hydraulic brake system. Other topics include Stellantis moves and factory health complaints, BMW killing the Z4 but teasing a manual M3 CS, an ugly Mercedes EV, discounted Hertz Shelby Mach-Es, an Outlander recall and handling rant, a pristine 1992 Scirocco auction, Cybertruck mishaps, books and upcoming events, Florida flying-car talk, sim-racing updates, and 24 Hours of Lemons prep including a risky wheel-sourcing tow story.

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This is your fast lane to the latest in automotive culture, powered by a coalition of passionate publishers and insiders. From the vintage elegance of Garage Style Magazine to the high-octane listings of Exotic Car Marketplace, and the deep historical dives of The Motoring Historian, our coverage is enriched by voices that live and breathe the motoring world. Whether it’s the eclectic archives of Motorcopia, the endurance grit of Enduroverse, or contributions from other trusted partners, each segment delivers sharp, informed perspectives straight from the garages, paddocks, and showrooms that shape the scene.

From Maranello to the Mainframe

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**All photos and articles are dynamically aggregated from the source; click on the image or link to be taken to the original article. GTM makes no claims to this material and is not responsible for any claims made by the original authors, publishers or their sponsoring organizations. All rights to original content remain with authors/publishers.


Show Notes & Supporting Stories

For a list of all the articles and events referenced on this episode check out the show notes below.

Domestics

Formula One

Japanese & JDM

Lost & Found

Lower Saxony

Motorsports

Rich People Thangs!

Stellantis

Tesla

VAG & Porsche

Another thing we don't want...

Track Side Report

The road to our first 24 Hours of Lemons race continues, and this time it took us to a parking lot with a dead Ford Fusion, a too‑small trailer, and a desperate hunt for wheels that wouldn’t doom us to running 900‑treadwear all‑seasons. What should have been a simple tire upgrade spiraled into a downhill‑gravity‑assisted loading attempt, a hood jammed under a tire rack, and an unopened bottle of antifreeze being used as an emergency wheel chock. As Crew Chief Eric put it, “Not only do I go all the way up, I hit the wheel rack with the hood… I don’t care about this car anyway.”

CHECK OUT THE BUILD UPDATE ON THE GTM CLUBHOUSE SITE.

But somehow, out of the chaos came victory: a set of 18×8 Fusion wheels, a fresh set of General G‑MAX RS tires, and a Lemons Focus that suddenly looked like a budget Focus ST ready for battle. The donor Fusion? Hauled away by CashforCars.com in the easiest part of the entire ordeal. The race car? One step closer to the grid — though with the way this saga has gone, we’re still knocking on wood and whispering prayers that an engine swap isn’t lurking in our future.

Would you like fries with that?


Behind the Scenes

There's more to this story!

Be sure to check out the behind the scenes for this episode, filled with extras, bloopers, and other great moments not found in the final version. Become a Break/Fix VIP today by joining our Patreon.

All of our BEHIND THE SCENES (BTS) Break/Fix episodes are raw and unedited, and expressly shared with the permission and consent of our guests.

TRANSCRIPT

Executive Producer Tania: [00:00:00] Welcome to Brake Fix’s Drive Thru News, your monthly recap for everything fast, fascinating, and usually four-wheeled. We’re serving up a fresh batch of automotive headlines, motorsports madness, and car-adjacent curiosities, all with zero wait time and maximum flavor. From Formula 1 drama to concept car debuts, with garage-built legends to the quirkiest stories rolling out of the state of Florida, we’ve got your fix.

So grab your coffee, buckle up, and let’s cruise through the latest in the world of wheels with a side of entertainment and just a dash of tire smoke

Crew Chief Eric: Bradley, Bradley, Bradley, look. Magic. I’ve done magical things for this drive-through episode. Look, look, I can do cool things with the articles in the background.

I’m the man in the box.

Crew Chief Brad: Nice.

Crew Chief Eric: You like that? Can

Crew Chief Brad: we put on something more interesting in this picture-in-picture?

Crew Chief Eric: No, because we’re gonna start talking about Volkswagen. This is it, man. This is this year’s big best of episode. We can’t do Tesla anymore. We already had Formula 1 [00:01:00] Showcase, which spun off into its own show, which we’ll get to later.

We’ve done all the Florida man stuff every other year. We’re gonna focus on Volkswagen, because what else is there to focus on?

Crew Chief Brad: Well, you know, with what happened to Pumpkin Spice, I told like 15 people, “I am done with Volkswagen. I will never own another Volkswagen ever again.” And I am here to tell you today I’m the proud owner of another Volkswagen.

Crew Chief Eric: This is why our showcase is What Should I Buy?, or as you like to say, “What the hell was I thinking?”

Crew Chief Brad: So i- i- in my defense

Crew Chief Eric: Oh, here we go. Order in the court …

Crew Chief Brad: uh, I- I’m one for four for running and driving cars. At least this one runs and drives. It’s got Virginia state inspection. It’s been on the road, and it moves under its own power, quite well actually.

Crew Chief Eric: [00:02:00] Okay, you, you’ve set up the lead. Now let’s go 72 hours ago and rewind the clock

Brad, start at the beginning.

Crew Chief Brad: So we’re gonna go back even further than that. Everybody saddle up to the campfire. Papa’s got a story for you all.

Crew Chief Eric: Oh, this is beyond dashboard confessional.

Crew Chief Brad: This is my confession. It’s the summer of 2000. Baby Brad, 19 years old, was driving around in a little red Honda Civic, 125, 130,000 miles, living my best poor man life.

Crew Chief Eric: Hey, that was a really good Civic, though.

Crew Chief Brad: I never should’ve gotten rid of that car. You know, in retrospect I should’ve kept it, but you know, hindsight, 20/20, all that good stuff. I get a wild hair up my ass that I’m gonna buy myself a new car, and I know absolutely nothing about cars. You and I hadn’t started hanging out again yet after high school.

I’m just farting [00:03:00] around through life, you know, not knowing anything about cars, but I get the idea that I’m gonna buy myself a new car. And one of my friends mentions, “Oh, you should look at Volkswagen.” It’s like, okay. So I pull into a dealership, and sitting there- Jesus …

Crew Chief Eric: is this

Crew Chief Brad: bright blue Turbo Beetle, and it was a brand-new color for the year, vortex blue.

And I was like, “Okay, I’m gonna test drive this car.” And I test drove it, and I loved it. It was great. It handled well, had plenty of power. It was the fastest thing I had ever driven to that point. And then I go home, and I’m, like, thinking about it, and then I talk to my friends some more. And it was like, “Well, why would you buy the Beetle?

Why don’t you just get the GTI? It’s the same car.” I was like, “Okay, true, true.” And then I put in a order for a black GTI, and that’s how I ended up with the very first GTI, ever, very first Mark 4 I ever bought. Fast-forward to, as Eric said, 72 hours ago. Somebody in our friend group had a line on a Beetle for sale, vortex blue, pretty much s- same year, same specs, the exact same car minus [00:04:00] the faded paint, that I test drove all the way back when I started this entire Volkswagen s- obsession.

So this morning I went, I looked at it, I liked it, had plenty of power, handled well. It, it’s in really, really good shape for a car with 160,000 miles on it, and I bought it. So there you go. Eric’s got the, on the screen right there, vortex blue, one of 2,000 brought to the US in that color. Now granted, the front end is completely faded.

Somebody parked it directly facing mercury. Uh, and, but other than that, the rest of the car is, like, tip-top. It’s perfectly clean. Under the hood is really clean. It ran really well. It, it has Virginia tags on it. It’s got a Virginia state inspection. It actually is street legal, which is a first in, like, three cars that I’ve bought.

Crew Chief Eric: And the windows go up and down too, right? I mean, there’s a story

Crew Chief Brad: there. The windows go up and down, the sunroof opens, the trunk opens, the hood opens, although the little, the plastic pin to pull the- Mm-hmm … the hood latch broke. Um, but we were able to get it open, and they were [00:05:00] gonna MacGyver it to stay.

Yeah. So that may be something I need to look at. And it’s got BBS wheels on it, so you can’t go wrong with that. Although one of the BBS center caps does not stay for whatever, or doesn’t fit for whatever reason. You can only turn it a little bit, and they’re three-piece center caps. For whatever reason- Oh, that’s right

BBS in their infinite wisdom made three-piece center caps. So I need to source a center cap.

Crew Chief Eric: Oh, no, no, that’s perfect. So wait a minute. Wait, wait, wait. Again, you have jumped right to the punchline without telling the joke.

Crew Chief Brad: Is it the joke? Do, do I need to back up and talk about Pumpkin Spice?

Crew Chief Eric: Well, we’re going to, and, and if Mark Hewitt’s been paying attention this entire time, which he has been, he takes copious notes on every Drive Thru episode, we all know that you bought Pumpkin Spice back in October.

So it’s been six months, let’s just say. We had a couple of months of winter where we didn’t do anything with the car, it just sort of sat there in, in the snow. So Pumpkin Spice lived a very interesting and sordid life.

Crew Chief Brad: I think lived is a stretch. It was on life support. It was a vegetable, and we we, we, we decided to not resuscitate.

Crew Chief Eric: But we took it down [00:06:00] from the mountain, and we brought it back to life, and it ran. And we started doing things to it, and more work to it, more work to it, trying to make it more like your old silver GTI, Eddie, for those that know its nickname. So we tried to get it to that point. And I’ll say I think we made really good progress with the car.

Things were really looking up, wouldn’t you say?

Crew Chief Brad: It, it seemed like it was close to roadworthy, to the point where I thought I was gonna bring it down here to Richmond. So I got it tagged and titled and, granted, I did vintage tags, so it wasn’t gonna be state inspected or anything like that. But I was moving forward hopeful, and then we ran into a brick wall.

Crew Chief Eric: I’m, I’m gonna admit it on radio, I got a little miffed, ’cause I was like, “Do you remember the 924? Do you remember going through that nightmare? Don’t put tags on it yet.” Like, I was 90% confident in this car, but there was always something in the back of my mind that was like, “There’s something off.

Something’s not right.” Especially when we kept hearing the previous owner took it to the track and parked it because it [00:07:00] overheated, and there was no indication any time we ran the car, moved the car. I ran it up and down the road. It drove a little schizophrenic, but there was never an indication that was like, man, this car overheated and, like, Chernobyl-ed in the paddock at Summit Point.

So I was like, what exactly is going on with this car?

Crew Chief Brad: I mean, this is after, like, running it and letting it run- Yeah … for, like, 20, 30 minutes. No issues whatsoever.

Crew Chief Eric: Right. And so what’s super funny about that is I finally got to the point where I was telling you, “Hey, I gotta wrap up these things, do this kinda stuff.”

I had done a buncha cooling stuff up at the front. We knew the radiator fans didn’t work, and the radiator didn’t look so hot, so I was like, “Let me take all this apart.” We had an aluminum radiator sitting around, so I put that in, and it was leaking because, like any 20-year-old Volkswagen, the stupid flanges, the O-rings rot, and then as soon as you touch them, everything starts leaking.

So we ordered new ones, got it all together, started putting water in it. I wanted to run it. You know, you do the typical flush, right? Flush everything out. You put water in it, run it through the heater core, make sure there’s no air in the [00:08:00] system. And because it was warm outside, I didn’t put any freeze in it yet, thank God.

Needless to say, there’s a stain in my driveway, but that’s okay. But that’s a result of the fact that as I was pouring literally clean water from, as Tanya likes to say, 150 feet below my house, there’s nothing in it, pure clean well water into the thing to, you know, just flush things through. I noticed that the water was turning brown.

And not in a New York City in the ’80s, I opened the hot water and brown came out. It was clear, and then you would just see this stream of brown coming into it, and it would get darker and darker. So I flushed it and flushed it and flushed it. And it just kept coming back, and I’m like, “The hell is going on?”

So Tanya had come over, and then our new neighbor, who’s a car guy, comes over and he’s like, “Uh, this looks no bueno.” And I’m like, “Yeah.” ‘Cause the engine, again, not a single ounce of smoke out the back, not an indication that the head gasket was trash. The water was mixing with the oil through the water jackets and not through the cylinder, so you could argue that’s the better way [00:09:00] to do it.

And the, the death knell discovered when we pulled the dipstick and frothy chocolate milk water was coming out of the oil pan, that your motor was basically hosed.

Crew Chief Brad: Yep.

Crew Chief Eric: So that’s how we ended up with The Bug.

Crew Chief Brad: That’s how we ended up with Pumpkin Spice Part Two. Where do

Crew Chief Eric: we have-

Executive Producer Tania: Does this one have a name yet?

Crew Chief Eric: Yeah, we gotta

Crew Chief Brad: name it

Crew Chief Eric: now. Uh,

Crew Chief Brad: I, I, I don’t have a name for it yet. We need to figure that out. It looks like a Smurf. Inspiring. But it, it should not be a Smurf. I, uh, it’s gotta be something more manly than that, whatever, Vortex Blue.

Crew Chief Eric: Blueberry, Smurfette.

Crew Chief Brad: It could be l- it could be Blueberry. We could go, like, Letterkenny and, uh, Shoresy, and, and it, it’s sponsored by the Blueberry Farm or the Blueberry Syndicate or whatever.

Crew Chief Eric: That’s right, that’s right.

Executive Producer Tania: He’s blue, da ba dee, da ba die.

Crew Chief Eric: Oh, that’s awesome. Oh, I didn’t even think about that. It’s gonna be our theme song. We should do a Top Gear thing and wire it to the horn. Every time you hit the horn it plays that song.

Crew Chief Brad: That would be perfect, because I never use the horns.

Crew Chief Eric: Ah, [00:10:00] blue, da ba dee, da ba die, da.

Or you could be Blue Man. Oh, dude, talk about a Halloween car. You could do blue face like Blue Man, like Arrested Development you know? Like Tobias Fünke, and then at, at Halloween you get out of the blue car and you’re all blue and like, “Look what it did to me. Look!” It’s that Honda virus

Crew Chief Brad: No, I think I just came up with something.

Crew Chief Eric: Oh, what’d you come up with?

Crew Chief Brad: Who was the girl in Willy Wonka that ate the blueberry candy-

Crew Chief Eric: Oh, um- … and

Crew Chief Brad: turned into, like, the giant blueberry?

Crew Chief Eric: Veruca’s a good name for that car. I think that’ll work.

Executive Producer Tania: No.

Crew Chief Brad: I think it was the other chick.

Executive Producer Tania: Wasn’t it Violet Beauregarde?

Crew Chief Brad: Yeah, Violet Beauregarde.

Crew Chief Eric: Veruca’s the other one then, the one with the, the nuts.

Executive Producer Tania: The one with the chicken.

Crew Chief Eric: The squirrel in the, in the Johnny Depp version.

Executive Producer Tania: Oh, yeah, Veruca Salt.

Crew Chief Brad: Yeah, also

Crew Chief Eric: a bane. She’s the one where she’s, like, spoiled. She’s, like, super rich or whatever.

Executive Producer Tania: Yeah. “Daddy.” She’s the one who was singing In The Room With The Chickens.

Crew Chief Eric: Yeah, yeah.

Executive Producer Tania: Violet Beauregarde was the blueberry girl.

Crew Chief Brad: Violet Beauregarde.

Crew Chief Eric: There you go.

Executive Producer Tania: I do declare, Mr. Beauregarde. [00:11:00]

Crew Chief Eric: Yes, but do you know him? Does he call you at home?

Executive Producer Tania: Does he have a doorstop in?

Crew Chief Brad: But, uh, yeah, I, I, I… To be determined on the name. Yeah. Uh, and also I need to figure out, like, what’s going on with the orange car. What are you g- what do you guys wanna take off of it?

What can I have off of it? Do I wanna try and take the turbo and all that stuff off ’cause I just bought a new, or didn’t I buy an intercooler or whatever? I, I don’t know. We, we, we’ve gotta talk about all that stuff offline, like what I’m keeping from the orange car, what you guys are keeping from the orange car and-

Crew Chief Eric: Yeah.

Yeah, I would say your control arms are probably ready to be taken off and moved. They’re brand new. They’ve never been on the road. You know- Yeah … stuff like that, so yeah, that’s totally doable.

Crew Chief Brad: And the exhaust, like, is the exhaust interchangeable?

Crew Chief Eric: Yeah, all that stuff changes over.

Crew Chief Brad: Because this car is stock exhaust.

Crew Chief Eric: Okay.

Crew Chief Brad: So the exhaust and then, um, I mean, we’ll, we’ll, we’ll talk about it, but- Yeah … yeah, we, we need to, to work out all that.

Crew Chief Eric: So basically what you’re saying is you will have a tropical orange two-door Mark 4 GTI shell available to anybody that wants it.

Crew Chief Brad: Yes. [00:12:00] Yeah. But we didn’t tell the story about the first issue-

that we found with the car.

Crew Chief Eric: Oh, please inform our audience.

Crew Chief Brad: So I, because I live in Richmond, have a hard time getting up to where Eric and Tanya and where the car is currently located. So they took it upon themselves to try and put in some work and turn some wrenches on it during some free time, just to get the project moving in a direction.

And as they were doing this, lining up the body panels, putting everything on, they noticed something. The driver’s side didn’t quite line up. It was off, what? About an inch? Inch and a half? Yeah. Something like that. So after looking at it, they looked at the frame rail, and it was cocked. It was pointing down towards the ground about an inch.

Crew Chief Eric: It’s like melty face.

Crew Chief Brad: Yeah, yeah. It, it, it was… It had, uh… It was like Picasso had put the frame together. So, so yeah, it was gonna need to go to a frame shop, and I called around, could barely find one person that was willing to work on it, and it was this guy who was a [00:13:00] body shop guy, but he basically does frame work on the side-

FLORIDA MAN: Yeah

Crew Chief Brad: down here in Richmond. And I was like, “Okay, that’s not terrible.” The whole selling point of the car was, like, the motor with the upgraded turbo and all that stuff, so once that blew, then the whole project was dead at that point. For me. Yeah. In my heart, the project was dead.

Crew Chief Eric: Poor Pumpkin Spice.

Crew Chief Brad: And then I swore off Mark 4s for the rest of my life, and now here I am, the proud owner of a blueberry Beetle.

Crew Chief Eric: You’re having a hard time getting that out. It’s, you’re like, you’re stumbling on the, “I own a Beetle now,” grr.

Crew Chief Brad: You know, it’s, it, it’s… I have my own insecurities about being a man driving a Beetle, especially one colored like a Smurf. But also, it made me happy driving it, so I just need to get over myself and just be happy driving a Beetle.

Crew Chief Eric: See? The Beetle’s like the neon, it just makes you smile, and you’re like, “Ee.” It

Crew Chief Brad: does. Like, even, like, the doors have the blue paint.

Crew Chief Eric: Yeah.

Crew Chief Brad: Just like the old Beetles, and it’s- Yep … it’s just like, [00:14:00] I didn’t realize that when I got in. I was like, “Oh, it’s the blue carries into the”… And it, so it’s just a whole thing, and it just made me smile.

Crew Chief Eric: Does it have the flower vase?

Crew Chief Brad: No, the guy replaced the flower vase and put a skull. Which is even better. You know, he real- really butched it up there with the skull. But- Yeah … you know, whatever. Either I don’t know how much power or how quick a stock Mark4 was, or this car is putting out more power than-

Crew Chief Eric: It’s probably chipped

Crew Chief Brad: because it pulled really, really well. It, it reminded me of driving Eddie.

Crew Chief Eric: Nice.

Crew Chief Brad: Yeah. Nice. So when I come up, I’ll drive it, and you guys can take a look at it, ’cause we got a… There’s a list of little things that need to be done on it. Yeah. Like, getting brake calipers, the front calipers should probably be changed, uh, and stuff like that, so.

Crew Chief Eric: Nice.

Crew Chief Brad: But the timing belt and all that’s been done.

Crew Chief Eric: Yeah, yeah, that’s what Mark was saying, like, that a whole bunch of money had been poured into the car.

Crew Chief Brad: Yeah.

Crew Chief Eric: When you look at it from that perspective, and that it was mechanic-maintained and stuff like that, it’s a good deal for what you got it for.

Without talking about price, I think you [00:15:00] did really well.

Crew Chief Brad: I, I think so, too. Had I found this car before I ventured down the pumpkin spice alley, I would be a blueberry man from the beginning.

Crew Chief Eric: All right, so in all fairness, when you went to go look at the Beetle, you were also tempted by another Porsche mistress, were you not?

Crew Chief Brad: I did not even bother looking at it. Oh. I, I saw it. So I saw it because it was parked in Mark’s driveway, and Mark that we’re talking about is Mark Francis, who works for OG. So if anybody needs any safety gear, please go shout out Mark. Good guy. Um, but no, so I mean, you know me. I, I flirt with the idea.

I’ve always wanted a P car, like a running, driving P car. You know, 924 side. And, uh, like, it was very tempting, but going on this journey of finding out about myself and going through therapy and all this other stuff, I’m realizing things about myself. Like yeah, it would be great to have that Porsche, but I’m not that guy.

I don’t have the resources, I don’t have the money, I don’t have the expertise to drive a 40-year-old Porsche and continue maintaining it and keep it on the road. I just, I, I can’t do that. Have enough time [00:16:00] keeping an old Mark4 Volkswagen on the road, let alone a P car. So I didn’t even, I didn’t even tempt myself.

I saw it, I was like, “That’s a nice looking car,” and then I walked right over to the Beetle.

Crew Chief Eric: Good for- You know what? Bravo, Brad. Bravo for resisting the temptress that is the- Mm … 944, because it, it’s, it was one of those just kinda sexy cars and you’re like, “Oh, man, I’d love to have one of those. I wanna get in with that.”

And then you get it and it’s a, you realize it’s a basket case.

Crew Chief Brad: It was a really good-looking car, but then Mark started telling me about all the work that he put into it. Uh-huh. And he just put a, he put a clutch into it a couple thousand miles ago, and he d- I think he’s … I don’t know if it’s timing belt or water pump or whatever.

I mean, he, he said he’d, he’s put a lot of money and time into it.

Crew Chief Eric: Yeah.

Crew Chief Brad: And I was like, “Yeah, I w- I can’t do that.” Just because you put a lot of money and time into it does not mean that there’s not a lot of money and time that needs to go into it still.

Crew Chief Eric: Yeah. Yeah. And like you and I talked about on the phone, had you driven them back to back, you would’ve realized that the Beetle is quicker than that 944.

Crew Chief Brad: I wasn’t interested in spending that much money-

Crew Chief Eric: Oh, yeah …

Crew Chief Brad: on a vehicle [00:17:00] anyway.

Crew Chief Eric: Oh, it’s triple the cost. Yeah, for sure.

Crew Chief Brad: It was. It, pr- pretty much, yeah, triple the cost. So I didn’t even, I didn’t even follow down the, the, the P-Car temptress. I didn’t go that route.

Crew Chief Eric: Bravo. Bravo. Well, and, and good for you for staying in the Mark IV mafia.

So, you know, the, they all derive from the Beetle at the end of the day.

Executive Producer Tania: It’s basically a 911.

Crew Chief Eric: I mean, if I do this, and, and- You know? Yeah. It’s exactly like a 911.

Crew Chief Brad: It’s a, it’s a 911 if you have CTE.

Crew Chief Eric: So what have we learned, Bradley? What have we learned about used cars?

Crew Chief Brad: Um, just stick with the ones you already have.

Crew Chief Eric: I think the moral to the story, though, is the ones that survive are the ones that run and drive.

Oh.

Crew Chief Brad: Yeah. You gotta be a certain, you gotta be a certain type of person to be able to bring a car back from the dead.

Crew Chief Eric: Yes.[00:18:00]

Well, switching gears to the topic that we cannot move away from every month. Uh, talk about coming back from the dead. Headline, as you can see on my screen with this cool new stuff we’re doing, “VW sounds the alarm. We must fundamentally transform our business model.”

Crew Chief Brad: I feel like car companies that strive to be the biggest car companies in the world always end up tragically crashing and burning.

Crew Chief Eric: Right.

Crew Chief Brad: General Motors fought so hard to try and be the biggest car manufacturer in the world. Volkswagen fought so hard. I feel like if it’s something you’re striving to be is just be the biggest car manufacturer in the world, you’re gonna lose sight of whatever- Yeah … it was that got you there in the first place, and you’re ultimately just going to fail.

Whereas if you just stuck to what your business model was that made you successful in the first place, to grow to be at that level, if you just continued with that, you would probably get there naturally instead of- Yeah … just striving for [00:19:00] it. I don’t know. I, I mean, I, I, I’m sure that could happen or probably happens a lot in just other businesses as well and other industries.

But it seems like because they fought to be the, the biggest in the world, they end, end up shooting themselves in the foot.

Crew Chief Eric: Well, not only that, you put a target on your back. That happened to Toyota when they had reached the top, right? And that’s when Volkswagen started to try to reach for the top.

Crew Chief Brad: Yeah, but the, but the difference to that is I don’t think that Toyota necessarily sought out, like, their goal was to be the biggest.

Yeah. They just wanted to make good vehicles, and that led them there naturally. Whereas Volkswagen was like, “We’re going to be the biggest,” so they acquired a ton of other companies and, you know, it just, it, it didn’t work out well for them.

Crew Chief Eric: Well, in their latest attempt to shore up the ship, remember I mentioned the last time that there were some spy photos of what the new Mark 9 Golf was gonna look like.

Volkswagen is claiming that the new Mark 9 design is inspired by our favorite, Mark 4.

Executive Producer Tania: How?

Crew Chief Eric: [00:20:00] Blasphemer. Blasphemer.

Executive Producer Tania: Where?

Crew Chief Eric: Look at this thing.

Executive Producer Tania: In their mind’s eye?

Crew Chief Eric: Look at this thing.

Executive Producer Tania: I would never think Mark 4.

Crew Chief Brad: No, that screams Toyota Corolla hatchback to me.

Executive Producer Tania: That just screams ID something or other.

Crew Chief Brad: Yeah.

Crew Chief Eric: That is hor- What about this says Mark 4 Volkswagen?

Crew Chief Brad: I think Volkswagen listens to the show, and they listen to us- … wax poetic about the Mark 4 Volkswagen, and that’s why they mentioned that they’re gonna go back to the Mark 4 Volkswagen ’cause the Mark 4 fans are speaking the loudest.

Crew Chief Eric: But wait, let me scroll back and show you what a Mark 4 Volksw- do you see that?

Let’s go back over here. One of these things is not like the other. I don’t get it. I mean, yes, if you say that it has a Golf-like shape, sure, they all have had a Golf-like shape

Crew Chief Brad: Yeah, a- as does every other GTI and Golf.

Crew Chief Eric: Looks nothing like this red GTI on the screen right here. This is terrible. In addition to this, they’ve also said that the electric Golf is unnecessary because [00:21:00] Volkswagen EV sales are doing fantastic Right?

So they’re gonna come out with this new Golf, which is ugly, and they’re delaying the e-Golf, which would be in line with their portfolio of trying to be all electric, which isn’t working. So yeah, I don’t get it.

Crew Chief Brad: Was that a Volkswagen or a Urus?

Crew Chief Eric: D- I don’t know. It’s about the same size. So Tanya, this one you brought to our attention, and it’s a little bit of hokey pokey here, because didn’t we just talk about the fact that this car was gone?

Executive Producer Tania: Yeah, but now it’s back, back again.

Crew Chief Eric: Ah. Why?

Executive Producer Tania: I saw one thing, but it’s unsubstantiated, before I got that article, where it was like it was gonna be under $40,000. Lies.

Crew Chief Eric: Lies.

Executive Producer Tania: And I’m like, “No way,” because the official article here from Car and Driver saying that Volkswagen ID. Buzz is back for the 2027 model year does not include a price yet.

Crew Chief Eric: The old price was 62 to [00:22:00] $72,000 for a Volkswagen van that has terrible electric range.

Executive Producer Tania: I don’t see how they drop it to 40 grand, but if they did, they’d probably sell a lot more.

Crew Chief Eric: I know how they’ll do that. They’ll put one of those oil-burning two-liter turbos in it, ’cause those are cheaper than the electric platform.

Crew Chief Brad: I was gonna say they were gonna take it a step further and put a revolutionary TDI motor in it.

Crew Chief Eric: You know-

Executive Producer Tania: Supposedly the 2020 model is also gonna have a camper trim.

Crew Chief Eric: The Westfalia?

Executive Producer Tania: Basically, so-

Crew Chief Eric: That’s 80,000 …

Executive Producer Tania: I mean, then if you had decent range at that price, is that better than, what are they called? The, like the van life vans.

Crew Chief Eric: Oh, like the sprinter vans.

Executive Producer Tania: Yes. Probably not, because a sprinter van you can stand in if you’re not 6’3″ like Brad. I don’t know. I mean, I, I saw one on the road the other day, and for a retro redesign in the modern era, I don’t think they did a bad job.

Crew Chief Eric: No, it’s… There are certain colors. I don’t like this green.

I don’t like the yellow. I like the all [00:23:00] white ones, the all black ones I’ve seen. You know, they, they remind me more of the Euro van in that way.

Crew Chief Brad: I see a yellow one almost daily with like, it’s basically mocked up like a replica of the Teenage Mutant Ninja Turtles van, and it- Oh, wow … looks really, really cool.

Like that person did it right. Now that I know that they spent probably $70,000 for it, I think they’re a moron. But it looks cool. It’s not $70,000 cool. Right. It’s probably $40,000 cool. I think that’s what Volkswagen did wrong with it. I think it’s nice. I would consider owning one if I was in the market for a van if it was 25 to $30,000 cheaper.

Crew Chief Eric: So let’s put that in perspective of the announcement that they made last month, which we talked about, which they’re gonna bring back the Touareg as their premier model as an EV. So if the Bus is 72, let’s just go on the high side of the old number, how much is the new Touareg gonna be then? 120?

Crew Chief Brad: How are they going to do all th- like, they’re, th- they’re talking out of both sides of their mouth.

On one end, they’re talking about they’re gonna bring back all these cars and [00:24:00] they’re gonna- Yeah … build all this new stuff. On the other end, they’re laying off people and shutting down factories. So what is the truth? What is actually happening?

Crew Chief Eric: That is systemic in the Volkswagen/Audi world. The only place we’re not hearing about it is Audi, because of Formula 1.

We can’t say anything bad about Audi. All of this is because of that. I keep telling you this. They have to pay for the Formula 1 program somehow. But on the Porsche side of the house, it’s just as confusing. Last month we talked about another article from PCA where they were like, “This is why you should invest in electric Porsches.”

And then y- there’s another article this month that’s like, “Competitive advantage, opportunity, and the uncertainty in the EV market, why you should buy a Porsche EV.” And th- that’s not how I would invest. They’re, like, almost, like, playing the stock market here. Like, the EV market is so uncertain, you should invest in the EV now.

Like, that’s a terrible sales ploy. But on the same token, Porsche on the other side is, is scuttling EVs just like Volkswagen’s doing. And I’m like, what is happening here?

Crew Chief Brad: Yeah, if [00:25:00] people don’t wanna buy the EVs directly from Porsche now, what makes them think somebody’s gonna wanna buy an EV 10, 15, 20 years from now from a secondhand seller just because they bought it and shoved it in storage?

It’s not an air-cooled 911.

Crew Chief Eric: No. And Porsche’s hanging their hat on everybody just wants a 911 GT3. That’s all they want, you know what I mean? And if you don’t want that, you’re gonna go buy a Singer if you have that kind of money anyway, so th- they’re about part and parcel. But the funny part is, and I’m surprised Tanya didn’t hang her hat on this little bit of statistics here, because as we know, 27% of all statistics are made up.

But it’s like, AutoTrader reported 28% increase in EV inquiries. Yeah, Tanya’s got her hand up. Go ahead.

Executive Producer Tania: It says that when the excursion started-

Crew Chief Eric: The excursion.

Executive Producer Tania: That

Crew Chief Eric: was last month.

Executive Producer Tania: Hey, what was said when the excursion started, uh, however many weeks ago now, that search [00:26:00] queries increased, which of course, because all people are hearing is gas prices- Right

are increasing, gas prices are increasing. Ooh, of course I should get an electric car. Let me trade it in because spending $80,000 on something versus what I’m already paying for definitely ain’t gonna be worth it and pay off, you know. Even at $6 a gallon, it’s still gonna be many, many, many, many years before you pay off that $80,000 equivalency in- Yeah

in fuel, but whatever.

Crew Chief Brad: So if I send Porsche an email saying, “Hey, your EV sucks,” does that cons- is that considered an EV inquiry?

Crew Chief Eric: I don’t know, but that’s where they’re getting this bullshit like, “EV demand surges.” Why? Because people are doing a lookup to see, like, what the specs are on the Taycan? It’s like true miles per gallon.

How far did you drive and how much did you pump in the tank? How many cars did you actually sell, Tesla?

Crew Chief Brad: I- if you go to Porsche’s website and it directs you to the EV page, are they counting that as an inquiry?

Executive Producer Tania: Okay. Yeah, I could buy that people are bored and sitting at home, and they’re doing EV searches to see [00:27:00] what’s, what’s out there, sure.

Doesn’t mean more EVs have been purchased, just means more Google searches were happening.

Crew Chief Eric: So you hit the nail on the head.

Executive Producer Tania: Well, considering the article never talks about more purchases, yes.

Crew Chief Brad: You have to have purchases to talk about them.

Crew Chief Eric: I sort of hate this, and I don’t hate this at the same time. And this is the new 2026 Cayenne Electric Coupe.

Crew Chief Brad: So it’s an X4.

Crew Chief Eric: Yes. Thank you. You nailed it. I’ve been trying to figure out what this is. I just could not put my finger on it. You nailed it right on the head. That’s an X4.

Crew Chief Brad: It’s an X4. It’s a Mercedes GLS or whatever the, that one, the grand coupe that they make. It’s a- It’s

Executive Producer Tania: ugly.

Crew Chief Eric: What?

Crew Chief Brad: Yeah.

Crew Chief Eric: What? The front is horrendous.

The back looks great. That is ugly.

Executive Producer Tania: I’m sorry.

Crew Chief Eric: The back is- That

Executive Producer Tania: brown picture, that is ugly.

Crew Chief Eric: Oh, that thing is- Looks

Executive Producer Tania: better in the white one further down. Look

Crew Chief Eric: at those seats. Look at that interior.

Executive Producer Tania: That front bumper is a lot better.

Crew Chief Eric: It’s the same fugly bumper though is the problem, right? Look

Executive Producer Tania: at- No, it’s not.

Crew Chief Eric: Oh, it’s not. [00:28:00] You’re right. They’re different.

Executive Producer Tania: Yeah. There’s a different bumper apparently. I’d rather have this white bumper.

Crew Chief Eric: What did we do here? Like, they triple stacked it. We started designing one car and then we added… It’s like a Hot Wheels when you put the bottom… You know what I mean? It’s awful.

FLORIDA MAN: AI did it.

Crew Chief Eric: Look at these prices. Base model, 113,800 all the way up to 168,000 for that ugly brown thing. Who needs 1,139 horsepower? Why is that a thing?

Executive Producer Tania: Wow, says the person with all the American V8s that we, course we need that. Goo,

Crew Chief Brad: goo, goo, goo, goo, goo, goo, goo.

Crew Chief Eric: Hey, hey, hey, hey, hey. I like the sound. You can get that sound out of 178 horsepower.

They proved that in the, in the 1970s. Too bad that 178 horsepower came from 7.2 liters of Detroit iron.

Crew Chief Brad: And it gave everybody cancer.

Crew Chief Eric: Yeah, yeah, 100%. My little scoot around town car makes 225, and it’s perfectly quick, and I’m totally content with that, and it sounds amazing. Are people equipped to drive 1,100 [00:29:00] horsepower?

That, I’ve, I know I’ve been saying that forever.

Crew Chief Brad: People aren’t equipped to drive 200 horsepower.

Crew Chief Eric: Yeah, my point. Bonkers. I don’t know. I, ah, this is the only angle I like from. Three-quarter rear shot, typical auto journalist photo. I like that. That looks good.

Crew Chief Brad: But just get a Panamera. It looks better.

Crew Chief Eric: Nah, Panamera’s too big, and you’re paying double for an A8.

Executive Producer Tania: Okay, hold on. I just did some quick math.

Crew Chief Eric: Oh, here we go.

Executive Producer Tania: If I didn’t fat finger the numbers. So for that 113,000, now I’m gonna go rush out and trade in my Corolla-

Crew Chief Eric: For the base model …

Executive Producer Tania: for the base model because a, an excursion’s going on and gasoline’s $6 a gallon. So I’m going high ball with $6 a gallon.

Assuming 30 miles per gallon, that is 565,000 miles. Jesus. Okay? If you averaged, and this is- If you had an 80 mile a day commute-

Crew Chief Eric: Right … ‘

Executive Producer Tania: cause there are some people who have that, and you went to work five days a week, all year long, that is [00:30:00] 20,800 miles you’d be doing a year. Uh-huh. That’d be 27 years before- Oh

Crew Chief Eric: my

Executive Producer Tania: gosh

you accumulated all those miles.

Crew Chief Eric: Oh.

Executive Producer Tania: Was that investment worth it?

Crew Chief Eric: No. No. No new car is worth it unless you need it or you can afford to want it. It’s one of those two things. You absolutely have to have it, or you just are flush with the Benjamins and you can just have it. But it’s okay. So this next article, I read this and I said, “This is not what we meant when we said save the manuals.”

Shift-by-wire manual transmissions.

Executive Producer Tania: I don’t understand what that means.

Crew Chief Eric: The whole thing- Yeah, me neither … is confusing, and apparently Porsche has some patent on it. I know Toyota was working on something similar. This is some video game BS. You’re gonna have this clicky click, force feedback, Moza, Logitech, Fanatec thing in your center console.

Executive Producer Tania: But I don’t understand. Isn’t that just an automatic transmission?

Crew Chief Eric: Yes, that you make vroom vroom [00:31:00] sounds, and you make the stick go back and forth like this, and you get your angries out, and nothing happens.

Executive Producer Tania: How is that any different than a manual mode in an automatic transmission car, and it just make you go up, up, up, down, down, down?

Crew Chief Eric: You see this picture?

Executive Producer Tania: Oh, it’s gated.

Crew Chief Eric: This is the Lamborghini version, you see. But-

Executive Producer Tania: Oh …

Crew Chief Eric: but see, this gives you the feeling that you’re still in a super car, and that you are- Oh … actually shifting the gears And so you can skip shift, just like in a video game. Oh. You can go from first to third to fifth.

Executive Producer Tania: Yeah, you can’t money shift.

Crew Chief Eric: Well, the computer won’t let you money shift, but you can jam it in second gear all day long.

Crew Chief Brad: But my question is, what is the subscription cost to be able to shift your own gears monthly? Thank you. For $45 a month, you can have sixth gear.

Crew Chief Eric: And what happens when this stops working?

Executive Producer Tania: I mean, it’s an automatic, so as long as you can stick it in drive, I bet it’ll keep functioning.

So even if, like, you jam that where it shouldn’t be, you [00:32:00] probably can still drive the car. There’s probably a button, gonna be a button somewhere.

Crew Chief Eric: Since we started this conversation talking about Mark IV Volkswagens, and even working on the Focus this entire time, I’ve looked at how simplistic the cable-driven transmissions have become, and these are already 20-year-old technology between the two cars.

They’re less complicated, they don’t weigh anything, and they just work. Why can’t they just put a regular manual transmission in the car? Nobody cares about saving 300 milliseconds between shifts because the computer did all this stuff. When this stuff breaks, you cannot fix it, and it’s more prone to failure than the old manual stuff is.

If anybody hasn’t driven an old manual car in a while, go drive one, because they still work after all these years.

Executive Producer Tania: I don’t know that that’s true, because how many automatic transmissions are blowing up every five seconds? Like, this is a gimmick. This is Thrustmaster’s, Logitech-

Crew Chief Eric: Yes …

Executive Producer Tania: stick shift accessory for your computer rig, just in your car.

Yes. Like, that thing is [00:33:00] not doing anything. If anything, that’s the piece that’s gonna break, and the rest of the transmission’s still gonna work fine.

Crew Chief Brad: This is the Gen Z equivalent- Oh, my gosh … of manual shifting. They wanna say they can drive a manual, but they don’t wanna put in the work to actually learn how to drive a manual.

This is Ozempic for manual shifting.

Executive Producer Tania: I wouldn’t be surprised that you don’t have to depress the clutch pedal. And it’ll still shift

Crew Chief Brad: I’m sure you don’t.

Crew Chief Eric: What’s the point of going through the exercise if you don’t get the gratification?

Executive Producer Tania: Because I’m so cool, yo.

Crew Chief Brad: To say they can. I’ve got a gated shifter in my Lamborghini.

Crew Chief Eric: How do you dump it off the line? What’s one of the funnest- I mean- … parts about owning a manual transmission is revving it up, dumping it, breaking some axles, and laying some 11s while you’re at it

Crew Chief Brad: If you’re lucky, you get to lay the 11s before the axles break.

Crew Chief Eric: Well, you know, I did it in that order on purpose, but you’re taking all the fun out of it.

Executive Producer Tania: I mean, if they really design it in a way that interlocks everything, that you have to drive it as if it was a manual, then in theory you should be able to dump it. [00:34:00] But if they give you the option, which I wouldn’t be surprised, that, like, “Oh, I can be full automatic mode ’cause I’m tired and I don’t feel like shifting anymore.

I’m in traffic.” I don’t know. It’s stupid. Just be manual if you’re manual, and don’t if you’re not.

Crew Chief Eric: I just, I hope that this does not catch on. I hope that this is just, like, a thing to get people all riled up because it’s controversial or whatever, but I, I just, no, I don’t wanna see this happen. I’m sorry.

This is terrible.

Executive Producer Tania: And, like, what, can you, like, replace the weights on the back of the clutch pedal to make it feel like something, like your sim rigs? ‘Cause, I mean, how light must that clutch pedal feel? It’s not tied to anything.

Crew Chief Eric: Gotta put the short shift kit in this.

Crew Chief Brad: That’s just a software update

Crew Chief Eric: No, no, no, no, no, no.

It’ll be a kit that ECS will sell for your Porsche fake transmission thing that you can shorten the throw.

Executive Producer Tania: Yeah, for $300.

Crew Chief Eric: $3,000. It’s a Porsche, you gotta add, add a zero to that. All right, so this is-

Executive Producer Tania: Oh, boy …

Crew Chief Eric: ridiculous.

Executive Producer Tania: Nope.

Crew Chief Eric: First [00:35:00] modern car without hydraulic brakes is headed into production, Brembo says.

What?

Executive Producer Tania: I, I don’t-

Crew Chief Eric: What? …

Executive Producer Tania: do not want my brakes being Bluetooth.

Crew Chief Eric: Right? We don’t have to dive too deep into this one, because much like the fly by wire shifter we talked about earlier, electric brakes where there’s no connection between you and the brakes is a bad idea, full stop. There’s nothing else we need to say about that.

But the public service announcement I wanna make is as soon as they publish a list of cars that have this system on it, I want everyone to keep a Post-It Note in their car on their dashboard to be on the lookout for them, and when they are on the road, steer clear. Get out of the way. It doesn’t matter if they’re going two miles an hour or 200 miles an hour, those cars will not stop.

They will run into you. Get out of the way.

Executive Producer Tania: I’m confused, because I’m on Brembo’s website and I’m reading about Sensify, the best synthesis of Brembo, and designing the state-of-the-art braking system, because we want a world [00:36:00] free of accidents and injuries and all this stuff. And unlike traditional braking systems that apply the same pressure to all four wheels, Sensify continuously controls and supervises the braking action on each wheel independently, quickly, and more precisely.

I’m sorry, I thought that’s what traction control did.

Crew Chief Eric: Shush, you. Shush.

Executive Producer Tania: Yes. Isn’t that modern-day traction control, has the ability to independently control-

Crew Chief Eric: Through the ABS module, yes …

Executive Producer Tania: while you still h- actually have hydraulic fluid?

Crew Chief Eric: Yes, because there’s a little electric pump that actuates the brakes independently.

It’s great. But it’s still fluid-based, and you can override it by pressing this thing called… Brad, what’s it called? What’s that device? Or do you have to invent it, this thing where you put your foot on it and it makes fluid go and get hard?

Crew Chief Brad: Isn’t it… It’s, it’s like a, it’s like a pedal.

Crew Chief Eric: Oh, is that what it’s called?

Oh, yeah.

Crew Chief Brad: You know what we could call it? We could call it the brake pedal.

Crew Chief Eric: There’s an idea. And what, what does that do? It slows you down, right?

Crew Chief Brad: Yeah, you know. Brakes, all they do is slow you down.

Crew Chief Eric: You know what the next [00:37:00] generation of this, though, is? I can see it now. So you’re gonna get in the car, and like The Matrix, this thing is gonna come out from the back of the seat.

It’s the same thing they use in the Lexus to anesthetize you so you don’t realize how boring they are to drive, and it’s gonna plug into the back of your head, and you’re gonna use the Tesla neural link, and you’re gonna think about braking, and then your car is gonna slow down. That’s the next generation of this platform.

Executive Producer Tania: No. Dude, the video playing right now on Brembo’s website just said, “You only think about braking.” See?

Crew Chief Eric: See? ”

Executive Producer Tania: We do the rest.”

Crew Chief Eric: It’s foreshadowing. Boom. I called it. Soothsayer. God, this is the stupidest thing I’ve ever seen. I don’t even know why they wasted their time on this. Speaking of wasting their time on things, Porsche with another stupid hot lap of the Nürburgring.

When are these gonna stop? Like, why does anybody care anymore? Does it matter how fast a car goes around the Nürburgring? And there’s people that, right now, that are nodding their head, going, “Yes. Yes, it’s super important that it goes six seconds around the Nürburgring.” Ugh. I

Executive Producer Tania: don’t think it could do [00:38:00] six seconds around the Nürburgring if it was shot out of the back of a space shuttle, thruster rocket.

Crew Chief Eric: Tesla would tell you it would do it in six seconds, but the point is, who cares? And this car’s never gonna be sold on the street. So what record did we- what did we prove? It’s not like the hot lap challenge of VIR that they do every year, where it’s like the car’s stock, driven by a pro driver, and the whole nine yards, and they try to keep it even.

This is, like, a special… Look at this thing. It’s got canards, and it’s got wings, and it’s got, like, air-diffused rear wheels for air to… Like, I mean, what is this? This is not something Porsche is gonna sell in the showroom. It looks like it’s out of Gran Turismo.

Crew Chief Brad: They just, they couldn’t have Yang Wang on top.

Crew Chief Eric: Ah, is that what it is? Although it starts to look like a Yang Wang the more you look at it. It’s like the Tesla drag races. The Nürburgring hot laps and Tesla drag races are, like, the same level of I don’t give a crap anymore. Why do we even bother with these? What are we proving?

Crew Chief Brad: So people can brag. You know, “Did you hear?

[00:39:00] The Taycan just got fastest lap around the Nürburgring.” Blah, blah, blah. “I and, and Kitty, we, we drive Taycans.”

Crew Chief Eric: Blah, blah, blah, blah, blah. ”

Crew Chief Brad: So our cars are faster than your yang wang, Cheers Chang.”

Crew Chief Eric: All right. Well, let’s switch gears and talk about somebody who’s doing worse than Volkswagen, and that’s Stellantis.

So, I, I mean this one pains me in a way. The headline, “Chrysler killed the Voyager and Pacifica Hybrid,” that hits close to home.

Crew Chief Brad: No surprise.

Crew Chief Eric: Yeah, and is now considering this. This being a off-road version of the Pacifica known as the Grizzly Peak. What, what the hell is the point of this?

Crew Chief Brad: Is it all-wheel drive?

Crew Chief Eric: Yes.

Crew Chief Brad: Oh, well, there you go.

Executive Producer Tania: Likely to have all-wheel drive.

Crew Chief Brad: Oh, yeah. ‘Cause Toyota has the all-wheel drive Sienna, and they also sell not an off-ro- like, like, a, a more rugged version for people to do stupid stuff like this. Pictures in a field, basically, is all it’s good for.

Executive Producer Tania: [00:40:00] I mean, this is still, like, I won’t say concept, but basically concept.

They’re, like, audience testing this or whatever.

Crew Chief Eric: Other than the lift kit and the knobby tires, how is this different than any other all-wheel drive already available Pacifica? It has

Executive Producer Tania: yellow fog lights.

Crew Chief Eric: It does. And you know, I put those on my wife’s car by changing the bulbs. It was amazing. She’s got yellow fog lights, too.

They were a Mercedes part, by the way. Just popped it in and it was done. It

Executive Producer Tania: has a grizzly bear side door icon.

Crew Chief Eric: Can you make that? I’ll put it on her car, too. What? Instead of grizzly bear, we’ll put mama bear on there. It’ll be great. Every mom with a Chrysler Pacifica will want that decal. Mama bear.

Crew Chief Brad: How many inquiries did they get-

about this to make them wanna sell this?

Crew Chief Eric: How much does that add to the roof weight? How do you get that spare tire off the roof?

Executive Producer Tania: Slide it down.

Crew Chief Brad: You call AAA to come do it for you.

Crew Chief Eric: The Pacifica’s tall. Ask me how I know. Good Lord.

Crew Chief Brad: This one’s lifted.

Crew Chief Eric: Y- okay, so you’re gonna go camping, and we’re gonna put white seats in it.

This is [00:41:00] a brilliant plan, Stellantis.

Crew Chief Brad: They’re camping at Great Wolf Lodge. That’s where they’re camping.

Crew Chief Eric: Oh, my God. Uh, but that’s okay because the factory that they’re building it in, employees complain of nosebleeds, migraines, vomiting, skin issues, and digestive issues.

Executive Producer Tania: That’s not funny, but that is. Like, what the hell, like…

Crew Chief Brad: People will do anything to not have to work five days a week in the office.

Crew Chief Eric: They’ll get Legionnaires’ disease so that they don’t have to go back to work five days a week.

Crew Chief Brad: They’re gonna- they’re, they’re all gonna die of dysentery.

Crew Chief Eric: My God. I mean, I, I read through this and I just kept laughing ’cause I was just like, “Seriously?”

You know? And it’s like this is a weird way to do, like, a union strike. “All right. Tell them you’ve got diarrhea, and they’ll let you go home.”

Executive Producer Tania: No. No. Apparently, people are actually getting sick, so they think it might be a mold problem.

Crew Chief Eric: That’s from lack of actually building cars at this point.

Executive Producer Tania: Black dust, mice, rats, general mustiness, and [00:42:00] several flooding incidents.

Crew Chief Eric: So they have Honda virus. Is that… I mean, sorry, what? Honda virus?

Executive Producer Tania: Ah. Oh,

Crew Chief Eric: that’s terrible.

Executive Producer Tania: Get the black lung from the black mold.

Crew Chief Eric: Well, Tanya, you brought us some Stellantis news this month. What do you have here?

Executive Producer Tania: So apparently there’s potential rumors of a Jaguar, Land Rover, Stellantis partnership.

Crew Chief Eric: Why does that help?

‘Cause they’re doing terribly. So is, like, Chrysler buying Jaguar because it’s worth, like, pennies on the dollar?

Executive Producer Tania: Great question

Crew Chief Brad: Who does this help?

Crew Chief Eric: Here’s the new theme song, Brad. I’m gonna have you sing it. I suck, you suck, we all suck together. We’re one big happy family.

Executive Producer Tania: I don’t know where that song comes from.

Crew Chief Eric: I just made it up. Isn’t it great?

Executive Producer Tania: Okay.

Crew Chief Eric: It’s my number one hit single. Topping the charts nowhere.

Crew Chief Brad: It’s, so, so this is a case of a rising tide sinks all failing ships.

Crew Chief Eric: Who is Dongfeng?

Executive Producer Tania: Well, they want a [00:43:00] joint venture with Chinese automaker Dongfeng to build Jeep and Peugeot vehicles in China.

Crew Chief Brad: It’s the Chinese mafia.

Crew Chief Eric: Triad, yeah.

Crew Chief Brad: The, yeah, this is just a way for them to, to launder money.

Crew Chief Eric: It’s something, man. I don’t get it. You know, we talked about the Poissy factory shutting down, where they’re gonna stop making Citroëns and a bunch of other stuff. So now we’re shifting that to China so Dongfeng can build knockoff Jeeps and Peugeots and sell them as Yangwangs.

And then, I, uh… You know what? I’ll give them credit. I will give them credit in the fact that at least they have a plan, because Volkswagen doesn’t have one. They’re sitting there crying, looking for a handout from, you know, the State of Lower Saxony, not knowing what the hell they’re doing, and at least Stellantis is trying to do something.

Executive Producer Tania: Well, also, in, I guess, a, an attempt to bolster their sales, but this time globally, Stellantis has revealed plans that they’re going to take the factory in Italy and start making $18,000 electric Jeeps.

Crew Chief Eric: [00:44:00] Lies. Lies. Lies. Or

Executive Producer Tania: some sort of e-car they’re calling it, that are entry-level, fully electric cars in Europe to compete with BYD, who’s offering low-cost EV brands.

I hope this works for them.

Crew Chief Eric: Lies. This is all lies. Now, this looks like the updated version of the current Jeep Compass. So I’m not hating on it. I’m a little confused about the light situation. Like, I would like to see the headlights turned on. But it’s not hateful. It’s not bad. I can see where they’re… I like the flares.

The flares are big. They’re pretty cool. But, like, 18,000, I don’t believe it. There’s no way.

Executive Producer Tania: It’s base 18,000, then you gotta, like, add the seats-

Crew Chief Eric: $40,000 on top of that … add the steering wheel. Yeah, got it. All right. Thank you. Now, now we’re talking. And

Crew Chief Brad: then you gotta, you gotta add the subscription cost for the power.

Crew Chief Eric: Yeah, yeah. Now we’re at the magic number of $45,000, where every other car is starting these days. Got it. Good job, Stellantis. So [00:45:00] Brad, w- I know we’re not allowed to talk about BMW anymore, but we kinda have to talk about it this month because it’s the last hurrah. They’re getting rid of a car from their lineup.

Because BMW is notorious for this proliferation of models for everybody, right? But they’re actually getting rid of one. It must be an underperformer. They’re getting rid of the Z4 after nearly- Mm … 30 years of Roadsters. They’re getting rid of the Z4.

Crew Chief Brad: I can’t tell you which I’ve seen on the road less, a Supra or a Z4.

Crew Chief Eric: That’s a hard one to judge there. But next month we’ll be introducing the new Z4, so stay tuned, guys, ’cause this is the new German way. Bye-bye till the next one comes, suckers.

Crew Chief Brad: It’ll be the Z4 M40i Sport 460 some other bullshit letters and numbers.

Crew Chief Eric: This thing is so big, it- they might as well just called it a 3 Series convertible.

It’s no longer the little Roadster, like the little shoe used to be.

Crew Chief Brad: Yeah.

Crew Chief Eric: Absolutely terrible. All right. Tanya just dropped breaking news.[00:46:00]

Executive Producer Tania: 2027 BMW M3 CS in a manual.

Crew Chief Eric: No. Lies. Where’s the picture? That’s a stick shift. Look at that.

Crew Chief Brad: Wait, wait, wait, wait, wait.

Crew Chief Eric: Stick shift.

Crew Chief Brad: That’s the new shift by wire stick shift.

Crew Chief Eric: Oh, fail.

Executive Producer Tania: No, no, no, no, no.

Crew Chief Eric: BMW, the last holdout. Although this car is going to cost what?

Crew Chief Brad: Unattainable

Executive Producer Tania: amounts. Uh, 108,450 starting.

Crew Chief Eric: There it is.

There it is.

Executive Producer Tania: It will also only be sold in the US and Canadian markets.

Crew Chief Eric: Ooh, those seats are hot, though. Oh, I love that stitching on the seatbelt, too. Mm. Sometimes BMW gets it right. I’m checking to see if there’s a third pedal. It looks like it’s right there. Not a fakey. Good call there. All right, BMW, get rid of the Z4, bring us a manual transmission M3.

We’ll call that a day.

Crew Chief Brad: Coming to a series of TikTok videos near you.

Crew Chief Eric: Yeah, thousand percent. Burnout videos. Mm-hmm. All right, let’s talk about this atrocity. Ugh, Tanya, what [00:47:00] is this?

FLORIDA MAN: Ah.

Crew Chief Brad: These are your people

Crew Chief Eric: This has to be the worst Mercedes I’ve seen ever. I don’t know if there’s an uglier Mercedes out there right now, or ever

Crew Chief Brad: Uh, the Mercedes van was pretty bad

Crew Chief Eric: Less ugly than this.

At least you knew what it was. It was a van

Crew Chief Brad: And they had an AMG version of it

Crew Chief Eric: The Metris AMG. What is this?

Executive Producer Tania: I mean, first let’s talk about how they just took the AMG GT and made it a four door

Crew Chief Eric: Yeah, that’s dumb. But what is this? What is this?

Executive Producer Tania: I don’t know. The back especially, I haven’t zoomed in enough, so I don’t think it’s intended, but those look like radiation symbols

Crew Chief Eric: This looks like a Opel GT.

I don’t understand what this is

Executive Producer Tania: If you just show someone the back of that car, no way would you go Mercedes. That would not be- No … in your top five guesses.

Crew Chief Brad: I beg to differ. With the Mercedes badge in the center, I feel like the three lights on either side, they’re not r- uh, [00:48:00] radiation symbols, they’re Mercedes symbols

Executive Producer Tania: Each light looks like a radiation symbol.

It’s like there’s six radiation symbols

Crew Chief Brad: I think they’re all three-pointed stars

Crew Chief Eric: They are, but I think they’re going for this

Crew Chief Brad: Well, they missed it

Crew Chief Eric: They did

Executive Producer Tania: This is the equivalent of the Mark IX-

Crew Chief Eric: Yes …

Executive Producer Tania: taking design-

Crew Chief Eric: Correct … from

Executive Producer Tania: Mark IV.

Crew Chief Eric: Correct. They were- Mm … going for the C 111, and they ended up with this.

Ugh. Looks like a carp. Like, there’s Pokemon less cartoony than this thing. What is this?

Crew Chief Brad: Can you find a picture of it in a different color? I’ve only seen it in that green.

Crew Chief Eric: No, and I’ve seen a video of it, ’cause when I first saw it, it was in video and I was like, “You have got to be kidding me.”

Executive Producer Tania: There’s a picture of it in white, and black actually

Crew Chief Brad: What ruined the video was George Russell drove it

Executive Producer Tania: There’s a picture of it in white from Car and Driver

Crew Chief Eric: I do like the wheels, though.

Oh, it’s an EV as well. Barf. F- so with the trunk open, doesn’t that look like a Ferrari 360 from the back? Is that what they were going for?

Crew Chief Brad: It looks like a C8 to [00:49:00] me

Crew Chief Eric: God, it’s so ugly

Executive Producer Tania: Ugh

Crew Chief Eric: The white’s better, but it’s still ugly. God, it’s awful.

Executive Producer Tania: I get what you’re saying. The back feels Japanese.

Crew Chief Brad: Yeah, the back is giving me FD RX-7 vibes

Crew Chief Eric: I, I know what you’re saying because it had the domino mask looking rear with the lights and the bar that went through, which is design language even today where they’re doing that on a lot of cars.

This is just, like, it’s so big.

Crew Chief Brad: Yeah, it’s-

Crew Chief Eric: I don’t get it. And I think they had to put three, because with two it looks really dumb. But if you add the third light on each side-

Crew Chief Brad: It just looks stupid.

Crew Chief Eric: Exactly. It’s, God, it’s horrible. God, get this out of my face. This is just disgusting. Ugh, how many tabs did I open?

God damn. Get rid of that All right, let’s go on to domestic news. Tanya, you brought this one as well. I am not gonna dignify this by calling it a Mustang- … because it’s not. Because it’s not.

Executive Producer Tania: I didn’t even know that Hertz apparently had Shelby-branded Mach-Es.

Crew Chief Eric: Why is this a thing?

Executive Producer Tania: Apparently, uh, [00:50:00] they’re selling them now at a huge discount.

So if you want that fake out Borla exhaust on an electric SUV.

Crew Chief Eric: 480 horsepower equivalent with a fake V8. Ugh. What are they selling them for? 40 grand? That’s the price of a base model. That’s actually a good deal if you can put up with all that swoopy stuff. I

Executive Producer Tania: mean, do you want that paint job?

Crew Chief Eric: You know what?

I wouldn’t mind it had they not done this swoop over the fender and then pulled back. Like, I don’t understand why we couldn’t have just gone lower on the rocker panel and done something over the bump and filled in that space, ’cause I understand that there’s that bump there in the cladding. Like, the hood looks fine.

I don’t mind the gold stripes. It’s very Shelby-esque. Obviously, it is. But the thing on the side just looks strange.

Executive Producer Tania: So they’re losing their butts on this because buying this without Shelby add-ons, the Mach-E GT without Shelby

Crew Chief Eric: add-ons-

Executive Producer Tania: Is 60-something … 54,000.

Crew Chief Eric: Yeah.

Executive Producer Tania: And now they’re selling them. And so then, so it was more than that then for the Shelby bits and pieces- Yeah

[00:51:00] and now they’re gonna sell them for 40? They have not experienced positivity in their electric vehicle fleet, ’cause they had the Teslas too that they’ve all tried- Yeah … to unload now.

Crew Chief Eric: Well, the first thing is it’s in the Premium Plus Hertz Gold package, so only a select number of their members are gonna rent a car at that level.

When you and I go travel, is that what you sign up for?

Executive Producer Tania: No.

Crew Chief Eric: This car has no miles on it. The three people that drove it to lunch just because they could from the Hertz rental place, nobody actually said, “Oh, yeah, I want to rent the Shelby Mach-E.” So it’s not like they recouped it on the rentals, ’cause that’s the thing with the rental cars- I know

right? They buy them under fleet pricing, then they rent them out, they make their money, and then they sell them at full boat so they’ve made… You know, they’ve doubled and quadrupled and tripled their money at the end of the day. But, yeah, they lost their butts on these. I mean, if they wanted to give me one, I’d take it.

So we don’t talk about Mitsubishis ever, but I brought this one up because, Tanya, you had an experience with one of these as a rental, so I couldn’t pass up bringing back the nightmare [00:52:00] and letting you talk about your adventure in a Mitsubishi Outlander, and the fact that they- Yes … recalled all 108,000 of them that they made.

What was this wonderful piece of Mitsubishi engineering like to drive?

Executive Producer Tania: Life or death. Literally at any given moment, your life was flashing before your eyes because you might unexpectedly careen off the road by the flagrant and blatant turn of a suspension imbalancing that this thing has. Never have I hit so many pebbles in a road and thought I was gonna lose control and veer off the road.

Crew Chief Eric: And apparently that’s what this recall is about too, because corroded suspension components.

Executive Producer Tania: No, it’s not. Ah. This is actually, this is actually lame. So they say affected strut. What they’re talking about is the lift gate gas strut.

Crew Chief Eric: Oh, that’s … I misread that. Oh, no. Yeah. I was thinking the strut when I skimmed [00:53:00] through this, ’cause I was just like, “Tanya’s gonna tell us how terrible this is.”

Executive Producer Tania: That would explain a lot, because just the sheer level of body pitching and tail wagging that the Outlander does literally just hitting bumps in the road, I do not understand how there hasn’t been, like, some sort of class action huge lawsuit and all of them have been recalled because people have died.

Crew Chief Eric: You did some research and it’s partially because they under sprung it, kind of like an old Dolce Volto, keep it super soft and be able to-

Executive Producer Tania: Yes, apparently. It is not just me. Like, these are pieces of crap. And I had passengers in the car, and they were-

Crew Chief Eric: Scared?

Executive Producer Tania: They had ridden in the back, they rode in the front, and they were like, “It is so much worse when you’re sitting in the back.”

They were feeling the instability of it.

Crew Chief Eric: Wow.

Executive Producer Tania: It was that noticeable. When I tell you, I literally thought at one point, I had a moment, I was like, “This is where we die,” because- … I just hit a bump, the steering [00:54:00] wheel was slightly turned ’cause the highway was curving, and we’re at highway speed. I literally was like, “Guys, if the road was wet right now, we’d be into the cement barrier.”

Crew Chief Eric: Wow. There’s

Executive Producer Tania: no way we would’ve maintained traction.

Crew Chief Eric: Wow. I mean, I wouldn’t own one of these to begin with, so like, I’m out. I’m so sorry for the people that have to put up with it, but ugh.

Executive Producer Tania: Like, if the choice of rental is like, “Oh, all we have is this Outlander, or you can go in the premium aisle for, like, an extra $75 a day,” hell yeah.

Crew Chief Eric: You’re getting the maki from Hertz.

Executive Producer Tania: I don’t care because you know what? My life’s worth that $75 a day.

Crew Chief Eric: God, this is terrible. Oh, Mitsubishi, how you’ve fallen so far.

Crew Chief Brad: I think the, the most surprising part about this story is that they sold over 100,000 of these.

Crew Chief Eric: Yeah, right? That, I read that t- I was

Executive Producer Tania: like, ”

Crew Chief Eric: Wow.”

Executive Producer Tania: They, they swindled- … 100, or 100,000 pe-

Crew Chief Brad: Yeah …

Executive Producer Tania: people out of their money.

Crew Chief Eric: Swindled. I love it. I love it. Collusion. Well, [00:55:00] Tanya, we need to switch to lost and found, where we call up Chuck LeDuck at Gray Chevrolet and scour the internet for cars we’ll never buy. This one you dropped on Discord- And wow, I, that’s all I have to say.

’92 Scirocco. Wow.

Executive Producer Tania: It was a showroom car.

Crew Chief Eric: That color.

Executive Producer Tania: It was, like, never driven.

Crew Chief Eric: Look at this thing.

Executive Producer Tania: And I think it only has had the one owner who bought it from the showroom, ’cause it was the leftover. He bought it, apparently it was registered by the owner in 2003, and it was a ’92 that remained unsold that whole time.

Crew Chief Eric: Look at that.

Executive Producer Tania: It has 1,400 miles, allegedly.

Crew Chief Eric: This brings back so many memories of the good old days. These cars were so much fun to drive.

Executive Producer Tania: Good luck finding one.

Crew Chief Eric: They’re all rotted by… Look at that engine compartment. You could eat off of it. You can’t get parts for it anymore, but you can eat off of it.

Executive Producer Tania: By the time this recording, you will have missed out, but as of right now, with 19 hours left, the current bid is 14,000 euros.

Crew Chief Eric: That’s not [00:56:00] bad. Now, I’m gonna point out, it may only have 1,400 miles. This flag mirror flaps, guaranteed.

Executive Producer Tania: 100%.

Crew Chief Eric: These were never strong to begin with. The color’s wild, though, because this is the color that the GTIs came in in the final years as they were moving into the Mark 3s with the two liter 16 valve.

So that’s really funny to see a Scirocco painted in this color because when you look at the old books that the colors that they came in, it was, like, platinum and silver and black, white, and red, and all the 16 valve colors and stuff. But to see this kind of aqua blue, this is really cool. I, I love the seats.

Remember these banana handles on the seats? Uh,

Executive Producer Tania: yes,

Crew Chief Eric: yes. These things would fall off. Yes. As soon as you looked at them, they would be on the floor or outside the car. Man, this brings back so many memories.

Executive Producer Tania: So sometimes I like to, like, look in the comments section- Uh-huh … and scroll through. Somebody with the tag name Autocentro Imports was- Oh

asking questions on this.

Crew Chief Eric: I know who’s gonna buy this car then. We’re gonna be able to go see it really soon.

Executive Producer Tania: [00:57:00] Well, if it is truly who we, who that could be, they don’t have a bid on it.

Crew Chief Eric: I bet you they would. The last minute they’re gonna go in and snipe. ‘Cause what’s, what’s 14,000 euros in US dollars? It’s, like, less than 20 grand, right?

Executive Producer Tania: It is 16,000. That’s

Crew Chief Eric: nothing. Nothing for a brand-new Scirocco. Nothing. God. This is super rare. I mean, this is the end of the line. In the States, as we know, they stopped bringing these here in ’88. So just like the UR Quattros ran until ’91, overlapping with the second generation cars, this is the tail end of the Sciroccos.

This is the best it gets.

Crew Chief Brad: Why don’t you buy it?

Crew Chief Eric: I’d love to. I don’t like the color. If it was gray, this would be hard to pass up. It would be really hard to pass up. I would buy this car if it was gray. All right, moving on to things that are gray. God, this … God. Can we get away from these things yet?

Executive Producer Tania: No, not yet.

I didn’t even know. Honestly, I didn’t even really pay attention. The … I, I think I just forgot.

Crew Chief Eric: Let me read the headline for our fans here. “Tesla recalls rear wheel drive Cybertruck for wheels that could [00:58:00] fall off.”

Executive Producer Tania: They made rear wheel drive ones? I guess so. I guess I forgot that fact. I’m sure I knew that, but since I could care less, deleted it.

But apparently they sold 173 of them. And have to recall all of those, because, yes, the rear wheels … Well, I guess it doesn’t say which wheels. But the wheels, the wheels on the bus fall off. I don’t think that’s how the song was supposed to go, but …

Crew Chief Eric: Brad, is this where your reservation went? You’re supposed to get a rear wheel drive one?

Is that what it is?

Crew Chief Brad: No. No. No.

Crew Chief Eric: They could have sold 174 of them.

Crew Chief Brad: So I’m gonna play devil’s advocate here, and I’m gonna say the headline is clickbaity because, yeah, it says, “Oh, they only sold 173 of these trucks.” Well, yeah, because nobody fucking knew that they were selling rear wheel drive ones.

Crew Chief Eric: Yeah.

Crew Chief Brad: Majority of the ones sold were all-wheel drive. I feel like this is clickbaity.

Executive Producer Tania: Did you not have that option when you put your deposit down? Was it just Cybertruck?

Crew Chief Brad: No, I’m pretty sure I could choose rear wheel drive or all-wheel drive.

Executive Producer Tania: So then the people knew.

Crew Chief Eric: It’s [00:59:00] any of the Cybertrucks that were equipped with 18-inch steel wheels instead of those guillotines that they came with, you know, from the Roman Empire.

Crew Chief Brad: Yeah, this is the equivalent of people buying the base model, the base, base model vehicle, which nobody does, clearly, ’cause they only sold 173 of them.

Crew Chief Eric: Are these the special off-road tires? What’s going on with these tires?

Executive Producer Tania: Flowers or something.

Crew Chief Eric: Did you notice that the tire has a gear molded into it, I guess?

Isn’t that where the cover’s supposed to go, like, the ones that literally fly off and kill people?

Executive Producer Tania: They probably have their own special tires that they made, so it’s just the, the sidewall impression. Oh.

Crew Chief Eric: Since we’re still talking about Cybertrucks, this is where the grizzly bear comes in to play. “Minivan to the rescue.

Beach Cybertruck extracted by rental Sienna.” The Pacifica grizzly bear would have taken care of this. Like, every time we see one of these on the road, the first thing that comes out of my wife’s mouth is, “Why? Why did [01:00:00] people buy these?”

Executive Producer Tania: But the best is there’s some lady driving that Sienna pulling this truck out.

Crew Chief Eric: She has the tow strap. That’s the best part, too, right?

Executive Producer Tania: I’m waiting. There’s a video, ’cause I’m waiting to see that bust off the tow hitch.

Crew Chief Eric: What does she have it tied to?

Executive Producer Tania: The tow hitch, I think.

Crew Chief Eric: What tow hitch? That minivan doesn’t have a tow hitch.

Crew Chief Brad: She’s probably got it tied to the-

Executive Producer Tania: It’s going inside.

Crew Chief Brad: Yeah.

It’s, it’s probably tied to the, the bracket that the rear hatch closes to.

Crew Chief Eric: That’s a terrible all-wheel drive system.

Executive Producer Tania: Are we sure this isn’t a rear wheel drive one? Only the rear wheels are spinning.

Crew Chief Eric: That’s the good all-wheel drive that it has.

Executive Producer Tania: This is like me with my lawnmower, stuck in the backyard.

Crew Chief Eric: Little show and tell. It’s book club time. New author, new book Well, not really. Maybe. Yes. Well, Greg Stanley, the host of the Collector Car podcast, has been around for quite some time, and he put together a new book. It’s called The Enthusiast’s Guide to Collector Cars. And so it’s part [01:01:00] story, picture book, field guide, so if you’re at a concours, you can, you know, go through, and checklists and facts and figures and values of the cars and whatnot.

It’s really well put together. He’s got some very famous people that have done the forward in the book, like Richard Grieco and Jay Leno and Keith Martin, and the list goes on and on and on. Even guests of our show, like Samantha Zimmerman, are in the book as well. So they’ve all put their thoughts in the forward part of the book, which is pretty cool.

So we’re gonna have Greg on in a couple of weeks, so we’re gonna talk to him a little bit more about his past, what inspired him to write the book, and things like that. And oddly enough, if you go back in our catalog, William Big Money Ross did a crossover episode with Greg between the Ferrari Marketplace podcast and the Collector Car podcast.

You can jump in and listen to some of that now, but we’re looking forward to having Greg on as a guest in a couple weeks. And the book is available for sale now, and if you were one of the early people to buy it, you got an autographed copy of the book. So I happen to be in the first 100 people to order [01:02:00] one, so I’ve got it here.

Looking forward to having him on the show. And also shout-out to Break Fix guest, whose episode comes out very soon after this one, and that’s to Jesse Fresco, who we talked about. He did the Autumn Frost book series. The first one in that is Drive Like Hell. His second book, Black and Blue, just came out.

You can order that today on Amazon or at IngramSpark. And the third book in the installment, Funland Fury, is also coming out soon. So I wanted to say thanks again to Jesse for doing that. And if you haven’t read his novella series, it’s really cool. I’m looking forward to seeing how that works out. So tune into the episode in a couple weeks, and you get to learn his whole backstory and how he’s tying this into the car world and all that kind of stuff.

So good stuff there. And, uh, we’ll be on the lookout for other books as we go along this summer for our summer reading campaign. How about that, right? While we’re sitting around the paddock, waiting for other people to drive our car. So with that, I’ll switch to Rich People Thangs, sponsored in part by Garage.Magazine, because after all, that doesn’t belong in your garage.

I’ll remind you all again to come join us [01:03:00] on the 10th through the 12th of July in South Bend, Indiana, for Automotive Live. It’s a conference in conjunction with the Concours at Kulshan Hall, both operated by our friends at the Studebaker National Museum and sponsored by the Society of Automotive Historians.

You get to meet folks from Studebaker. You get to meet folks from SAH. There’s people coming up from REVS that you’ve heard present in the past. Maybe one of them happens to be one of our many personalities here in the Motoring Podcast Network. And you’ll also get to meet Don from Garage.Magazine, along with William Big Money Ross, Jon Summers, the motoring historian, and myself as we present on stage.

But if you can’t make it all the way out to South Bend, you can always tune in to our Twitch channel, twitch.tv/grandtouringmotorsports, and watch the live stream. There the week end of July 10th through the 12th. So more details on that to come as we get closer to the event, but I think it’s gonna be a good one.

We got some really cool speakers coming, and looking forward to seeing some cars and, you know, learning some new stuff while we’re out there.

Crew Chief Brad: Don’t forget, if you’re looking for that [01:04:00] extra special automobilia to complete your garage, office, den, or man cave, be sure to check out garagestylemagazine.com for a list of upcoming auctions and events, along with a curated list of items going up for sale all over the country.

Because after all, what doesn’t belong in your garage?

Crew Chief Eric: Well, what’s next is are you faster than an Interceptor? So let’s go down to Florida for some alligators and beer.

Executive Producer Tania: Oh my

Crew Chief Eric: What the hell is this? I cannot- Ron DeSantis wants Florida ready for flying cars. Okay Because the drivers in Florida are, are ready for terrestrial vehicles, right? Like, come on.

Executive Producer Tania: I really do not look forward to the day when this starts [01:05:00] actually happening, right? Because there are already flying cars today.

There’s just so few of them, right, that it’s not really making a dent in anything. But it, it does technically exist. Can you imagine not only on a regular basis you need to look to your left, to your right, back behind you, under you for these people, but now, now you have to look up because you might be attacked from above.

These people can’t drive on a clear, sunny spring day on the middle of a Sunday afternoon, but now we’re gonna trust them up inconceivably a place where there should be very few things to hit. Just the opportunity for this to go wrong. Can you imagine Florida man in one of those?

Crew Chief Brad: Dropping gators on people.

Executive Producer Tania: Dropping gators on people. I mean, like, how are you policing this too? You just track them from the ground and wait for them to land somewhere? I don’t know. No, you shoot

Crew Chief Eric: them [01:06:00] down. You

Executive Producer Tania: can’t shoot them down. Why

Crew Chief Brad: not? Lower court costs.

Crew Chief Eric: Yeah, exactly.

Executive Producer Tania: Then you got the whole death of the person thing. You can’t do that.

Crew Chief Eric: This is gonna be like motorcycles and why they don’t chase motorcycles, because it’s more dangerous if they go into hot pursuit. When I look at this Xpeng, which Xpeng is a car manufacturer, that’s why I’m bringing this up, along with Dongfeng and YangWang and all the rest of the Chinese auto manufacturers that we’ve mentioned before, not to exclude BYD.

This is a giant drone.

Executive Producer Tania: Yes.

Crew Chief Eric: When I looked at this, I didn’t think, oh, Xpeng, the car manufacturer. Do you remember Willy Wonka with Gene Wilder at the end? And they get in the golden elevator and it turns into a helicopter, and it’s basically- Yeah … a drone with very, you know, 1960s Star Trek graphics. That’s what this is.

This is Willy Wonka’s helicopter right here. I think I’d poo myself a little bit if I rode in this. I don’t like riding with people normally. Would you take a ride with somebody in [01:07:00] a drone?

Executive Producer Tania: Hell no.

Crew Chief Brad: What about a track day?

Crew Chief Eric: Uh, I got stories there too, you know some of them, where I’m like, “I’m amazed you got here, let alone you’re driving on track.”

No, I’ll pass. Hard pass. Texas-sized hard pass. Meanwhile, this is where truth is stranger than fiction. Suspected car thief spider-mans through underside of bridge trying to escape the police.

This is San Francisco, people

Executive Producer Tania: I mean, he didn’t wanna get caught for stealing a Honda Civic

Crew Chief Eric: But he was okay with falling to his death?

Executive Producer Tania: I mean, at the time it seemed like a good idea, and when you’re into it, then you can’t- you gotta keep going.

Crew Chief Eric: How much cocaine is involved in this particular escapade?

Executive Producer Tania: I don’t know if it was cocaine, but it was probably something.

Crew Chief Eric: God bless. I mean, look.

Executive Producer Tania: I don’t think the color of it was probably white, but I’m sure it was something.

Crew Chief Eric: What is… Sorry, I scrolled and I got lost in this guy’s face. What is happening here? [01:08:00] Is it a requirement to have the Super Trooper’s mustache now? Like, is that a thing?

Crew Chief Brad: Enhance.

Executive Producer Tania: Mm.

Crew Chief Eric: Tell me ab- come on, Farva.

Good Lord. What’s n- Florida Man. We got another one. Oh, boy.

Executive Producer Tania: No.

Crew Chief Eric: Holy shit, what is this?

Executive Producer Tania: We’ve got a Georgia man, and he solved the gas crisis problem. Life in plastic, savings fantastic. I love that.

FLORIDA MAN: What is this?

Executive Producer Tania: Well played, reporter. What is this? But guess what? He’s only spending $3 at the pump. Not $3 a gallon, $3 total.

Crew Chief Eric: Wait, he spent $3 on the whole thing?

Executive Producer Tania: It cost him $3 to fill that up.

Crew Chief Eric: That’s a go-kart, right?

Executive Producer Tania: That’s because it only can take $3 worth of gas.

Crew Chief Eric: Yeah. Oh, okay. It’s a lawnmower engine, of course.

Executive Producer Tania: Basically. He built a, a g- go-kart with a pink little van ish-

Crew Chief Eric: Did he just merge onto the road?

Executive Producer Tania: That thing’s quick.

Crew Chief Eric: I gotta back that up.

Hold on a second. Wait, wait, look at him pull out. Wait, I’ma [01:09:00] do that again. Look at him pull out into traffic. Look at this. He’s gone. Look, look. He did. You can’t chase that guy down.

Executive Producer Tania: I don’t know how that’s legal.

Crew Chief Brad: It’s not.

Crew Chief Eric: I mean, I guess you too can turn your cozy coupe into a, uh, gas-saving piece of machinery.

Executive Producer Tania: Take your life in your hands.

Crew Chief Eric: He must be from Florida. Come on. There’s no way.

Executive Producer Tania: He transplanted north.

Crew Chief Eric: So this guy gets a drone if he moves to Florida, life-size. Runs on $3 worth of gas.

What could go wrong? Wow. All right. Well, it’s time we go behind the big wall and talk about motor sports news. So I just wanna mention that there are three more Evening With a Legend set up for the series, and then we got some interesting things happening later this summer going into the fall. So if you haven’t signed up for them yet, check out our [01:10:00] sessions with the Michael Kaiser, that’s the man behind the movie and the book, The Speed Merchants, along with the Steve McQueen book, The French Kiss with Death, and many, many other books.

So those on Senna and Le Mans, and so on and so on. So he raced at Le Mans three times between ’72 and ’76, and he’s coming to tell his story on May the 27th. And then in June, we got Nicholas Boulay, who is a LMP2 driver, who is hopefully returning to Le Mans here in the near future. He’s also attempted the great race several times.

And then wrapping out in July, we’re gonna have David Cowart, who’s famous for running the Red Lobster BMW M1 in the IMSA Camel GT series. He’s coming on to talk about his attempt at Le Mans when he drove with Bob Aiken and other famous names from endurance racing. And we’re still crossing our fingers.

We’ve got some feelers out there for some other celebs that may come on for some Evening With a Legend. So look forward to those. You can sign up and be part of the live audience today by going to motoringpodcast.net and clicking on shows, and then Evening With a Legend, and then go from there and follow the form, and all that fun stuff.

Since we’re speaking about [01:11:00] endurance racing, Le Mans is right around the corner. It is earlier this year than in the past. Father’s Day is late. Father’s Day is Juneteenth weekend. Le Mans will be the weekend before that, so looking forward to being at Simeone again this year for the camp out. Gonna do a night at the museum.

There is a discount- If you are going to the Nite at the Museum, if you are a ACO USA member, they takes about 30% of the price off of admission if you go to the event. Otherwise, it’s, it’s about 30 bucks if you’re not a member. But there’s other discounts if you’re a member of Simeone Foundation, things like that.

But it’s a 24-hour event. Food, they run cars throughout the night, they do demos, they do lectures. There’s a live feed of the race. There will be an ACO booth along with, uh, simulators and a bunch of other stuff going on at Simeone. So looking forward to that the weekend of June, the 13th and 14th in Philadelphia.

Executive Producer Tania: So on a sad note in the NASCAR community, we’ve lost a NASCAR Hall of Famer, basically. Kyle Busch, at the age of 41, [01:12:00] passed away.

Crew Chief Eric: What?

Crew Chief Brad: Whoa.

Crew Chief Eric: When did that happen?

Executive Producer Tania: Two-time Cup Series champion, record holder for the most wins across the three national series in NASCAR, days away from competing in the Coca-Cola 600 at Charlotte Motor Speedway.

Crew Chief Eric: What? Kyle Busch died? Man, he wasn’t that old either.

Executive Producer Tania: He was 41 years old. Some sort of illness that put him in the hospital recently.

Crew Chief Eric: Wow.

Crew Chief Brad: Hantavirus.

Executive Producer Tania: He was just at the Glen for that race not too long ago.

Crew Chief Eric: Yeah, that’s why I thought I, I heard that. Wow, that’s really sudden. That’s a name I recognize from NASCAR.

I don’t recognize many, but I recognize him. Do you notice his nickname is Rowdy? That must be a Days of Thunder reference. Gotta be.

Executive Producer Tania: Rowdy, and, uh, he has, he has a second nickname.

Crew Chief Brad: Wild Thing.

Executive Producer Tania: Wild Thing, and it has to do with, uh, post-race confrontations.

Crew Chief Eric: Wow. Wow. Uh, legitimately, NASCAR icon passing away so suddenly.

That’s sad. [01:13:00] Damn.

Crew Chief Brad: So go out and get your Kyle Busch Crocs.

Crew Chief Eric: Hey, now. Our condolences go out to the Busch family and all the NASCAR fans. That is a loss that will be felt for a while in the NASCAR nation.

Crew Chief Brad: Yeah. I mean,

Crew Chief Eric: dang, sorry to see it. Switching to virtual stuff really quick. I gave you guys an update last month, and I decided to kind of rotate the gears a little bit here and talk about two of the other titles that I’ve been watching.

AC Rally, so that’s Assetto Corsa Rally that’s being built in conjunction with AC Evo coming out. It got a massive update. It’s awesome. Its dynamic weather is amazing, and you can now have snow on any course you want, even courses that, you know, didn’t normally have snow before, which makes it super cool.

They also added the Colin McRae Subaru Impreza to the list of cars you can try out. I like the fact that they also updated the UI in the sense that the navigator now gives you the instructions, and it shows almost like a progress bar, so you can really gauge, well, how far is 100 meters? It’s really hard to judge on a, you know, on a simulation platform, so it’s really [01:14:00] cool to see that fill in as you’re going from, you know, the beginning of those 100 meters to the end, so you can really plan your turns, set up your apexes, stuff like that.

I’m like, “This is way ahead of any other rally game that’s come in the past,” and I’m really excited to see, as it continues to grow and expand, the changes that they’re making. So really good stuff coming for AC Rally. Can’t wait for the next update. And I gotta tell you guys, I also, in preparation for Le Mans, I figured, “You know what?

I’ll log on to Le Mans Ultimate and check it out.” I bought that when it came out. We did an activation with the ACO a couple of years ago up in Detroit at M1 Concourse, and I liked it when it came out. It was pretty cool. It was like, “Oh, I get to drive the 2023 cars from the 100th Le Mans,” all this kind of stuff.

And they’ve continued to update the game, but not in a way that I really appreciate. And I say that because it still focuses around the big race, the big race being Le Mans, but they haven’t brought in all of the rest of the WEC races into the platform yet, nor have they done any legacy. It’s supposed to be Le Mans Ultimate, right?

And I’m thinking, “Where’s my [01:15:00] 1960s Le Mans cars? Where’s my 1971 Porsche 917K, you know, that I can run on the old configuration, pre-Mulsanne Chicane?” You know, all that kind of stuff. None of that stuff’s gotten incorporated. What they’ve done is they’ve added season passes with DLCs, so you can spend a ton of money to buy a Ferrari that looks like the Ferrari from the year before or the year before that And so for me, that was super disappointing.

It felt very un-ultimate. This feels like a money grab in, in some respects. Until something changes, I don’t find myself jumping back into the game because it’s also very neutered. If you don’t buy those season packs, you don’t get access to some of the other tracks, you don’t get access to some of the new cars, like let’s say the Hyundai Magma that’s coming or, or things like that.

So you’re sort of stuck with what you got, which was already kind of expensive to begin with. So your mileage may vary. If you’re into it, it is still a very good sim, but it’s just hard to swallow the pill when every DLC costs almost as much as the game did originally, and all you’re getting is new [01:16:00] cars with new skins.

But we’ll leave that where it is, and we’ll pick up our Le Mans conversation next month. That being said, our motorsports news is brought to you in part by Enduroverse, powered by Hyperdev, America’s premier endurance racing community and sponsor of our 24 Hours of Lemons car. So check it out online and become a member at www.enduroverse.com.

We will wrap out here with a little track-side report. I just wanna reiterate that we will be attempting our first 24 hours of LeMans race. We’re so close. By the time people listen to this, we’re, like, within a week of going racing, right? And it has been an interesting situation. Obviously, we continue to work on it, and so we discovered the other day, we went, “Oh, shit, we don’t have any toe straps.”

Like, we might fail tech for something really simple. So we’re in the middle of all that. But there’s a more interesting story here, Brad, and I, I don’t know if I told you this one or not, but it has to do with [01:17:00] getting rubber for the car. Focus that we got had these 17-inch by 7 wheels, and they’re just this weird tire size that you can only get, like, tires from Costco or Sears.

Like, you couldn’t get anything high performance that would fit that wheel. I was doing some research, and I’m like, “Man, we’re, we’re gonna be running on, like, 900 treadwear all seasons and this is gonna be a miserable event.”

Crew Chief Brad: With the la- the last all-season.

Crew Chief Eric: Yeah, right. Yeah, for sure.

Crew Chief Brad: That’s why they’re called all-seasons.

Crew Chief Eric: If they don’t completely fall apart within 10 laps, kinda like the Duralast brake pads, you know what I mean?

Crew Chief Brad: Yeah.

Crew Chief Eric: So that being said, I start doing some research and I realize the Focus ST shares a bunch of stuff in common with the Fusion from the same time period. And I said to myself, “I know a guy with not one, but two Fusions.”

So I call him up and I said, “Hey, man, I need your wheels. Can I trade you? ‘Cause I know your car is dead, the motor’s shot, and it’s just sitting in a parking lot. Can I come over and swap the [01:18:00] wheels?” ‘Cause it had 18 by 8s on there that are the same bolt pattern offset as a Focus ST and all that fun stuff.

He’s like, “I’ll give you the wheels if you take the car.”

I’m like, “Oh, boy,” right?

Crew Chief Brad: Well, give you the wheels if you take the car.

Crew Chief Eric: Yes.

Crew Chief Brad: If only we were a non-profit, he could get charitable donation.

Crew Chief Eric: The picture I’m showing right now is really after this was all said and done. So you can see the wheels that were on the Focus, these black wheels. I go to go get this Fusion, and it’s parked in this lot.

It hasn’t run in forever. Apparently, they start it up every once in a while, but I was warned the battery’s dead. I was like, “Okay, cool.” So I jumpstart this thing, and I try to move it, and you could’ve put your foot through the grill and walked faster than this thing moved. It was just pathetic. Like, something was completely wrong with the motor, right?

And I got it to start moving, and I came around to my trailer, and I realized that it wouldn’t go up the ramps on my trailer. Oh, man, I’m hosed. [01:19:00] And I’m there, like, by myself, right? So then I’m like, “Well, what if I take my trailer and I put it facing downhill, and if I can come around the parking lot and sort of get a running start and throw it in neutral, and if I hit the trailer just right- You know, I can get up on the trailer and, and all this kind of thing.

So I do exactly that, and it was kind of a hair-raising moment too, ’cause I’m like, man, if I don’t hit these ramps right or if a m- a ramp flips, it’s gonna be a whole deal and I can’t see. You know, I’m trying to hang out the window, all this kind of s- Like, get it up on the trailer, and I’m like, “Please just go far enough.

Please just go far enough. Please just…” ‘Cause I don’t want… I’m not gonna be able to push it if it doesn’t go all the way up. So not only do I go all the way up, I hit the wheel rack with the hood. So I didn’t bend the hood, but I, like, scraped the paint off it, whatever. I’m like, all right, I don’t care about this car anyway.

So now I’m like, oh, crap, it’s an electric transmission and it has electric parking brake, and the hood is stuck under the wheel rack. I’m never gonna be able to turn this thing back on when I get it home. I’m never gonna be able to get it off the trailer, right? ‘Cause I can’t pop the hood. So what I end up doing is I stuck it in [01:20:00] neutral and I didn’t set the park brake, and I turned the car off.

All right, so I’m sitting here and I’m going, “I hope this thing doesn’t roll off the trailer.” So me and my infinite wisdom, right? I look around the car. It’s got stuff in it, but it doesn’t have, like, a ton of stuff, and there’s a bottle of antifreeze that’s unopened. And I say to myself, “Th- this’ll hold the car.

No problem.” So I open the door while I’m still sitting in it, and I take the bottle and I chuck it under the wheel to keep it from moving, and then I get out of the car and it doesn’t move. It starts to crush the water bottle. So then I’m running around the truck looking for my chock because I didn’t think to pull my chock out of my box, which was, you know, up front.

So anyway, got the car chock, and then I have to tie it down. So I tie it down. I’m tightening the belts, tightening them as much as I can. And it was one of these moments where I’m like, this is gonna be the most nail-biting, stressful tow. And I don’t have to go that far. I gotta go maybe, like, 30 miles, so it’s not that big of a deal.

It’s long enough when the car’s in neutral and the straps are holding it. So I get to the end of the [01:21:00] parking lot and then I s- and then I see the car just, like, lurch forward and hit the wheelbarrow again. I’m like, “Oh, Jesus.” So I jump out of the car, tighten the straps down even harder, like, as hard as I can get them.

And I said, “All right, screw it. If it comes off the trailer, it is what it is.” I trailer home, and I, it was just one of those sort of golden moments. I pulled out into traffic. There was nobody there. Breathed on the accelerator and sort of, like, whispered on the brakes and tried to keep the truck just moving.

That way the car wouldn’t jostle back and forth, ’cause it would, like, kinda rock back and forth. And I’m like, the more it rocks back and forth, it’s gonna l- try to loosen and stretch the belts. I made it all the way home, thankfully. Just sweat pouring down my face. Like, I’ve had some bad tows in my day, but nothing was as bad as that.

And I’m like, “If anybody cuts me off or whatever, the car’s just gonna come rocketing forward, you know, and it’s gonna be a mess.” So I, I made it home luckily. Then I get home and I have to have Tanya help me unload it.

Crew Chief Brad: Well, it, but when, when you got home, how much looser were the straps?

Crew Chief Eric: You know, it wasn’t too bad.

There was a couple inches of play, [01:22:00] and so it was all right. It kept hitting the bar, which kept scraping the paint, but the other problem was, what I didn’t realize until it was up on the trailer, the Fusion was too long for my trailer. Not only because the hood’s super long and it, it hit the wheel bar up front for the tire rack, but because the ass end of it was sticking off the end of the dovetail.

So I’ve got a, what, a 16-footer or whatever it is, you know? And so it’s not a super long trailer. Took up every inch of it, you know? So I needed something bigger.

FLORIDA MAN: Yeah.

Crew Chief Eric: Make a long story short, we get it off the trailer. I was kinda thinking… Then there was some stupidity with getting the wheels off. I’ve never in my life had to hammer a socket onto a lug to reform the aluminum casing on the outside of the steel nut to be able to get the…

It was, like, a whole thing, and I, I had called my buddy. I was like, “Is there some magic trick to getting these wheels off this car? Because stuff is spinning and nothing’s coming off.” And he’s like, “Oh, yeah, you could just put a punch through them and then break the caps off, and then you can get to the nut, and it’ll take you, you know, all day to do that, or you could take the socket and beat it on there until it [01:23:00] reshapes the casing, and then it’ll come off.”

I’m like, “Ford quality stuff, man. Ford quality.” And the Focus doesn’t have this problem. It just has nuts, like we have on the race cars, so it’s like you can see the stud and it’s not a big deal. So all right, fine. We go through all that, and then get the wheels on the car. We got new rubber. We got 18-inch General GMAX-RSs looking like a Focus ST.

Look at that. Look at the hotness. Those are the wheels off the Fusion. I think it looks super good. It makes the car look a lot better. We got that going on, and then going back to the picture that we had before, what that was all about was I was like, “Well, I got this free car that doesn’t really run.” I asked a couple people if they wanted it.

I was like, “I’ve got the title, I’ve got the keys, I’ve got the car.” I ended up calling the Cash for Cars from Copart. They came and got it, like, couple days later, and it was, like, a super simple process. So they came and got it with a flatbed, took it away, and boom, done. It could not have been a much easier process, which is why I wanted to put out a public [01:24:00] service announcement to folks like Mountain Man Dan.

If you’re trying to get rid of a car, instead of talking about it, just call these guys. They give you money, and the car goes bye-bye. It’s a very simple process.

Crew Chief Brad: So what you’re saying is that’s what we’re gonna do with the orange car?

Crew Chief Eric: Uh, I’m glad you said it and not

Crew Chief Brad: me. Just need to decide if I’m gonna pull the motor out

Crew Chief Eric: of it.

Well, the, the motor’s coming out.

Crew Chief Brad: Yeah.

Crew Chief Eric: The thing is, though, they do give you different values based on the condition of the car. And the condition of the car, they don’t care about mileage. They care about its completeness. So I think we could have done more had I said it ran and drove. I just said it started and kind of…

There’s, like, different options, so it, like, starts and moves versus runs and drives and blah, blah, blah, blah. And then there’s options for, like, how disassembled is it. Like, I actually talked to the tow truck driver and he’s like, “If it’s a shell shell,” like, they gotta drag it up on the trailer, he said, “They won’t give you anything but nothing for it, basically.

But if it’s got some completeness to it, you’ll get a couple bucks, even if it’s just, you know, disassembled or whatever.” [01:25:00]

Crew Chief Brad: Nice.

Crew Chief Eric: And then it was funny. Like, he almost felt bad. He told me, like, what junkyard it was going to, like I cared. Like, if I wanted to go sneak- So

Crew Chief Brad: just in, in case you wanna go get some stuff off of it, it’s going to X, Y, Z.

Crew Chief Eric: Yeah, I wanna pay for stuff off of that car that, you know, I didn’t want in the first place, right?

Crew Chief Brad: Yeah.

Crew Chief Eric: So I thought that was hilarious. I was just like, “Oh, okay. Well, all right.” I was like, “Thanks for that.” But no, I, I will say if nobody’s ever used that service before or are interested in it, they definitely should check out the whole Cars for Cash thing from Copart.

It’s super simple process.

Crew Chief Brad: Can you call Cars for Cash or whatever for your friends? Like, can we have an intervention for Daniel and just send them up there?

Crew Chief Eric: Right? Right?

Crew Chief Brad: We know of a couple Mercury Sable wagons. Can you just go get them?

Crew Chief Eric: Right?

Crew Chief Brad: Ridiculous. And about 500 square bodies.

Crew Chief Eric: Man needs to clear house.

Hey, but look, our fans can come meet Mountain Man Dan, see if we’re making this stuff up. He has registered to [01:26:00] drive on our team. He will be driving the Focus. We’ll see how that goes. But yes, we should have the car done this weekend, hopefully. All the livery stuff done. It should be ready. It should be race ready, ready to be r- loaded on the trailer, so looking forward to it.

Hopefully all goes well, and we can continue the season without too many troubles, but I don’t know. I feel like there’s an engine swap in our future. Again, I’m crossing my fingers, knocking on wood, doing everything I can to hope that we don’t end up going down that route. Plenty of updates on our club site, and if you wanna be part of the team, you’re still in time to come out and help.

And if you can’t come out and help, you know, a couple shillings here and there do go a long way, especially when we’re gonna have to buy another motor. But, you know, hey, I’m not, I’m not putting it out in the universe. I’m just saying. Keep my expectations low. Really, really low.

Crew Chief Brad: Uh, and if you’re not quite ready to hit the track, don’t forget that you can find tons of upcoming local shows and events at the ultimate reference for car enthusiasts, collectorcarguide.net.

Executive Producer Tania: If you’re hearing us for the first time, be sure to jump back into our podcast [01:27:00] catalog and check out other programs we offer, like The Ferrari Marketplace, The Motoring Historian, Evening with a Legend, The Racers Roundtable, Formula Fanatics, Brake Fix, and of course, The Drive Thru.

Crew Chief Brad: And if you enjoy our various podcasts, there’s a great way for you to support our creators on the MPN.

There’s tons of extras and bonuses to explore on our updated Patreon page. Learn more about our bonus and behind-the-scenes content, get early access to upcoming episodes, or support our 24 Hours of Lemons team when you consider becoming a Brake Fix VIP by visiting patreon.com/gtmotorsports. And as always, thank you to our co-host and executive producer and team principal, Tanya, and to all the fans, friends, and family who support Grand Touring Motorsports, as well as the Motoring Podcast Network.

Without you, none of this would be possible.

Crew Chief Eric: Blueberry.

Executive Producer Tania: Is it me on my end that the audio’s coming in garbled?

Crew Chief Eric: I don’t know, is it?

Crew Chief Brad: I hear you both very [01:28:00] clearly. Can you all hear

Executive Producer Tania: me? Okay, so it’s my reception.

Crew Chief Eric: Yeah, I hear her fine.

Crew Chief Brad: Before we move on, though, we didn’t actually talk about that last article, though.

Crew Chief Eric: Do we want to? Is there anything else we have to say?

Crew Chief Brad: Remember, failing to prepare is just preparing to fail. That’s right.

Crew Chief Eric: See, now you and Brad, you have Beetle buddies now. My goodness. All right. With that, we’re out. Blueberry

Executive Producer Tania: The Drive Thru is our monthly news episode and is sponsored in part by organizations like collectorcarguide.net, Project Motoring, Garage Style Magazine, The Exotic Car Marketplace, and many others. If you are interested in becoming a sponsor of The Drive Thru, look no further than www.motoringpodcast.net.

Click About and then Advertising. Thank you again to everyone that supports the Motoring Podcast Network, Grand Touring Motorsports, our podcast Brake Fix, and all the other services we [01:29:00] provide.

Highlights

Skip ahead if you must… Here’s the highlights from this episode you might be most interested in and their corresponding time stamps.

  • 00:00:00 Drive Thru Kickoff
  • 00:00:49 Buying yet another VW?!?
  • 00:05:27 Pumpkin Spice Autopsy
  • 00:09:15 Naming The Blue Beetle
  • 00:11:09 Parting Out The Orange GTI and Resisting The Porsche Temptress
  • 00:18:01 VW Business Model Panic
  • 00:19:41 Mark 9 Golf Controversy
  • 00:21:21 ID.Buzz Returns? Price Debate!
  • 00:24:24 Porsche EV Hype and Cayenne Electric Coupe Roast
  • 00:30:22 Fake Manual “Shift By Wire” and “Brake By Wire” Warning
  • 00:37:39 Nurburgring Record Eye Roll
  • 00:39:15 What’s going on at Stellantis?
  • 00:44:59 BMW Z4 Farewell and Manual M3 CS rumored for US
  • 00:46:55 Ugly Mercedes Concept – The AMG GT 4 door
  • 00:49:40 Hertz Shelby Mach-E Fire Sale
  • 00:51:49 Mitsubishi Outlander Rental Nightmare
  • 00:54:59 Lost and Found Scirocco GT-II
  • 00:57:42 Cybertruck Recall Chaos
  • 01:00:42 Book Club Updates
  • 01:02:49 Events and Automobilia
  • 01:04:16 Flying Cars and Florida Men
  • 01:09:38 Motorsports Legends Series
  • 01:13:12 Sim Racing Updates
  • 01:16:24 Our Lemons Prep and Towing Nightmares
  • 01:26:46 Wrap Up and Thanks

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