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B/F: The Drive Thru #71

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Break/Fix’s Drive Thru News #71 debates whether car culture is dying, citing fewer young drivers, cars becoming appliance-like (EVs, driver aids, subscriptions), the decline of manuals, and a “sweet spot” around 2008 for tech that didn’t interfere with driving; we also discuss parts scarcity for older cars and concerns about increasing regulation and tracking. Headlines include Ford’s rumored Mach-4 sedan and naming controversies, Honda pausing manual Civic Si/Integra for emissions certification, Ferrari’s polarizing “Luce” meeting sales targets via a $40M charity auction, a luxury/hypercar market slump, Volkswagen transmission reset quirks and rumored lineup cuts, Stellantis’ Charger Sixpack branding, Maserati wanting V8/manuals despite weak demand, GM’s CEO gets a dig on its oversized vehicles, a $64K limited GR Corolla, Subaru app-based remote start fees, and upcoming cars like the Rivian R3X and VW-owned Scout. Other segments cover lost-and-found car oddities, dealership misconduct, viral driving fails, and a trackside update: their endurance race car runs again, aiming for Summit Point and possibly Road Atlanta, while Brad faces upcoming surgery.

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Show Notes & Supporting Stories

For a list of all the articles and events referenced on this episode check out the show notes below.

Domestics

EVs & Concepts

Formula One

Japanese & JDM

Lost & Found

Lowered Expectations

Rich People Thangs!

Stellantis

VAG & Porsche

Track Side Report

After months of chasing electrical gremlins, dropping gas tanks, and wondering whether our Lemons Focus would ever run again, our team finally hit a breakthrough — and the car lives! In this month’s Trackside Report, we dig into what fixed it, how it drives, what’s next on the race calendar, and why the 2026 season might finally be turning around. CHECK OUT THE BUILD UPDATE ON THE GTM CLUBHOUSE SITE.

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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 Brad: How’s everybody doing?

Crew Chief Eric: You know, we’re doing… I’m, I’m, I’m, I’m a little pissed off this month

Crew Chief Brad: Oh, I can’t wait to hear this rant.

Crew Chief Eric: I wanna come at this episode swinging, and I want you guys to talk me off the ledge, because I know we’re wrapping up car week, we’re getting ready to resume the Formula 1 season.

August is just one of these blech kind of months. It’s hot, it’s gross, it’s humid. Everything you can check off the list just sort of gets [00:01:00] under your skin. But there have been so many posts this month, I have to ask you guys, is car culture dead?

Executive Producer Tania: We just went straight into it.

Crew Chief Eric: I’m coming out swinging.

Crew Chief Brad: Yes, car culture’s dead.

Car culture’s been dead for a little while.

Crew Chief Eric: Let’s walk back from that, ’cause that’s the edge. That’s, “The world is ending, the sky is falling, everything is over. Let’s pack it up and sell it all and, and be done with it.”

Crew Chief Brad: I believe this episode title should be Chicken Little.

Crew Chief Eric: Is it the end or are we at the beginning of something new and something different?

It’s

Executive Producer Tania: the end of the world as we know it.

Crew Chief Brad: And I feel fine.

Crew Chief Eric: I mean, does that make us dinosaurs? We like cars of a certain age, because we feel the peak car was in the ’90s going into the 2000s, that kind of stuff. You know, nothing is better than Volkswagen from the early 2000s. I mean, that’s an exaggeration.

But the point is, have we passed our prime? Not us, not you, me, and Tanya. I’m talking about cars. Car [00:02:00] culture, has it passed its prime?

Executive Producer Tania: Well- Yes … watching The Commish has taught me anything, yes.

Crew Chief Eric: Oh, oh, please do fill me in. Because Murder, She Wrote doesn’t have nearly as many cool cars.

Executive Producer Tania: One watches Murder, She Wrote for the guest appearances, and one watches The Commish for all the German appearances.

Crew Chief Eric: My God.

Executive Producer Tania: Corrados, 1928s, Audi 5000s,

Passats. I mean, somebody was a Volkswagen Audi enthusiast.

Crew Chief Eric: You remember that show Viper? It was, like, all the Chrysler prototypes on that show that you could think of. Stuff that they never made or they made one of was on that show.

Executive Producer Tania: I mean, have you ever seen a show that had a Corrado? There’s been two so far.

Crew Chief Brad: The Gran Turismo movie.

Crew Chief Eric: Gran Turismo had a N- uh, had a Corrado in it. Oh, yeah,

Executive Producer Tania: yeah, yeah. That’s right.

Crew Chief Brad: It’s his father’s car. He drove his father’s car- Yes … and he- That’s right … went and did some nefarious stuff, and then got in trouble- That’s right … and yeah.

Crew Chief Eric: But anyway.

Crew Chief Brad: Well, we haven’t finished the talk about the car culture.

Crew Chief Eric: Okay, okay. What, what? Tell me. Enlighten me.

Crew Chief Brad: [00:03:00] Well, this is our showcase. I, I think this is the head of the showcase, and you’re Chicken Little. Car culture’s dead.

Crew Chief Eric: It

Crew Chief Brad: is. I mean, they, people have been talking about how kids, like the next generations and then the next generation after that, like fewer and fewer people are getting their license.

Fewer and fewer people are driving. Fewer and fewer people are owning cars.

Executive Producer Tania: There’s that, and then there’s the advent of all the new cars all look the same. They’re all blase. Yeah. You’ve got this EV, the self-driving concept, where I have a car, but it’s literally becoming an appliance. And then you have- This new manufacturer, no more manual.

This one, no more manual, and it’s, and it’s like what do we have left?

Crew Chief Eric: Well, some of them are no more cars.

Crew Chief Brad: And the subscription-based pricing for features and stuff like that too.

Executive Producer Tania: That

Crew Chief Eric: too. Yeah. It’s insane.

Executive Producer Tania: Like, it’s sucking the life out of it.

Crew Chief Brad: That’s the culture that up and coming generations, that’s all they know.

Crew Chief Eric: That’s the tech bros and how they make money. That’s the

Crew Chief Brad: reality. Yeah, they have subscriptions for their cell phones. You know, they, they, [00:04:00] they don’t buy anything. They, they lease their cell phones. They trade up every six months, every year when a new one comes out. Same thing with computers and iPads, and cars aren’t any different.

Crew Chief Eric: Let’s talk about the phones for a second, ’cause I had an epiphany. And I was talking to my wife about this. The other day, I remember where I was, I saw a young lady bust out a flip phone.

Executive Producer Tania: Some people are going back to that.

Crew Chief Eric: But here’s the deal. As much as I wax poetic about my Motorola Razr and how it was, like, the coolest phone, and it was the best ’cause it fit in your pocket, it was super lightweight, and the battery lasted like three years without charging it, the whole nine yards.

There was a lot of suck in that phone, right? But this modern flip phone, to say that, “Oh, I don’t wanna have a smartphone,” watching this person use it, trying to take a picture, and I guess because we’re just so accustomed to the iPhones and the Androids and whatever, I hate to say it, she looked like a doofus.

You look really stupid holding up a flip phone trying to take a picture, and watching [00:05:00] that flash come out of the hinge and every- I was like, what decade are we in? Like, it was so backwards. And that’s when I had the epiphany that when you go around and you’re driving an old car amongst all these younger folks, maybe coming into their peak earning potential, buying the Teslas, buying the new Corvettes, buying the Porsche GT3, ’cause that’s all they sell, are you the guy with the flip phone?

Executive Producer Tania: Yes, in their eyes.

Crew Chief Brad: Yeah.

Executive Producer Tania: Here’s the other piece of it, too, to Brad’s point, how people live their lives right now, that’s their culture. Yeah. So however they view cars is now their culture. So it’s like every decade’s progression where back in the day, that Elvis Presley rock and roll music was, you know, the devil’s hips, and oh my God, and don’t let your children see it and listen to it, right?

And, and then the next culture was like, “That’s crap,” you know, the next generation. “I like,” you know, whatever the next hot thing is. Disco or whatever, yeah. And then so on and so [00:06:00] on and so forth, right? So are we now those people?

Crew Chief Brad: Translate that thread to car culture. The generations before us, the people that owned the ’60s cars and stuff like that- Yeah

their car culture was you go to the drag strip, or you drive up and down the, cruise the boulevard. You know, you go to a car show and you set up a sign, and you sit next to your car, and people come out and talk to you. Our culture was more you drive the car. You did a couple stupid things, maybe a little bit of street racing.

You took ’em to the track, did a track day. You know, you’d go to a swap meet. You, you didn’t really polish up the car too much because people like to see cars that were driven kind of thing. Mm-hmm. You know, we enjoyed our cars. Now they do it for the views. They do it for the clickbait. They take pictures.

For the ‘gram. They buy these cars. They don’t do anything to ’em. They pay somebody else to do everything to them. They get views and clickbait and everything, and th- then that’s their culture. But- I think we are, we are the dinosaurs.

Executive Producer Tania: Well, that’s another good point, because those people that are still around that [00:07:00] grew up with those ’60s, ’70s muscle cars, they are still very much ingrained in their viewpoint.

All them new fern cars that were coming out, those little Japanese sports cars and these little Volkswagens were pieces of crap. They did. And it was ‘Merica, horsepowers, and, and they probably still view it that way, that tho- that was the greatest generation of cars.

Crew Chief Brad: Of course, and, and we think peak car was our generation of cars.

They probably think peak car was their generation of cars.

Crew Chief Eric: And those folks still control the collector market and the collector values. That’s the other thing, too. You go to any auction, it just blows your mind that a Camaro from the ’60s is bringing in a million dollars. You’re like, “Why?”

Crew Chief Brad: They’re also the ones that have the wealth.

Crew Chief Eric: Yeah.

Crew Chief Brad: Something that we talk about at my company, because this is something we, is a very real thing that we have to deal with right now, is there is a huge shift in transfer of wealth that’s about to happen. Yes. As all those people that generated all that wealth, all those baby boomers are dying [00:08:00] off and leaving money to the younger generations, what’s gonna happen with all that money?

And the same thing with these cars. Like, what’s gonna happen with these ’60s Camaros and GTO Judges and 442 Cutlass Supremes and stuff? Like, what’s gonna happen to all these when the, the- Yeah … baby boomers that own them die and transfer them to their kids? Their kids have zero attachment to those things.

They’re gonna flip ’em. They’re gonna sell ’em. They’re gonna dump ’em. They’re gonna make a quick buck. They’re gonna put it into crypto. They’re gonna go out, they’re gonna buy an R34 GT-R, or they’re gonna- Mm-hmm … buy a GT3 RS or a, a right-hand drive FD or a Mark 4 Supra or, or whatever. They’re just gonna dri- And the, those prices are, they’re already inflated.

They’re gonna inflate even further. That car culture is gonna die off, and our car culture is already singing its swan song as we get older, ’cause we all die. Well, whatever happened to the car culture of the pre-boomers? I mean, granted, cars aren’t that old.

Crew Chief Eric: You’re talking, like, the Packards and the Duesenbergs and all those cars?

Crew Chief Brad: Yeah, yeah, yeah.

Executive Producer Tania: [00:09:00] My Tin Lizzie is the best.

Crew Chief Brad: No.

Crew Chief Eric: Oh, my God. Top speed, 37 miles an hour.

Crew Chief Brad: But no, like, what, what ha- We don’t even talk about those cars or those people anymore because it’s, they’re all gone.

Crew Chief Eric: Yeah.

Crew Chief Brad: And the same thing’s gonna happen to the muscle cars of the ’60s. You know, the same thing’s gonna happen to the car.

Like, the malaise era is the malaise era. We can just

Crew Chief Eric: skip over- No, the mal- Nobody wants those cars

Crew Chief Brad: But the cars of the ’90s and 2000s, give it 20, 30 years when all- Oh, yeah … of us start dying off, if we’re lucky enough to live that long, nobody will talk about the Mark 4 Volkswagen, the 1.8T Fiero cars. It’s just not gonna happen.

Crew Chief Eric: Dude, that pains me too because I still see these groups online that are taking 20th anniversary cars and, and R32s, original R32s, and just stripping them down and basically throwing them away. And I’m like, “Well, I guess that means the value of all the ones that are left just goes through the roof,” which was the same problem with the 914 community where they were junking them and racing them and trashing them, and then they were like, “Oh, nobody wants these cars, they’re crap.”

[00:10:00] And then now you can’t get into a 914 for less than 100 grand if you want a nice one, you know what I mean? It’s craziness. So I, I agree with you there. But to dive into the showcase, Tanya brought an article that I think talks about the first part of this conversation, which is digging in your heels and staying in your lane and staying in your generation of cars.

So Tanya, you wanna talk about this particular article from The Wall Street Journal?

Executive Producer Tania: I, it was something about this guy not wanting to buy new cars because he wanted low-tech cars, but the cars he was looking at, if I recall, they were still in, like, it was in the 2000s or ’10s, I don’t remember. But it w- it, wherever it was with the year starting with a two, it was still in a window of time where there was tech in the cars.

And I was like, “Bro, if you’re really trying to go techless, you need to go another decade backwards. You still have a lot of tech even in a mid-2000s, 2010s era car. They still have a lot of tech in them. You still have backup cameras and this, that, and the other. If you wanna [00:11:00] eliminate all that, you’re going earlier.”

Crew Chief Brad: We’ve obviously surpassed it, but I feel like there was a sweet spot- Yes … where there was enough tech to make driving still fun, still convenient. Like, you bring up the point about the backup camera. It’s very effective, it’s very helpful. There was a point where the harmony between cars and technology was pretty much perfect.

Crew Chief Eric: 2008, that’s the year.

Crew Chief Brad: Yeah, ’cause that was when, I think that’s when backup cameras were mandated as m- as, uh, standard equipment, right?

Crew Chief Eric: Certain cars had Bluetooth, and a lot of them s- still didn’t yet.

Crew Chief Brad: Yeah, yeah, yeah.

Crew Chief Eric: It’s in that range, and it’s in that time window where the nannies were really primitive, so they stayed out of your way so you could still drive the cars.

But once you got to 2010, 2014, you saw the end of that. That was like the, stretched it out to some of those- Yeah … cars were still kind of in that sweet spot. But really, 2008, I kinda dug back into this, is really the year where things [00:12:00] changed.

Crew Chief Brad: That was the sweet spot. That was the, a perfect harmony between automotive excellence and technology, up-and-coming technology on the rise, but it didn’t interfere with the driver.

Right. And you could still enjoy the car, you could still enjoy the features that the car had. You were still in control of the car. It wasn’t signaling back to Big Brother-

Crew Chief Eric: Yeah …

Crew Chief Brad: the mischief that you were committing in your car and all that. Gone are those days. I, I understand the want to drive cars with fewer and fewer technology.

There wasn’t, I, I don’t agree with zero technology whatsoever, because I do feel there was that sweet spot where you could have your cake and you could eat it too. A problem I think about often, especially with the, the fact that I just bought a 25-year-old car, is parts availability.

Crew Chief Eric: Yeah.

Crew Chief Brad: You brought up a great point about how people are dismantling and destroying and disassembling these, what we [00:13:00] thought were collector cars.

Like the- Right … the original Mark 4 R32, the 20th anniversaries. Just to stick in the Volkswagen lane, you know, people are dismantling ’em like they’re Toyota Corollas. Like- Yep … they have zero value whatsoever, which is making it even more difficult in the future to be able to find parts for these cars, which makes it harder to keep them on the road.

And the other piece that we haven’t even talked about yet is- Government oversight

Executive Producer Tania: Yeah

Crew Chief Brad: The government wants you driving the newer cars with the newer technology because they can track you. They’ve got systems in place to monitor you and see what you’re doing, see where you’re going, blah, blah, blah.

Eventually, I think it’s gonna get to a point, especially with the current landscape, they’re just gonna make driving all cars before a certain age illegal.

Crew Chief Eric: Yeah.

Crew Chief Brad: If they can’t track you because they don’t ha- it doesn’t have X, Y, Z, or … I mean, I’m probably tin foil hat theory here now or whatever, but not necessarily wrong.

Crew Chief Eric: No, but then it becomes like that movie we reviewed, The Last Chase, right? Where he buried his car underground, and then when the apocalypse [00:14:00] came- Mm-hmm … they couldn’t track him because he was in a, you know, 1917- Well- … Chevron thing.

Executive Producer Tania: They, they wouldn’t … I, I think it’s too extreme probably to say that they’d ban them, but-

Crew Chief Brad: I don’t know

Executive Producer Tania: they’d probably make it, well, if people play by the rules, everything’s historic, and you can only drive it on a weekend. And you can only drive it- Yeah … to a show, and you basically can only drive it 2,000 miles a year. And so then it just becomes a paperweight in your driveway.

Crew Chief Brad: Think about what’s going on in California with the tires.

We talked about it- Yeah … last episode. But I think they actually passed the law. I, I don’t know if it’s fully in effect yet or not, or if it’s gotta get past the state Senate or whatever, but they’re trying to pass that law to mandate that you can only buy a certain kind of tire, which makes, like, 75% of the tire market illegal.

All they have to do is make it illegal, and then we can’t drive our cars anymore.

Crew Chief Eric: Yeah, it’s craziness.

Crew Chief Brad: Which may be extreme, but I don’t think it’s out of the realm of possibility.

Crew Chief Eric: So, uh, like I said, there’s two sides to this conversation. The one side is those of us are digging in our heels, and we [00:15:00] want our old cars, and we wanna keep our old cars going.

I mean, we sound just like the baby boomers, right? I wanna drive my ’57 Chevy even though it’s LS-swapped, and it’s all good. You know, that kind of thing. But on the other side of the coin, you said, Brad, people trying to hit that nostalgic nerve there, trying to get people excited. And then there’s companies like Ford that comes up with this.

Just like the Mach-E, I don’t wanna call this a Mustang. This is, quote-unquote, the Mach 4 Sedan, and this is how Ford is gonna be getting back into cars, says the headline from MotorTrend.

Executive Producer Tania: If they just made it two doors, that’s not even bad-looking.

Crew Chief Eric: It looks like an Aston with a Mustang nose on it.

Crew Chief Brad: You know, if they just made it two doors, it would just be a fucking Mustang.

Crew Chief Eric: Exactly. Ah!

Crew Chief Brad: So to Tanya’s point, I actually don’t think it’s a bad-looking car. I think it’s a very good-looking car. Where I have issue is that they keep beating a dead horse and putting the Mustang nameplate on cars that it does not belong

Crew Chief Eric: on. On everything.

Crew Chief Brad: I’m okay with it even just being called the Ford Mach [00:16:00] 4.

Call it a Mach 4. Do not call it a Mustang. Call the Mach-E whatever the fuck you want. It’s great. Call it a Pinto. I don’t care. It’s not a Mustang. Don’t call it a Mustang.

Crew Chief Eric: I’ll agree. Styling-wise, I like it. I wouldn’t call it a Mustang. I don’t know what to call it at this point. Let’s just stick with the Mach 4.

But if you’re okay with this, Brad, you being former Camaro guy, are you okay with this?

Crew Chief Brad: Thank God that’s just a rendering. It looks just like a Mustang.

Crew Chief Eric: And they’re saying that the next Camaro might be a four-door. So where Ford goes, Chevy follows, right?

Crew Chief Brad: Again, don’t call it a Camaro. Call it a Caprice. I don’t know.

Call it a HHR. I don’t care. Don’t call it a Camaro. There are some names, some badges-

Crew Chief Eric: That are sacred …

Crew Chief Brad: that are sacred, that mean something. The Mustang, the Camaro, Corvette. Germany, they all use numbers and letters because, you know, they don’t know how to formulate words. So the 911, the M3, whatever. I don’t know, I’m going down a rabbit hole.

But [00:17:00] yeah, don’t call it a Camaro.

Crew Chief Eric: Yeah.

Crew Chief Brad: Don’t call it a Mustang.

Crew Chief Eric: Now, if we keep it in this two-door shape, this looks better than the current Camaro. I will say that.

Crew Chief Brad: Well, there is no current Camaro. They don’t make it anymore, right?

Crew Chief Eric: The last generation Camaro. Yeah. The most current ZL1 that was produced, you know, however many years ago or whatever.

So I like it. I think it looks good. It begs the question if there is room at the table in 2026 and beyond for muscle cars, and we’re gonna touch on this again as we go on, because muscle car culture is a whole nother thing, pulling on those nostalgic heartstrings there with those types of cars. So I wanna come back to that.

We’re gonna put a pin in that for just a second. Tanya mentioned it before.

Executive Producer Tania: Integra.

Crew Chief Eric: Ah, the Integra. Honda is halting the manual Civic Si and the Integra A-Spec. So just to add more fuel to that fire, even the Japanese are deleting the manual transmissions. We know Toyota’s been working on that [00:18:00] fake manual transmission for a while.

There’s rumors about Subaru coming back with manuals. They already got rid of those. If it’s no good for the Germans, ’cause they’ve declared no more manuals as of the end of this year, so Honda’s getting in the… So who’s gonna have a manual left? Anybody? Nobody.

Executive Producer Tania: Subaru.

Crew Chief Eric: They don’t count. They have a class action lawsuit and all sorts of dumb stuff going on.

You sure they even gonna be in business?

Crew Chief Brad: So, I d- I wanna see is there an actual link for this article? ‘Cause I wanna see the reasoning behind why they’re halting

Crew Chief Eric: it. Just ask Gemini

Executive Producer Tania: So it says that they are pausing the production of the manual transmission versions of the Civic SI and Acura Integra after the 2026 model year, driven by upcoming shifting EPA emissions regulations and certification rules for 2027 and later models.

Honda intends to bring the manual powertrains back once regulations clear up, potentially around 2028.

Crew Chief Eric: Lies,

Crew Chief Brad: lies. So it’s, I, I mean, it says temporary. So basically the laws have changed. They need to [00:19:00] reconstruct the manual transmission to fit with the new laws.

Crew Chief Eric: I think the Japanese have the same problem that the Germans have, but not as bad.

They don’t know how to gear their manual transmissions. The Americans, it’s like double, triple overdrive. You’re doing 1,500 RPM in a four banger at 80 miles an hour. The Germans, it’s like 4,000 RPM, 80 miles an hour. Must be at maximum one-to-one ratio of speed always. Ah. And the cars are, like, burning themselves out, and it’s like gear them down so they get better mileage.

A long time ago manuals were more efficient than automatics are. I think the automatics today are, are a lot better than these old slush boxes that we’re used to. So is there an advantage? Mm, probably not, but I, I like having three pedals.

Crew Chief Brad: True. But I also think given the initial part of the showcase, talking about car culture and is car culture dead, I believe the manual transmission is a part of our [00:20:00] car culture.

Crew Chief Eric: Exactly.

Crew Chief Brad: And our car culture is dying, so it makes sense that it would go that way. Uh, you already just pointed out that-

Crew Chief Eric: But wouldn’t the kids that are buying the flip phones wanna drive a manual transmission car?

Crew Chief Brad: They’re doing it ironically, but the problem is- Ah … who’s gonna teach them that skill to do it?

Crew Chief Eric: There you go. All right.

Crew Chief Brad: And where are they gonna buy if there’s no manual transmission?

Crew Chief Eric: ChatGPT will teach you how to drive a manual transmission, right?

Crew Chief Brad: Yeah, I’m sure. Cha- I’m, you’ll put ChatGPT right seat. I’m gonna put my computer there, and it’s like, “Okay, how do I do this?” “Okay, Brad, here’s what you do.”

Crew Chief Eric: Stalled out 12 times. You’re doing great.

Crew Chief Brad: Yeah. You, you-

Crew Chief Eric: But this is what you really need to do …

Crew Chief Brad: you push it to the dealership and swap it for an automatic. That’s what you- Yeah, that makes- That’s how you do it. So I think it’s just another part of our car culture that’s dying.

Executive Producer Tania: Well, you gotta look at where populations are too because sitting in constant traffic crawling, what do you need a manual for?

Crew Chief Brad: It’s a purist thing that we’re, we’re trying to hold onto because it’s fun. Personally, given the way technology has changed so much, there are no practical reasons really right now to have a [00:21:00] manual transmission.

Crew Chief Eric: They’re definitely no fun at the track. I have not been in an automatic that has been fun, like, ever.

Executive Producer Tania: Right. For your daily driving, there is no advantage to a manual.

Crew Chief Eric: That’s very true. You know, this next one, I want to talk about it with respect to car culture because normally we would’ve reserved this for rich people things. And this is- The Luce. We talked about this, we ranted about this, we made fun of this.

Everybody doesn’t like this from what I understand. According to the headlines, Ferrari has hit its sales target with these things. I think I know how. But I, I just want you guys to… Gut reaction, like, they’re actually selling these pieces of crap? ‘

Executive Producer Tania: Cause there’s a shoe for every foot.

Crew Chief Eric: Is that what it is?

Crew Chief Brad: I was gonna say, they must be using the same data that Tesla uses when they, you know, announce their sales figures.

Crew Chief Eric: Or they only made one. So remember, we have to hit our sales targets, right?

Crew Chief Brad: They made one, they sold [00:22:00] one. Job done.

Crew Chief Eric: They sold one to this guy. They sold one to Dr. Herbert “Herbie” Wertheim for $40 million. That’s Luce number zero. So all the ones we’ve seen pictures of, this guy bought it for 40 million bucks.

Crew Chief Brad: You know what’s funny? I thought that was Bernie Ecclestone.

Executive Producer Tania: Willie Nelson.

Crew Chief Brad: Yes.

Executive Producer Tania: But sober.

Crew Chief Eric: What I’ve come to find out is that this is the second time this gentleman has made, quote, “a donation” to Ferrari. He bought an SP3 last year for $26 million. Who is this? I would like to have this shoe store- This is Herbie.

This is Herbie. He’s, like, 100,000 years

Executive Producer Tania: old. I would like to have

Crew Chief Eric: this

Executive Producer Tania: kind of no fucks money.

Crew Chief Eric: He is a famed optometrist, philanthropist, billionaire inventor. Okay. Anyway, so he buys a SP3 for $26 million last year. The money goes to the Ferrari Foundation. He buys Luce number zero for $40 million. [00:23:00] The money goes to the Ferrari Foundation. I don’t think he took delivery of these cars.

From what I come to understand, he’s not actually a Ferrari collector. So what I’m thinking is, tell me how to launder money without telling me how to launder money. You know what I thought of? ‘Cause people were talking about this and how crazy it is. Ferrari Formula 1 cannot take a donation. They have to have a sponsor, and it is that.

W- this guy isn’t gonna sponsor Ferrari Formula 1, but if he makes a donation to the foundation and the money finds its way to the Formula 1 t- ‘Cause what is Ferrari gonna use the $40 million for? Are they in that much debt?

Crew Chief Brad: Well, I would think with a name like Ferrari Foundation, it should be a nonprofit, so they should be using it for nonprofit things.

Crew Chief Eric: Lies. Lies. It’s all lies. Lies. Let’s just say that X amount, we don’t know how many of these Luches that they’re supposed [00:24:00] to make, at $850,000 a piece. If they’ve allegedly met their sales targets, and you know Ferrari has that weird Ponzi scheme where you gotta buy in at certain levels to get accepted to the bigger levels, and then when you get to the big levels, then you can get to the, the really extreme stuff.

Crew Chief Brad: They’re like Fabletics.

Crew Chief Eric: Yeah, right? So l- so you’re telling me, let’s say there’s 100 of these things other than the one that they sold, I think is the only one that they made. There’s 100 people out there that have put down 850 grand on that?

Crew Chief Brad: So WhistlinDiesel probably will. Has

Crew Chief Eric: he got that kind of money?

Crew Chief Brad: Definitely.

Crew Chief Eric: You know, The Stig mentioned him recently, talking about how he should’ve been one of the people that go on the new Top Gear. I was like, “No way.”

Crew Chief Brad: I would watch that. What? But he’s too, he’s too crass.

Crew Chief Eric: Yeah, exactly. He’s just not polite. He’s not

Crew Chief Brad: professional enough.

Crew Chief Eric: So sticking with Ferrari, I got $850,000 burning a hole in my pocket, I’m gonna go buy that toaster instead of buying this, if they make it.

This is, [00:25:00] they unveiled this during Monterey Car Week. This is the Ferrari CZ26, and it looks like an SF90 and a Luce had a baby. So is this what Ferrari was actually intending on making the whole time, but it wasn’t ready yet, so they had to come up with that other thing? Look at that. That’s, that looks good.

This looks like a Ferrari. You can’t tell me that this is electric.

Crew Chief Brad: I mean, it looks like a modern Ferrari.

Crew Chief Eric: But it looks like a Ferrari.

Crew Chief Brad: Yeah.

Crew Chief Eric: Unlike the Luce, which I don’t even wanna burn my retinas with looking at again.

Crew Chief Brad: What does Luce translate to?

Executive Producer Tania: Light.

Crew Chief Brad: Light, okay.

Crew Chief Eric: Ugh.

Crew Chief Brad: Wanted to make sure it didn’t translate to, like, stupid American or something like that.

Crew Chief Eric: Only in dialect.

Crew Chief Brad: Yes.

Crew Chief Eric: All right. At the same time, we’re talking about $40 million, you know, Luce Zeroes and $850,000 for this, and

there’s the CZ 26 and blah, blah, and [00:26:00] then we got the Temerario Lamborghini coming out, which looks like an insect. There’s also reports from The Drive talking about how the luxury market is crumbling from the top down. Now, I want to, again, car culture, words are really important. What does luxury mean to you?

Executive Producer Tania: Generally, that would be something, and I don’t even know if that’s true anymore, I guess it still is, like a Lexus or Mercedes-

Crew Chief Brad: Lexus, Mercedes, BMW … be

Executive Producer Tania: luxury.

Crew Chief Brad: Bentley, Rolls-Royce.

Crew Chief Eric: Used to be Aston Martin as well, luxury.

Crew Chief Brad: Aston Martin would be in there, yeah.

Executive Producer Tania: No, I don’t think a Lamborghini is a luxury car.

Crew Chief Brad: No.

Executive Producer Tania: I think it’s a supercar.

Crew Chief Brad: Yeah. Supercar brand, yeah.

Crew Chief Eric: Every car on this except for this Rolls and the Bentley that they showed are all hypercars of s- or sports cars of some point. 911, Mercedes SLS, even these Maseratis, these are not luxury cars.

Crew Chief Brad: I would consider Maserati a luxury brand.

Crew Chief Eric: Yeah, but the cars that they’re showing are their [00:27:00] sports cars, right?

It’s not like the big Quattroporte, you know, limousine of a car that you’re gonna drive around. But the Valhalla, like, come on. That’s… The s- no. Is the hypercar market collapsing? Sure, because who’s gonna go out and spend a million bucks on a car that they can’t drive? By the way, this Rolls-Royce down here, this was used on Your Friends and Neighbors with Jon Hamm.

His buddy Barney drives one of these. It’s actually really cool-looking. It’s got suicide doors. They open the opposite way, which is pretty neat.

Crew Chief Brad: Yeah, that’s a nice-looking car.

Crew Chief Eric: See, but that’s a luxury car.

Crew Chief Brad: I feel like this should go under rich people things.

Crew Chief Eric: 100%. But I just wanted to bring it up because we were talking about rich people things.

But I wanna move on from that because we always have to segue into Volkswagen because they have lost their mind. But this actually dovetails right out [00:28:00] of our showcase, and I don’t know if you guys watched this video, but what is the fascination with OEM Plus? What is OEM Plus? Is this a new car culture thing?

Like, I feel when the kids say words, you know, slang that I’ve never heard before, like OEM Plus, what does that mean?

Crew Chief Brad: My guess is it’s OEM with a mod or two.

Crew Chief Eric: Well, is it like HBO Max, Paramount Plus? Like, is that the plus part? G- I could look at this different ways, and Tanya and I talked about this. The more of these that pop up with this OEM Plus stuff, a- and it’s very much in the Volkswagen community right now, ’cause the Volkswagen community is not the same as it was when we were young.

But then again, if we look back, maybe we were silly like them, too. I don’t know. Basically, it’s like, “Hey, I got a Beetle like yours, Brad, and I’m gonna put a Mark 6 steering wheel in it.” Boom, OEM Plus.

Crew Chief Brad: So is OEM Plus just m- changing one or two things, or is it upgrading from one OEM part to a [00:29:00] OEM part from another car?

‘Cause that’s what you just described.

Crew Chief Eric: All of the

Executive Producer Tania: above. The goal to make a vehicle look, feel, and perform better using subtle upgrades that look like they came straight from the factory.

Crew Chief Brad: Okay, so that’s kinda how I like to do cars in the first place.

Crew Chief Eric: You’re an OEM Plus guy?

Crew Chief Brad: I mean, I wouldn’t call it something as stupid as OEM Plus.

But yeah, I, I like subtle, tasteful mods. Now, I also want something bonkers and completely crazy and out of this world, but I’m on an OEM Plus budget.

Crew Chief Eric: And I think when we were younger, we called it bolt-ons, right?

Crew Chief Brad: Yes.

Crew Chief Eric: And some of it was, okay, I bought a base GTI, and then they came out with the 20th and they didn’t tell anybody that they were coming out, and it’s like, “Oh, man, I really want that black headliner or I want those seats,” or whatever.

And you would find it, like you said, at a swap meet from somebody that wrecked their car or took it apart or decided to put race seats in there. You know, we were OEM Plussing 30 years ago.

Executive Producer Tania: So you [00:30:00] just weren’t cool enough to know- Oh … the term, because according to Autoblog, the term OEM Plus originated organically within the late ’90s and early 2000s car enthusiast communities, particularly the Volkswagen, Audi, and BMW tuning scenes.

Crew Chief Eric: Did you hear me throw up in the back of my throat a little bit?

Executive Producer Tania: So-

Crew Chief Brad: I, I, I think we can gloss over all the rest of that and just focus on BMW tuning scene.

Crew Chief Eric: There, there you go. There’s that

Crew Chief Brad: too. Yeah. They’re trying to lump Volkswagen into that, but no, I, I mean, Eric and I, and you, Tanya, we’ve been members of the Volkswagen scene for the better part of 30 years.

Executive Producer Tania: No. Just nobody apparently was widely calling this, because roots and evolution of the style, it, does this not describe the VW, Audi subculture. Early Euro tuning scenes popularized taking base model Golfs or Jettas and upgrading them using rare parts from European spec variants or high performance factory models, like adding [00:31:00] Audi or GLI parts.

Crew Chief Brad: But did anybody call it OEM Plus? No.

Executive Producer Tania: Allegedly, the term was there, but no one knew about it because nobody had the internet, so it was two people saying it in a back corner somewhere.

Crew Chief Eric: Behind the Dairy Queen. So a flag on the play, because this is the problem with the internet rewriting history at any given moment.

Executive Producer Tania: Could be that, too.

Crew Chief Eric: You could write a blog tomorrow and say blah, blah, blah, and people go, “Yeah, yeah, yeah, yeah. That must be true. It- that’s how it was done.”

Crew Chief Brad: This strikes me as a journalist or somebody tried to coin a term, it didn’t go well, and now he’s got a voice because of the social media and the internet.

“I’m gonna create this term, and I’m gonna make it cool.”

Crew Chief Eric: Or you just see everything that’s trending on Instagram, and you spin a tale and put some history behind it, and then suddenly people take it as gospel. We’re, we’re rewriting everything all the time. Thanks, Chad.

Crew Chief Brad: I’m gonna pose a question to the listeners.

Have you ever used the term or heard somebody that you know use the term OEM Plus [00:32:00] before this episode airs?

Crew Chief Eric: I think you’re gonna get a big old negatory there, my man.

Crew Chief Brad: Yeah, true.

Executive Producer Tania: I will say, it’s not new to this, the year 2026, though. At least dates back to last year, because there is a, and this is a reputable source, a Euro Tuning news article dated in, a year ago, actually, What Are OEM Plus Mods?

Crew Chief Eric: See, I think it was a year ago. But, you know, if your source is Urban Dictionary, and that’s a whole nother thing, too, right?

Crew Chief Brad: J- just to pull on this thread a little bit further, Volkswagen community’s not the first people that were doing that. I mean, people back in the ’60s, I hate to keep going back to that generation, but- Right

people back in the ’60s were buying, you know, the cheapest model Charger or whatever that they could get, GTO or whatever, and they were taking the bits from the Judge or, you know, from the, the Scat Pack or whatever.

Crew Chief Eric: Right.

Crew Chief Brad: The 454s and stuff, and putting them on their cars. What were they calling it back then?

Another question for the, the listening community. I don’t remember, but I’m, I’m, I guarantee they didn’t call it OEM Plus, but I’m sure they had a term for it.

Crew Chief Eric: They’re called mods.

Crew Chief Brad: I always called [00:33:00] it bolt-ons.

Crew Chief Eric: Or mods.

Crew Chief Brad: You’re just making mods, right? Modding. You know, I’m, I’m modding my car with bolt-ons.

Crew Chief Eric: To your point about the old guys, they were hot rodders, right?

They were hot-rodding the cars.

Crew Chief Brad: Yeah, they, they, they were souping up.

Crew Chief Eric: They were souping it up, yeah.

Crew Chief Brad: Yeah.

Executive Producer Tania: Damn, look at this. We’re peeling the onion back here. Yes. I have found an Urban Dictionary entry from 2016.

Crew Chief Brad: She looked up shrimping.

Tanya, that’s inappropriate for this episode.

Executive Producer Tania: They were talking OEM Plus back in 2016 at least, so we’re going back in time here. We’re slowly peeling the layers to see where this originated from.

Crew Chief Brad: Who was?

Executive Producer Tania: Somebody on Urban Dictionary. The same guy

Crew Chief Eric: that wrote the Wiki entry for it, right?

Crew Chief Brad: Yeah. When, when does it say that, that entry was created?

In August 2026.

Crew Chief Eric: Yeah, buddy.

Executive Producer Tania: February 28th, 2016.

Crew Chief Eric: Uh-huh. OEM Plus. Wow, look at that. Well-

Crew Chief Brad: Yeah. It, it sounds so elegant.

Crew Chief Eric: I, yeah, right. It’s, yeah, it sounds very, very posh. I’m

Crew Chief Brad: gonna get a OEM Plus badge for the [00:34:00] Beetle.

Crew Chief Eric: Can I get an OEM negative? Like throwing stuff away that was factory p- I’m gonna put that on the race cars.

I’m OEM negative. I threw all the garbage away.

Crew Chief Brad: You’re always so negative. You, you simplified and added lightness.

Crew Chief Eric: That’s the Lotus way.

Executive Producer Tania: Okay. Wait, OEM, that’s kind of funny.

Crew Chief Eric: OEM negative?

Executive Producer Tania: Yeah.

Crew Chief Eric: Dude, we should start posting on Instagram about how we’re OEM negative.

Crew Chief Brad: What, what’s your car type? Oh, I’m OEM negative.

Oh, I’m OEM positive.

Crew Chief Eric: But then you could be like, “Look at what I threw away. Look at this garbage the factory made that was completely pointless,” like the emission system on a Mark IV, that you don’t need that to go racing, that’s for sure.

Crew Chief Brad: Your OEM carbon footprint.

Crew Chief Eric: OEM negative. What’s up?

But anyway, let’s stay on this Volkswagen thread for a second because, again, with the guys of Car Culture, I think this is what’s wrong with modern cars and modern car culture. If you [00:35:00] watch this video, this gentleman goes through the process of basically reformatting his transmission. I don’t know what else to call it.

It was like a complete wipe and restart, and he goes through this whole procedure and he’s like, “Feel a slight lag or jerking from your trans-” And I’m like, “DSG and all these modern transmissions shouldn’t have these kinds of problems.”

Crew Chief Brad: Well, it’s a Volkswagen.

Crew Chief Eric: Well, yes. And then we got the Kool-Aid rant from certain loyalists in our organization that are just like, “But this is the way, and this is this,” and trying to justify.

And I’m just like, “No.”

Executive Producer Tania: I’m honestly still confused. I don’t know enough about automatic transmission vehicles, but this boggles my mind. The argument being that the car is learning how you drive, so if you drive aggressively and it’s shifting faster, then it will just shift faster at all times. I’m sorry, that’s stupid programming, because the car should know how I’m driving at all times and modify how the car shifts based on that, because there’s real time data and it should be able to trend and forecast [00:36:00] what you’re doing.

So just because two minutes ago I did a burnout off the line to smoke somebody, and it banged through the gears, doesn’t mean two miles later when I’m just cruising that it should still be banging through the gears. If it sees your acceleration at a certain curve.

Crew Chief Eric: No, I agree 1,000%, and even older ECUs and transmission modules could figure this stuff out.

And with the advanced computers that are in cars now, I mean, maybe they need AI.

Executive Producer Tania: If it’s true that that’s how Volkswagen transmissions are programmed, wow, that’s dumb. Cars are

Crew Chief Eric: junk.

Executive Producer Tania: Or they’re Terminators.

Crew Chief Eric: Remember the Terminator, “I’m a learning computer.”

Executive Producer Tania: Well, they, then again, you’re not very good at it, then.

No. Because learning, you should be adapting continuously to how I’m driving and matching what I’m doing, like you would do if you had a manual transmission. Because you wouldn’t just, some tool bags would, but if you’re just cruising around you wouldn’t be like, bang, second, bang, third. I’m doing 25 miles an hour.

Like, really?

Crew Chief Eric: I knew a guy who had a Mark3 VR6 [00:37:00] Jetta who would never take it out of fourth gear because he liked the way it pulled all the time, so he would never put it in fifth. I was like, “You’re out of your freaking mind. What are you doing?” He was OEM negative as well.

Executive Producer Tania: I feel like there’s a problem and this person needs to…

There’s like should be a recall on these transmissions if that’s out there. Right? That’ll be the next news article is a big massive recall on shitty transmissions from Volkswagen.

Crew Chief Eric: Well, that’s okay, because it’s not gonna matter, because again from Motor1 confirming that Volkswagen is about to kill h- roughly half of its lineup.

Crew Chief Brad: It’s already killed, like, half its staff, so.

Crew Chief Eric: Yeah, that’s true. And you know, we talked about this the last time, so I don’t wanna beat this one down again, but I did post on our Discord. I was like, “Hey, I would love to find the truth to this,” because they mention a press release in a worrying press release issued just minutes ago, you know, written like Dan Rather in the ’80s or something here, like Walter Cronkite, the end of the world.

And there is exactly here, the executive board present the future plan for Volkswagen, and inside of [00:38:00] this they outline how they’re gonna streamline by 50% and reduce this and that and do here, do there. And it’s all very technical and German and whatever, but it’s all there in black and white from Volkswagen as to what they plan to do for at least the short-term future.

So maybe it’s not a complete flag on the play?

Executive Producer Tania: Well, because they’ll cut half the workforce because they have AI now.

Crew Chief Eric: Is that what they’re using to program those transmissions? ‘Cause, uh-

Crew Chief Brad: ChatGPT, set my transmission to harsh shifting, please.

Crew Chief Eric: Oh, my God. And in 20 seconds reset it back to regular. But that’s okay, because Audi says that their operating profits are holding steady despite a challenging first half of the year.

Lies. Lies. I don’t know how their operating profits are holding anything with Formula 1. They suck so bad. Not as bad as Aston and Cadillac and-

Executive Producer Tania: They aren’t the worst

Crew Chief Eric: But they’re pretty bad.

Crew Chief Brad: They’re solidly in the middle. We’re going to talk about that during our [00:39:00] stupid show name.

Crew Chief Eric: Everything is great over at Volkswagen, okay?

Everything is wonderful. Everything is awesome.

Crew Chief Brad: Everything is awesome.

Crew Chief Eric: Exactly, but you’re still part of the team, you know? Yeah. It’s all good when you still work there. I bring this up, and this should be rich people things, but I have to bring it up in this section because people might not know that things are so awesome at Volkswagen, I’m gonna mention it again, that they divested Bugatti and Rimac, and they’ve scuttled a bunch of other stuff.

And in the midst of all that, you know, they made this thing. So what do we think of the Bugatti Bolide on steroids? This is the… I can’t even pronounce this French word, so I’m gonna stick with Bolide. It’s

Executive Producer Tania: not a French word.

Crew Chief Eric: How do you pronounce that, then?

Executive Producer Tania: Well, it means fireball.

Crew Chief Eric: Does it?

Crew Chief Brad: Destrier?

Crew Chief Eric: Destrier?

I don’t know how to pronounce. Destrier? Oh,

Executive Producer Tania: sorry, I thought you meant Bolide.

Crew Chief Eric: No, this.

Executive Producer Tania: Oh, I didn’t look at that. I didn’t read that far.

Crew Chief Eric: It’s, like- … literally the second half of the first sentence.

Executive Producer Tania: That also is steed.

Crew Chief Eric: It is. It’s [00:40:00] got quad exhaust pipes coming out the back like the Batmobile. But here’s the problem.

I don’t like the front. In profile it looks good. In the back it looks like something from LEGO. In the front it looks like a carp. This is a Pokemon.

Executive Producer Tania: I-

Crew Chief Eric: Look at the steering wheel.

Executive Producer Tania: What is that?

Crew Chief Eric: Liberace’s hot tub, that’s what this is. S-

Executive Producer Tania: so in this smaller view of it, that looks like a cross-sectional area that you dissected a human, and you’re seeing, like, the muscular-

Crew Chief Eric: Yeah

Executive Producer Tania: fibers and everything. That is the heinous interior.

Crew Chief Eric: I mean, I’m sure these are all renderings. I mean, this is a little Knight Rider-ish going on here. I mean, I saw the Bolide when I was at Le Mans in ’23, and they ran it on track to kind of show it off and everything. And obviously it’s a little more subdued than this.

It looked more like a Veyron Chiron than it did like this. But there’s aspects of this that I really like, and then there’s things about it I just absolutely hate.

Executive Producer Tania: I mean, who’s buying this? The luxury car market’s collapsing.

Crew Chief Eric: Well, that was my next point. So if that’s true, what they’re [00:41:00] saying, and this is considered a luxury car, why are they even bothering to build this?

And now Bugatti’s on its own. So how long are they gonna last building stuff like this that nobody can afford?

Crew Chief Brad: Maybe they’re using Home Depot parts.

Crew Chief Eric: Hey, now. Hey, now. Hey, now. That’s reserved for a different car manufacturer. So earlier I mentioned the Camaro and the Mustang potentially being four doors, and then I also said to you, Brad, “Is there room in 2026 for muscle cars in today’s car culture?”

We’re gonna put air quotes around car culture. And Stellantis has answered the call yet again.

Crew Chief Brad: The call nobody made.

Crew Chief Eric: What the fuck is that?

This is the worst badge engineering I’ve ever seen. So it’s the Charger Super Bee Sixpack. And if you know anything about the Sixpack from back in the day-

Crew Chief Brad: Yeah, it was a six barrel carb,

Crew Chief Eric: right? Correct. What is it? Triple Hollies or whatever the… Yeah, yeah, you know, I’m not [00:42:00] a hot rod guy, so I’m gonna get pounced on for this.

But the point is, the Sixpack was all about carburetion of the engine. So this is called the Sixpack because it’s a twin-turbo six-cylinder making 600 horse- It’s all the sixes, you see. This, today’s episode is brought to you by the number six and the color chartreuse.

Crew Chief Brad: I thought it was because it ca- it came with a six-pack of non-alcoholic beer, ’cause that’s the clientele that they’re

Crew Chief Eric: in.

No, that’s the car culture today. Yes, I would agree. I mean, can you call a twin-turbo six-cylinder hurricane-powered Charger a muscle car anymore? Like, what defines a muscle car? It’s gotta be a V8 rear wheel drive, right?

Crew Chief Brad: That’s a good question. Everybody’s got their own definition.

Crew Chief Eric: Hold on, because I’m gonna draw you a parallel.

In the olden times, you know, when we roamed the earth as dinosaurs, there were the Camaros and the Mustangs and all the other pony cars and all that stuff of our, you know, the Fox Bodies and, you know, all that kinda stuff.

Crew Chief Brad: Yeah, Camaro and Mustangs.

Crew Chief Eric: But then you had the AMG Mercedes, which everybody went, “Man, those are some German muscle cars.”

And then you had the Baker’s [00:43:00] hot rods, like, you know, the big Lincolns and stuff like that with the big V8s, you know, and the Marauders and all these other cars that existed that were out there. But you always knew what a muscle car was. V8, rear wheel drive.

Executive Producer Tania: It was huge displacement

Crew Chief Eric: Well, well, yeah, and huge displacement.

Exactly. Like 9.2 liters that makes, you know, 250 horsepower or whatever.

Executive Producer Tania: But you’re right, it was huge displacement V8s. Like, that was-

Crew Chief Eric: Yeah, like the Australian Holdens and the Monaros and all that stuff, right? What I’m getting at is BMW never had a muscle car until they put a V8 in the M3. Didn’t come, but just, what, maybe 15, 20 years ago.

So what I’m getting at is this new Charger with a six-cylinder turbo is stepping down and is akin to a six-cylinder BMW turbo, which is a real thing now, right? Because there really isn’t a V8 M3 anymore. So is the M3 now a muscle car with a six-cylinder? It, it was always a six-cylinder, and there’s plenty of other six-cylinder cars.

Would you consider Mark 4 Supra? Would you consider that a [00:44:00] muscle car?

Executive Producer Tania: I don’t think you can consider anything other than American cars muscle cars. I think a hallmark trait that has lingered is that these cars can only go in a straight line. And a German V8 car can corner.

Crew Chief Eric: Except for an AMG Mercedes, they can’t corner

Executive Producer Tania: worth a crap either.

They’re more of a sports car.

Crew Chief Brad: According to Gemini, a muscle car is an American-made two-door midsize coupe equipped with a massive high-displacement engine, usually a V8, in parenthesis, built for explosive, to Tanya’s point, straight line acceleration at an affordable price.

Crew Chief Eric: Ah, there’s the extra part. It’s not that luxury car like we were talking about earlier.

Crew Chief Brad: No, it’s got a, the engine power is usually a powerful V8. Drivetrain, typically rear wheel drive. Body style, generally two-door hardtops or coupes with aggressive, bold styling. Strictly for raw power and speed in a straight line.

Crew Chief Eric: Also, did anybody notice these pictures, probably AI generated, some of them are two-door and some of them are four-door?

Crew Chief Brad: [00:45:00] Well, ’cause one’s a Charger and the other’s a Charger Plus.

Crew Chief Eric: OEM Plus is what it

Crew Chief Brad: is. OEM Plus. Yeah, my plus is two more doors.

Crew Chief Eric: So I will say this, of all the interiors we’ve looked at probably in the last six months on cars that we bring up on this show, this has the nicest interior. I like the way this looks.

Crew Chief Brad: This is gonna be an unpopular opinion, but I actually really like the interior of the desterior- the desterior interior. The,

Crew Chief Eric: of the Bugatti? Yeah.

Executive Producer Tania: The one that said looked like it was, like, an autopsy in there?

Crew Chief Brad: Yeah.

Crew Chief Eric: It

Crew Chief Brad: was pretty terrible.

Crew Chief Eric: Yeah.

Crew Chief Brad: Hey, maybe that plays into, like, my love for horror movies, but-

Executive Producer Tania: There you go

Crew Chief Eric: There’s obviously a bridge between muscle car, supercar, hypercar.

Because, you know, when, during our days, supercars were the top of the line, right? The F40, the 959, the XJ220, the Countach, the Diablo. Those were supercars. There wasn’t such thing as a hypercar like that Bugatti that we talked about earlier. And then below supercars were sports cars, so on down the line. I don’t know where this one [00:46:00] sits, but still in the Stellantis camp.

Could love the headline here. Maserati realized nobody wants quiet supercars, and now it wants its V8 back. And Maserati’s also considering putting a manual back in their car.

Crew Chief Brad: But do you know what Maserati hasn’t figured out yet?

Crew Chief Eric: How to sell cars?

Crew Chief Brad: Nobody wants a Maserati.

Crew Chief Eric: Yes. The value on these will plummet immediately, just like all the rest of them.

Crew Chief Brad: Yes.

Crew Chief Eric: It is not bad looking, though.

Crew Chief Brad: Yeah, for whatever reason, Maseratis are always seen as just, like, the red-headed stepchild of the Ferrari world.

Crew Chief Eric: They are a bargain basement Ferrari, because oftentimes they have Ferrari engines in them. Now, granted, you’ve got all the rest of the Alfa Romeo Fiat stuff going on with it.

But I met some people this summer who have his and hers Maseratis, and they’re like, “They’re really not that bad. They’re easy to work on. The parts are inexpensive.” And I’m like-

Executive Producer Tania: What? … ”

Crew Chief Eric: These are some bargain basement cars.”

Executive Producer Tania: Are they inexpensive because these people are in an economic bracket where- … it is inexpensive to them, or are they really inexpensive?

Crew Chief Eric: I wasn’t going to pry, [00:47:00] but that thought did cross my mind.

Crew Chief Brad: We talked about this when we talked about F1, and how there’s such a disparity between the teams and everything. Yes. And I brought up, I think, uh, the, the unpopular opinion that some teams just deserve to die off. And I think I used Williams as an example.

As a team that, yes, it’s got great racing heritage, great history. They were champions at one point, but for many, many recent years they proved to be back of the pack, you know, before we added more back markers. I was of the opinion that they should just go away.

Crew Chief Eric: Yeah.

Crew Chief Brad: You can’t compete. You don’t belong to be there, heritage or not.

I feel the same way about Maserati as just a car company in general. Yes, it’s got a great heritage. It’s got a lot of enthusiasts for cars that they used to make. If they can’t sell cars, then now’s the time to find a different business, because if you can’t sell cars, you don’t deserve to be a car company.

And yes, I feel that way about Volkswagen too, as much as it pains me to say. If [00:48:00] Volkswagen can’t make cars that people wanna buy and they start to die, then they need to die.

Crew Chief Eric: So there’s a definite distinction between the circus that is Stellantis trying to keep all of those plates spinning on little poles that they have, because they have these little fiefdoms everywhere, right?

It’s Fiat doing its own thing, and Ferrari’s doing its own thing, and Maserati’s doing its own thing, and nobody talks to anybody because it’s all Italian histrionics, and there’s hands flying everywhere, and all that kind of stuff. So we’ll just leave that where it is. And then they added the French cars to the mix too to make things even more interesting.

The Germans just think they know everything, and that they know what the market wants. That’s been Volkswagen’s problem for 50 years. They never bring the cars people want because they don’t think those people are gonna buy them, so they give us a bunch of junk like rental quality Passats that people bought because they’re like, “Well, it’s this or a Nissan Altima, so maybe I’ll try the Passat instead ’cause I’ve had an Altima before.”

But again, they’re in a position even now where they’re like, “This is the Volkswagen you should be driving.” And everybody goes, “No, I want a manual transmission [00:49:00] GTI that doesn’t suck oil and burn its rings, and need a walnut treatment every 30,000 miles. Where are the cars of yesteryear?” “Well, we don’t make those anymore.

We make electric buses that no one gives two figs about.” You know? It’s like, come on.

Crew Chief Brad: I know I threw out the dig about Volkswagen, but to get back to, to Maserati, let me ask you a question. Okay. It’s kind of a hypothetical, but I think I already know the answer. Speaking about Maserati and their racing heritage and, you know, their desirability, can you name one person that had a m- poster of a Maserati on their wall when you were a kid?

Maserati is the Oldsmobile Of the Ferrar- of the Ferrari ecosphere. Tell me I’m wrong. They are the Oldsmobile, they’re the Buick, they’re the not quite-

Crew Chief Eric: Yes. Okay …

Crew Chief Brad: the top, kinda under the radar. But some people want them because their dad had them and they were good cars, but majority of the people don’t even know they exist.

Crew Chief Eric: And I’ve often argued that Alfa Romeo is the [00:50:00] Italian BMW, right? Where they make a car for everybody, ’cause every 10 minutes they’re changing their design. Right. Which is my question to you. If this Maserati that we’re talking about was wearing an Alfa Romeo badge and was painted red, would it change your mind?

Not doing anything else but changing the logos, would you suddenly say, “Ooh, that’s r- that car’s really cool”? I

Crew Chief Brad: mean, I think it’s cool as a Maserati. To answer your direct question, yeah, I would say. It w- does it make it more desirable? Maybe. Does it make it less desirable? No. I mean, I just, m- the fact that it’s a Maserati is, it’s irrelevant.

A cool car is a cool car. I feel like Maserati as a company doesn’t really need to exist, to your point, because it could be sold as an Alfa Romeo.

Executive Producer Tania: Right.

Crew Chief Brad: It doesn’t need to be sold as a Maserati. The Maserati is hanging on to something that doesn’t exist anymore.

Executive Producer Tania: Yeah.

Crew Chief Brad: And they sh- they do not need to be around.

I feel if Stellantis really wanted to make a wise business decision, they would get rid of Maserati and rebrand whatever, which they’re already doing anyway, because Maserati, for the most part, most of their cars are s- [00:51:00] something else rebranded, rebadged. Just get rid of the Maserati nameplate. Yeah. Nobody cares.

Just, I don’t care. The new generation doesn’t care.

Crew Chief Eric: Yeah. Fold them up under Alfa Romeo and call it a day. Exactly. Just, just all Maseratis are Alfa Romeos now.

Crew Chief Brad: Done. I

guarantee nobody would notice if the Maserati Levante- Oh my God … or the Ghibli, which is the Dodge Charger, disappeared. And you never saw one again. The only car that anybody would miss is the GT.

Crew Chief Eric: That’s true.

Crew Chief Brad: The GranTurismo, which could be an Alfa.

Crew Chief Eric: You know who might miss it? This guy might miss it. Oh, we can’t not talk about domestic cars and take a visit over to General Motors.

I didn’t understand this article. Tanya, you read it. You sent it to me. I read it. I still don’t understand it. I read it multiple times. What is our leader trying to say? Is he taking a dig at General Motors?

Executive Producer Tania: Uh, it has to do with his seemingly infatuation with small cars and the kei [00:52:00] car thing, right? Yeah.

And so trying to tell them, I guess, they make cars that are too big.

Crew Chief Eric: Well, yeah, and he’s quoted as saying, “Your company, Mary, if you want it, I mean, you have the choice. It’s tiny, a little beautiful car. I’m not sure you’d wanna get hit by one of your Silverados, okay? Or one of your Cadillacs. But you make them as safe as possible, right?

You put a cocoon. You put, like, a little cocoon around them.” See, I would’ve been a wonderful automobile- … designer. Like, this is absolute gibberish. Even the most hallucinogenic AI wouldn’t come up with stuff like this. He is making a point that if you have seen the latest Silverado or the latest Escalade or just about anything that General Motors is making, if you painted them in camouflage, I would just say, “Yeah, those are military vehicles,” ’cause they’re massive.

They’re absolutely huge. They look like they’re… You know, remember we talked about that Silverado that ran over that Lamborghini ’cause she didn’t even see the guy? Now, granted, that was a bro-dozer, but the point is they’re just big from the factory. So yeah, if I was driving a kei car, the [00:53:00] little Daihatsu or something, or a Cappuccino, I mean, no, I would not wanna get hit by a Cadillac or a Silverado.

So Brad, I wanna revisit something from last month. We were talking about Subaru, would you buy an STI if they did this, this, and this versus a Golf R versus a GR Corolla versus a Mazda 3 Speed. We kind of like racked them all up, and you said at the end of the day, your wallet dictated the answer. Your heart says you want a Golf R, but your wallet says, “I have a beer budget and I’m gonna take the Corolla because it’s $25,000 cheaper.”

What if I told you that the GR Corolla now clocks in at $64,360?

Executive Producer Tania: No, thank you.

Crew Chief Eric: Would you still choose this over the Golf?

Executive Producer Tania: Read what this says. $64,000 for a Corolla with no rear seats, no extra horsepower. So I could just buy a base one for less and take the seats out myself?

Crew Chief Eric: Yes.

Crew Chief Brad: Uh, yeah, I [00:54:00] don’t, I don’t understand this, the last part.

730 reasons it’ll sell out immediately?

Crew Chief Eric: Because they’re only making 730 of them.

Crew Chief Brad: Okay. So, well, that, that’s just a stupid line. But they followed the Porsche model, where they take things away and charge more for the car. This is basically the Corolla version of a GT3

Crew Chief Eric: RS. Yes. You got it.

Executive Producer Tania: No, when they first came out with the hatch, they had that, and it was the same thing.

It was a racetrack ready. It had no back seats. I think it had a half cage in the back, and that was it. And it was sold for, I think at that time it was, ’cause this was already a couple years ago, it was like 50-something thousand dollars. But inflation, so you know, we’re at 64.

Crew Chief Brad: They’re doubling down, Tanya.

They’re doubling down. OEM negative.

Crew Chief Eric: Oh, this is OEM negative. They took stuff out of it.

Crew Chief Brad: It’s OEM negative. They stole Eric’s idea. They went full OEM negative.

Crew Chief Eric: Oh, man, see? Toyota always, always at the front end of creative thinking.

Executive Producer Tania: Except those are the same ones that you took to the track [00:55:00] and the motors blew up.

Crew Chief Brad: Yeah, and they weren’t covered under warranty.

Crew Chief Eric: All right. Subaru. My God, Subaru. They are getting into the game. Monthly fees for remote starting your car. Shouldn’t remote start at this point, especially if you have an automatic, remote start is like power windows. I mean, it should just be part of the car, standard option.

Crew Chief Brad: From what I saw with, like, Lexus and I think maybe Mazda as well, I feel like it’s a little misleading. It’s not for, like, remote start completely, and please jump in and correct me if I’m wrong, but it’s for the app that allows you to remote start from your phone. I feel like if you have a remote, you can still remote start, you know, in the, in that closed system.

But if you want the convenience of the app on your phone to do remote start and various other things, I know Lexus does it this way, you have to pay for the app, and there’s a subscription for the app. I don’t know if it’s for remote start altogether.

Crew Chief Eric: It takes longer to do the stuff from your phone, especially after you’ve used [00:56:00] your pin, your phone says, “Oh, it was offloaded ’cause you haven’t used it in 10 minutes,” gotta load the app, then it’s gotta do two-factor authentication, and blah, blah.

By the time you’ve done all that garbage, you could’ve walked up to the car and just started it.

Crew Chief Brad: But I think you’re making a fatal error.

Crew Chief Eric: Oh, okay.

Crew Chief Brad: You’re assuming that people have common sense.

Crew Chief Eric: Ah.

Executive Producer Tania: This is the new car culture. They gotta have the car started for them, cooled a little bit before they get in because, “Oh my God, I just can’t right now.

It’s so hot. I just can’t. I can’t even with this right now.”

Crew Chief Brad: First of all, younger generations, they all have their phones glued to their hands, so their phone is out anyway. They’re already scrolling social media. They’re already on TikTok and Instagram posting their reels and clicking views and all that stuff and talking to their friends.

And so their phone is already open. They don’t need to two-factor authenticate because they did that when they woke up in the morning. Ah, got it. And they never, never put it down.

Executive Producer Tania: Well, that’s a fair [00:57:00] thing too, because you don’t have a door lock cylinder on the, to open your car anymore. You don’t need your key.

It’s just a fob. It’s just a sensor that alerts in vicinity that you can unlock your doors and start your car. You’re not putting that key anywhere. So if you have that key buried in your purse, a backpack, your pocket, but you have your phone glued to your hand, well, yeah, I can start my car and lock it with my phone.

Why would I go dig through my pocket and pull my keys out?

Crew Chief Brad: So why even generate a key? Why not-

Executive Producer Tania: But today’s car culture …

Crew Chief Brad: yeah, why not just use the phone’s NFC capabilities and, and open the door that way?

Crew Chief Eric: Because that’s how it’s gonna charge you. It’s like Apple Pay. Yeah. So to open the door, it’s 50 cents every time you tap your phone against the door handle.

Crew Chief Brad: You know what? I think Ford had it right when they had the little two-digit keypads.

Crew Chief Eric: Yeah, yeah.

Crew Chief Brad: They were ahead of their time.

Crew Chief Eric: Like that guy in the first article, I don’t want any of this stuff. I mean, I like remote start. I have it on my Jeep. I can be in my office and go boop boop in the wintertime, and it’ll fire up and warm up and don’t…

But you know, it’s a diesel, so it needs extra time. [00:58:00] Anyway, but I was thinking about what you were saying, Brad. If you can communicate with this Subaru from your phone and remote start, that means the Subaru has cellular access, right? So it’s connected to the grid. To your point of earlier, all these new cars are all connected to the Internet of Things.

And so I don’t want any of that stuff. But it also makes sense why they would charge a subscription fee, because who’s paying for the cellular access to the car? Because the remote key fob just sends an RF signal. There’s an RF, you know, receiver on the other side, and it goes, “Oh, s- I received the car start signal, and I’ll start it.”

It doesn’t need all this other infrastructure, Verizon and T-Mobile and all this other crap, to make it work. But I also wonder, for those that are addicted to their phones, if you’re in the middle of Montana doing Subaru things like you’re supposed to be doing, like the commercials say, how does one unlock and start their car when there’s no cell service?

Executive Producer Tania: Then they get, they get the special satellite [00:59:00] cell subscription on their phone.

Crew Chief Brad: They have the satellite phone so they can start their car. You

Crew Chief Eric: gotta have Starlink to make it

Executive Producer Tania: work. You pull out the phone from Jurassic Park. Do, do, do, do, do, do. What was the music it would do? As it was in the Tyrannosaurus rex feces.

Crew Chief Eric: Oh my God, terrible. Well, Tanya, in spite of all this doom and gloom, you brought us an article that might shed a ray of hope. Car and Driver says, “These are the cars worth waiting for, 2026 through 2030.”

Executive Producer Tania: And is there anything on here that would be worth waiting for?

Crew Chief Eric: Okay, let’s see how many of these we haven’t already talked about.

This is that weirdly Russian-designed rendering of what the Stelvio could look like. This wasn’t even like a thing from Alfa Romeo. I remember we dug this up and we fact checked this car, so that one’s junk. This is that TT new Volare thing that we don’t like, so I can wait forever as long as that doesn’t get made.

The new [01:00:00] BMW M3 got revealed at Car Week. I’m sorry, it’s ugly. It’s the size of an M5. It’s huge.

Executive Producer Tania: Well, it’s also the IM3. Let’s, let’s just be- Yeah,

Crew Chief Eric: yeah, it’s got the electrical-ness in it …

Executive Producer Tania: sensitive to that.

Crew Chief Eric: The only thing I like on this is the wheels. That’s it. I think the wheels are cool. Moving on. Silverado shouldn’t be on this list.

Nobody salivates over the next version of the Silverado.

Crew Chief Brad: They just don’t wanna be hit by them.

Crew Chief Eric: This Camaro goes back to the Camaro we talked about earlier, although it looks like it’s ready for the next Transformers movie. Dodge Charger Hellcat V8. See, the V8’s gonna be the OEM plus now. You’re gonna be stuck with a six cylinder, and then you’re gonna want the V8.

I don’t like those wheels on that. It looks terrible. Dodge Copperhead. I read about this. This is sort of the return of the Viper without being the return of the Viper, and Dodge wants to get into the pony wars. So if you look at the body styling, there was a Copperhead concept back when the second generation Viper came out.

I actually have a model car of it. Pretty interesting, but I don’t see that ever coming. I’m just gonna skip over [01:01:00] whatever that thing is. Then we got the Mustang Dark Horse, which already exists, so this is just an- another whatever. The Ranchero as a pickup truck.

Crew Chief Brad: Which is just a Maverick.

Crew Chief Eric: Which is just a Ranger.

I mean, who wants a four-cylinder turbo pickup truck? Forget that noise. All right, we got the Genesis GV90. This looks like something out of Batman the Animated Series. Uh, we have the Magma, the GV60 Magma, which is the Veloster rebadged. Then we have the Genesis Magma, which is never gonna happen. This is that weird Lexus, the GR GT thing.

Crew Chief Brad: The successor to the LFA.

Crew Chief Eric: I don’t like it.

Crew Chief Brad: Yeah, I

Crew Chief Eric: don’t think it looks good. Infinity, who cares? This one looks like the same Infinity they’ve been making for 20 years. This Jaguar is horrendous. Jeep Wrangler Scrambler, like yeah, okay, they had those in the ’70s, the Scramblers. It’s okay. I mean, I’m not gonna salivate over it.

Then they’re gonna do an LFA again? That looks better than this other GT thing up here. This thing looks terrible. Let’s see. What else is on this [01:02:00] list? CX 5, they ruined that. Mitsubishi doesn’t make cars. Nissan- Ugh … this is the Ultima. Boxster, that’s a lie ’cause they said they’re not gonna make those.

Nobody salivates a Ram. Dakota’s com- ah, look at this thing. Ah.

Crew Chief Brad: I wanna talk about the Scout ’cause that’s, I, I, I would love one of those, but I don’t wanna gloss over the Rivian. I think the Rivian, I’m gonna call it the Rex, the R3X. The Rivian Rex is definitely a car I’m looking forward to seeing, and would totally consider owning one.

Crew Chief Eric: Never gonna hap- we talked about this car, like, a year ago, and now they’re saying 2029

Executive Producer Tania: This would be the most interesting thing on the list

Crew Chief Eric: Correct. Yeah. I agree, I agree with that 100%, yes.

Crew Chief Brad: But the Scouts look cool, too. They a- they’re like-

Crew Chief Eric: Okay. All right …

Crew Chief Brad: the Rivian-

Crew Chief Eric: Who owns Scout?

Executive Producer Tania: Volkswagen.

Crew Chief Brad: These are Volkswagen?

Oh, well then these aren’t gonna get made. They’re gonna get scrapped.

Crew Chief Eric: Hold on. Let me do some general arithmetic for you, okay? They lost 100,000 people. They’ve closed factories all over the place. They’re cutting half the cars that they make. Blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, [01:03:00] all this stuff.

They, basically the toilet is swirling and the turds are going down the tube, right? The Scout requires a special factory to be built, unique tooling. It doesn’t share anything with anything else, and they’re gonna move forward with this project? And they gotta pay for Formula 1. Let’s not forget that. They have to pay for Formula 1 somehow.

They’re gonna build these, and this is not something anybody is jumping up and down about. Because look at it. There’s nothing about it that stands out. I could go get a Rivian that looks like this.

Executive Producer Tania: No, the Traveler, the SUV. It looks like an old-school Bronco.

Crew Chief Eric: Yeah, but that’s my point. You substitute this for any other SUV that’s currently available, nobody’s gonna wait till 2030.

It’s gonna be like the Cybertruck. We’re gonna be waiting for 10 years for these things. Nobody’s gonna wait that long for one of these. And then when they get them, they’re gonna be disappointed because they’re gonna be based on technology from five years ago because it took them 20 years to make them.

Crew Chief Brad: I’m gonna double down on what I was saying about Maserati. So- … I think Maserati, Maserati’s a [01:04:00] company that doesn’t really need to exist anymore, and I’m surprised that it still does. I would say Mitsubishi is in that list as well.

Crew Chief Eric: Right.

Crew Chief Brad: There are also a slew of car manufacturers that have already died out that don’t need to come back.

Crew Chief Eric: Yeah.

Crew Chief Brad: And personally, I think Scout is- Yes … one of them. International, I guess, when they were, they were owned by International, the International Scout. I also think, uh, I’m gonna get a lot of hate mail from our three listeners for this, the, uh, DeLorean does not need to come back.

Crew Chief Eric: I think that is a pipe dream.

I don’t think that’s happening anymore. That was already three, four years ago, so.

Crew Chief Brad: No, but I think you get my point. Like, there are thing- Yeah … there are things that die, and they die for a reason, and they need to stay dead.

Crew Chief Eric: Yeah, it’s like saying we’re gonna bring back the Bricklin. It’s like no, we don’t need to do that.

There’s no point.

Crew Chief Brad: No.

Crew Chief Eric: Talking about things that need to die and stay dead, as we switch into lost and found, Brad, your favorite section. I got some good lost and found for you guys this time. We sent one to the lost. Yet again, it has returned to the deep. I just wanted to share with our audience, share with you, I don’t [01:05:00] know if you saw the pictures or not, but pumpkin spice latte, may it rest in peace, is gone.

Bye-bye, Norma Jean. Do you wanna sing Candle in the Wind? How good’s your Elton John?

Crew Chief Brad: Bye-bye, Norma Jean. Da, da, da, da. We’ll have to talk

offline, ’cause I, I’m wondering where my exhaust and my turbo and, like, w- where’s all my stuff? In

Executive Producer Tania: my shed.

Crew Chief Eric: It’s OEM minus. This is the definition of OEM minus right here.

Crew Chief Brad: OEM negative Ghost Rider.

Crew Chief Eric: Yeah, we have all that stuff, Brad. Don’t worry. We didn’t leave you hanging.

Crew Chief Brad: Yeah, okay. I, yeah, it’s, wow.

Crew Chief Eric: Anything that didn’t have mold on it got kept.

Crew Chief Brad: Okay, okay.

Crew Chief Eric: That’s that. Goodbye. Ciao, ciao.

Crew Chief Brad: What was the other picture? The gas tank? Was that-

Crew Chief Eric: We’re gonna get, we’re gonna get to that … the piece? We’re gonna get to

Crew Chief Brad: that.

Crew Chief Eric: Okay. We’re gonna get… All right, so I got one for Tanya, lost and found. I don’t know if she looked at this yet. Find of the day, one-of-a-kind Audi A4 Ute.

Sells at no reserve. Look at [01:06:00] this thing. Look at this. Yeah.

Crew Chief Brad: The Audi Ranchero.

Crew Chief Eric: Look at it. Yeah, look at that. Look at that. Look at that. Look how much mulch you could put in this thing.

Executive Producer Tania: I do need a mulch hauler. I

Crew Chief Brad: thought you were gonna buy the Amazon truck.

Crew Chief Eric: It’s a two-liter turbo though, so you gotta deal with that.

So you might not be able to haul that much mulch. But it is a manual though. It is a manual. Look at that.

Executive Producer Tania: How much did this sell for?

Crew Chief Brad: Bidding ended July 29th.

Crew Chief Eric: Sold for $7,300.

Executive Producer Tania: What?

Crew Chief Brad: That’s it? That is more than I thought it would.

Crew Chief Eric: Six-speed manual, all-wheel drive, Sonoma Green. Mm, yummy. This angle is the best though.

Look at this butt on this thing.

Executive Producer Tania: It is. Yeah. No.

Crew Chief Eric: Had this been in Australia, it would’ve sold for 7,300 Australian

Executive Producer Tania: dollars. Well, the problem is this wasn’t made by Audi. This is somebody who took an A4 and then- It’s

Crew Chief Eric: a myth conversion, like all the other ones are

Executive Producer Tania: The back is terrible. It has no shape that goes with the rest of it.

Crew Chief Eric: Well, what shape is a pickup [01:07:00] truck supposed to have?

Executive Producer Tania: I don’t know. More than

Crew Chief Eric: that. Look, it’s even got a slidey-out back window so you can get air, just like a Chevy S-10. Look at that.

Executive Producer Tania: I mean, that’s great. It’s, unfortunately, there’s a reason why Audi never made a pickup truck.

Crew Chief Eric: Well, they claimed they were going to, remember.

Let’s not forget, it couldn’t even fit a pair of golf clubs. You get all the best things here, except for the two-liter turbo. You get all-wheel drive, you get a manual, and you get a pickup truck. And it’s an Audi. It’s got the German engineering with American refinement. That was completely

Crew Chief Brad: ruined when they removed the back half of the car.

Crew Chief Eric: Is this OEM plus or minus? Like-

Crew Chief Brad: Mm. This is OEM’s special school bus.

Crew Chief Eric: All right, Brad, I found one for you. I’m j- gonna try to convince you. I don’t think you’re gonna take the bait. Look at that.

Executive Producer Tania: Probably not for sale anymore.

Crew Chief Eric: 2003 GTI VR6 in reflex silver with a six speed, [01:08:00] 4,500 bucks, with a n- fresher engine, 120,000 miles on the engine and drivetrain.

Crew Chief Brad: I’m sure this car is gonna make somebody very mildly happy for a time.

Crew Chief Eric: You wouldn’t go back? It’s

Crew Chief Brad: not for me.

Crew Chief Eric: GTI, especially with a VR6 in silver like Eddie, you’d stick with the Beetle?

Crew Chief Brad: I 100% would if I didn’t already have the Beetle, but as I told you before, I actually have grown very fond of the Beetle. I actually really enjoy driving it. I like the way it makes me feel, you know, and people can come at me in the comments, I don’t give a shit.

I really like the Beetle. I think GTIs for me, they have a special place in my heart, but I’m onto something different.

Crew Chief Eric: Would you put a VR6 in the Beetle?

Crew Chief Brad: I would not put a VR6 in my current Beetle unless the motor blew up, because that’s what I would… I could potentially buy a, a junked two liter Beetle and put a VR6 in that.

Crew Chief Eric: Nice. I mean, I love me some VR6, don’t get me wrong. I know. That was, that is a super clean car. With fat fives and e- I mean, that’s a [01:09:00] nice ride right there.

Crew Chief Brad: I, I’m sure it made somebody very happy.

Crew Chief Eric: Nice ride. And speaking of good deals, we missed out. We could’ve gone to Mecum Harrisburg this month and picked up this beauty, a 1964 Studebaker Hawk GT for the low, low price of $2,200.

And I got a quote from Andy Beckmann from the Studebaker National Museum, ’cause I sent him this post, and he said, “That’s a hellacious bargain. I knew the guy whose estate that was from.” I

Executive Producer Tania: mean, $2,200 is, like, nothing. I don’t know anything about those.

Crew Chief Eric: Is that a convertible? What is that top? W- what is going on there?

Is that, like, a skullet? Shaved in the front and party in the back? Like, what is going on with this roof?

Executive Producer Tania: Yeah, that two-tone effect.

Crew Chief Eric: It’s wild. Like, the door doesn’t align properly with… That roof has to come off.

Crew Chief Brad: Nope. I don’t think

Crew Chief Eric: so. I like the reverse rake, too. It sits down, like the back shocks are totally busted on it.

Crew Chief Brad: It’s squatting.

Crew Chief Eric: Got the same nose as that Bugatti we talked about earlier. I mean, look at that thing. [01:10:00] Studebaker. ’64 Studebaker. Mm. Whopping 170 horsepower on a good day. Well, let’s talk about seriously what could go wrong, formerly known as Lowered Expectations

Crew Chief Brad: Lowered Expectations. Ah I’m

Crew Chief Eric: gonna read the headline here. I can’t believe this is actually a thing, but then again, I’m always suspicious of the dealerships. Dealer allegedly cannibalized customer’s Kia to fix another.

Executive Producer Tania: That’s wild.

Crew Chief Eric: Right?

Executive Producer Tania: Wild.

Crew Chief Eric: I wonder how many times that has actually happened at a dealership. Why is it taking so long for my car to get fixed?

Did they take a bunch of sh- stuff off of it and put it on somebody else car? You know what I mean? Like, or is this just a fluke?

Executive Producer Tania: That would incense me.

Crew Chief Eric: To never go to the dealership?

Crew Chief Brad: So I’ve always wondered why they couldn’t do this with a car that was on their lot.

Crew Chief Eric: That makes more sense.

Crew Chief Brad: Doing it to somebody’s, somebody else’s car, that’s [01:11:00] theft.

Crew Chief Eric: But is it also indicative of the fact that there’s a supply chain problem? Like, if you have to cannibalize another car off the lot, that means you can’t get the parts in a reasonable amount of time, right?

Executive Producer Tania: But I’m sorry, is it a supply chain issue or is it a shitty sequencing issue of your dealership?

This woman came in for a tire blowout, had nothing to do with her engine. That should’ve been, like, an hour fix. Also, why she took it to a dealer, sh- should’ve taken it to a tire shop to have a tire replaced, but we’ll leave that aside. She should’ve been in and out. If you had some other car there that you’re backed up and you have that person bitching at you that their car’s not done, that’s not this lady’s problem.

Crew Chief Eric: Yeah.

Crew Chief Brad: This is theft. I think she can s- file not just a lawsuit, but she can call the police and file a police report for this, ’cause it’s, it’s theft.

Crew Chief Eric: Vandalism, right?

Crew Chief Brad: No, it’s theft, that they took something off her car to give to somebody else. They took her property- But then

Crew Chief Eric: they replaced it, didn’t they, later?

Crew Chief Brad: Did they? I don’t know. But here’s the

Executive Producer Tania: problem. They’re dismantling her engine. God knows what other things they took off of it, and the next thing you [01:12:00] know, she’s driving down the road, has some other issue. Who does she get to go blame? W- if you don’t know that somebody messed-

Crew Chief Eric: Right, and then they’re like, “Oh, you’re out of warranty-” Yeah

“so we can’t cover it,” blah, blah, blah, blah, blah, even though they’re the ones that broke the part in the first place.

Executive Producer Tania: Even worse, you go in for the tire change. They do all this tomfoolery. They do fuck something up, so you have to come back for a bigger repair. Fraud.

Crew Chief Eric: This next one.

Do you guys watch this? This goes back to what we were talking about car culture, and this sort of just bookended it for me. First of all, I wanna know what the word jawn means, and I’m not talking J-O-H-N or J-O-N. What is J-A-W-N? And I assume it’s pronounced like yawn, because Hooked on Phonics worked for me. So what is jawn?

Executive Producer Tania: I had to l- I had to wait to see how the, what the spelling of jawn was.

Crew Chief Eric: J-A-W-N.

Executive Producer Tania: So according to Urban Dictionary

Crew Chief Eric: We’ve had to use that a [01:13:00] lot today …

Executive Producer Tania: there’s a definition that goes all the way back to 2003, “A word used by Philly cats to describe anything and everything.”

Crew Chief Eric: So nothing and everything at the same time.

Executive Producer Tania: Mm-hmm. And in a, a more recent 2012 definition, also terms as a Philly slang for a person, place, or thing. “I can’t find that jawn anywhere.” “Do you see that movie? That jawn was horrible.” “Yeah, I got that same jawn from Macy’s.”

Crew Chief Eric: So it’s like joint or junk and all that stuff from back in the ’90s, right? It’s like

Executive Producer Tania: the same thing.

Yes, because the other definition does say that the New York cats, ooh, we’re talking cats, the New York folk interject with the word joint.

Crew Chief Eric: Yeah.

Executive Producer Tania: But it doesn’t quite, it doesn’t quite convey the same feeling as jawn.

Crew Chief Brad: And I wouldn’t be surprised if because it’s social media, you know that there are words that they can’t say because- Yeah

they’ll get flagged by the algorithm. Right. So they can’t say suicide, you can’t say killing. They probably can’t say joint because of drug affiliation. Right,

Crew Chief Eric: right, right.

Crew Chief Brad: And now that I’ve said those words, they’ll probably get us canceled, so.

Crew Chief Eric: Yeah, yeah, yeah. Well, that’s okay. Doesn’t matter.

Crew Chief Brad: Yeah. Who cares?

Crew Chief Eric: I [01:14:00] saw jawn anywhere.

Crew Chief Brad: I’ma go down to VIR and watch all that jawn going on.

Crew Chief Eric: Did you guys see this video? This is OEM Plus right here, and Brad, I also found this and I put it in here because you were going to do a wiper delete on Pumpkin Spice.

Crew Chief Brad: I did one on the Mark5.

Crew Chief Eric: Yeah, but you didn’t do it like these guys did it.

Crew Chief Brad: Yeah, I did. I did it on my R32. I mean, I haven’t watched this

Crew Chief Eric: whole thing yet. Yeah, but you didn’t do it like these guys did it with some Home Depot stuff that they had to put on a grinding wheel.

Crew Chief Brad: Oh, no, no, no, no, no, I actually bought the correct part. So he shatters his rear glass?

Crew Chief Eric: Oh, yeah.

Crew Chief Brad: Nice.

Crew Chief Eric: I think my favorite line, despite all the jawn, was he grinds this part to go put it on there to put on the delete, which probably wasn’t even for this car, and he’s like, “Flush as a toilet.”

And I’m like, “Skibidi.” I mean, he just shatters that glass.

Executive Producer Tania: But also, I’m sorry, don’t they sell rear wiper delete kits?

Crew Chief Eric: Yes, from ECS for, like, [01:15:00] 20 bucks. Like, come on, I mean- They

Executive Producer Tania: probably are super easy to install and don’t have this happen?

Crew Chief Eric: Designed for the car, for the glass.

Executive Producer Tania: Okay. All right.

Crew Chief Eric: I mean, this is literally the definition of square peg, round hole.

Executive Producer Tania: I like the one guy comments, “I used a black smooth plastic plug from Lowe’s. Little bit of silicone and it was flush and black like the tint.”

Crew Chief Eric: Yeah, and he probably spent the same amount as had he ordered the part from ECS, but that’s neither here to there.

Executive Producer Tania: Oh my God. It’s because you used the John to tighten the John onto the John.

Next time use a John instead of the John that you want John Johned.

Crew Chief Eric: There it is. This is why the comments are the best.

Crew Chief Brad: It’s like Smurf.

Crew Chief Eric: All right. Well, we basically covered rich people things earlier, but we do have two extra value meal options here, and I wanna bring up something that’s definitely going to end up on our Christmas list because, you know, i- it kind of is rich people things in the sense that if you have enough of these that you need a special storage unit for them- Then you might be doing some rich [01:16:00] people things.

I stumbled across, if this isn’t fake, Tex Racks, T-E-X Racks, and they’re specifically these, like, racks designed for your 1/64 scale Hot Wheels, Matchbox, et cetera. I think these are super cool. They might be a little janky. I wanna get one, but I, I don’t know if I trust the website. This is where I’ve reached in my life.

If I can’t buy it on Amazon, then it’s not legitimate. Or if the manufacturer doesn’t have a store on Amazon, they’re not legit, ’cause Amazon legitimizes all of their sellers, or at least they try to. Same with Walmart. So I’m like, “I don’t know.” But if somebody is willing to buy a Tex Rack and then let me know.

Crew Chief Brad: These jaws be janky.

Crew Chief Eric: That’s what I’m thinking. But I like the idea.

Crew Chief Brad: Why are they so expensive, too? They’re cloth. Did you watch the video of the woman putting the stuff in

Crew Chief Eric: place? I did. I did, and that’s why I’m like, how janky are these? But here’s the other thing. You look at this plastic, and you know this plastic.

This is the plastic that is like a Oreo [01:17:00] container. You know how thin the Oreo containers are? They almost crumple like a paper bag. Like, I’m feeling like this is the type of plastic that they’re using here.

Crew Chief Brad: I feel like you go to Target, you buy one of those fabric closet hanger wardrobes-

Crew Chief Eric: Yes …

Crew Chief Brad: and you make one yourself.

Why pay $200 for one?

Crew Chief Eric: For the plastic shelves, that’s what you’re paying for. If they don’t

Crew Chief Brad: fall out of- Just, just eat a bunch of Oreos-

Crew Chief Eric: Yeah, yeah, 100%, right … and then

Crew Chief Brad: use that.

Crew Chief Eric: Speaking of Subaru earlier, you know, Lego has its Icons series, and they have a bunch of different stuff that is actually created by people that are, like, over on Rebrickable, and they’ll post them up on Lego’s website.

And if it gets enough interest and enough votes, then Lego will take the design, look it over, Lego-fy it to make it easier and all that kind of stuff, you know, less rare parts and less unsanctioned building techniques, those kinds of things. But up on the docket, along with, you know, we’ve seen in the past the Ayrton Senna, the Nigel Mansell, and the Michael Schumacher racing set, somebody put together a [01:18:00] Colin McRae Subaru rally set.

This opens a door for a lot of things, ’cause they had, did already have the Audi rally car a while ago, but I think this is super cool. Like, I’d like to see this get made. So go out to lego.com and go vote for it. Right, Tanya?

Executive Producer Tania: Yeah.

Crew Chief Eric: I love the rally stage pit stop thing where you can take the car apart and set it up that way.

I think that’s really slick. It’s got a couple different ways you can position the car. Well, we have reached that part of the episode where we’re gonna go down south Florida.

Executive Producer Tania: We’re really gonna go north to New Jersey.

Crew Chief Eric: So I found this first one.

Executive Producer Tania: It’s brilliant.

Crew Chief Eric: Dad used to always say, “You gotta watch out for Roscoe and Buford hanging out in the bushes.” I mean, this takes it to a whole new level. Cop dressed as a shrub.[01:19:00]

Just looking at him, I mean, he looks like something out of Sesame Street.

Executive Producer Tania: He looks like Swamp Thing.

Crew Chief Eric: Yeah, but it’s the binoculars. It makes him… But he’s scruffy like Snuffleupagus. Maybe it’s George Russell in that suit. But anyway, cop dressed as a shrub wrote 74 tickets in six hours.

Executive Producer Tania: And this wasn’t for speeding people, this was to catch people distracted driving on their cell phone.

Oh. Doom scrolling while they’re driving. So I do not feel sorry for any of these 74 people.

Crew Chief Eric: But in order to catch these folks, you’re dressed as a bush. Do you walk out into the middle

Executive Producer Tania: of the road? No. So, so this was a coordinated effort amongst many officers. Oh. So he would radio down to somebody else, and then further down the road there was a group of officers that then were pulling the cars over.

Crew Chief Eric: ‘Cause I was gonna say, if you’re trying to catch distracted drivers and you’re dressed as a bush, there’s a high probability you’re gonna get hit. But that is clever. He blends in. I mean, if you are not paying attention, you will not see him, despite the fact that that is not a color [01:20:00] found in nature.

Executive Producer Tania: Well, some places in nature, but not in New Jersey.

Crew Chief Eric: All right. What’s this one about, Tanya?

Executive Producer Tania: I mean, this is pretty bad. You just gotta take the, the time to watch the video.

Crew Chief Eric: It’s only a minute.

Executive Producer Tania: But observe what’s happened.

Crew Chief Eric: Did he just stop in the middle of the road?

Executive Producer Tania: This person just stopped-

Crew Chief Eric: Why? …

Executive Producer Tania: on a highway. Oh,

Crew Chief Eric: oh, oh-

Executive Producer Tania: On an interstate …

Crew Chief Eric: oh, oh, oh. That semi-truck almost took the three of them out.

Geez Louise, nobody’s paying attention. There it is. Boom. There it is.

Executive Producer Tania: And then watch, just leaves.

Crew Chief Eric: Wow.

Executive Producer Tania: That was a close call, too.

Crew Chief Eric: And now they’ve got a car legitimately in the middle of the road, ’cause he got clobbered by the van.

Executive Producer Tania: Dead in the water.

Crew Chief Eric: Oh, the tow truck’s right there, but he’s like, “Nah, dog.” He’s like, “Nah, John.

I ain’t picking you up.”

Executive Producer Tania: I ain’t got time for that, John.

Crew Chief Eric: That’s terrible.

Executive Producer Tania: This happened in Ohio, Columbus, Ohio, and apparently they’re asking people to stop doing this. So this is not the first [01:21:00] time apparently. Kind of- What? It’s in the Ohio area. There were two other incidents on a different interstate where people apparently were just stopping.

Begs the question, are you trying to cause an accident?

Crew Chief Eric: I think they are. Uh, they have to be.

Executive Producer Tania: Like, is this the new TikTok game, that I’m just gonna stop on a highway and see what carnage can happen?

Crew Chief Eric: I mean, if Tide PODs won’t kill you, this definitely will.

Executive Producer Tania: Like, what excuse do you have if you’re lost? You pull over.

You don’t stop on a highway where presumably the speed limit, at a minimum, was 55. So you know people are going more than that.

Crew Chief Brad: Somebody did this to me earlier today on my way home from the grocery store. Speed limit’s 45, and they came to a complete stop at a green light.

Crew Chief Eric: What?

Crew Chief Brad: It d- it wasn’t like the light had just turned green.

The light was literally green the whole time I could see it from, like, way back, and the car literally was just driving up and came to a complete stop in the lane I was in.

Crew Chief Eric: Are you sure it was green? Because, you know, green and red, colorblind, it might’ve been red.

Crew Chief Brad: [01:22:00] You know, it was green to me, and I’m not colorblind.

It wasn’t like the gold and white or the blue and black dress. It was green. The fricking light was green.

Crew Chief Eric: So you say, allegedly. You could- What color is the stop sign again?

Crew Chief Brad: The stop sign is purple.

Crew Chief Eric: Oh, okay. That makes a lot of sense.

Crew Chief Brad: Like your face after I hit you with one.

Crew Chief Eric: All right. Well, we are going to Florida now, aren’t we, Tanya?

Executive Producer Tania: We do have a Florida one, and this one’s, not that you should be doing illegal street racing, but check your mirrors before you do so, so that the cop isn’t filming you from behind.

Crew Chief Eric: No. Oh my God.

Executive Producer Tania: So that when you go buck 20, he’s not already right there ready to pull you over ’cause he was behind you.

Crew Chief Eric: And then they all drive Ford Explorers now too, so it’s not like they’re super obvious or whatever.

Executive Producer Tania: The drivers didn’t recognize the SUV as a police vehicle.

Crew Chief Eric: Was he dressed as a bush or a shrub? I mean,

Executive Producer Tania: maybe.

Crew Chief Brad: How about you just don’t do [01:23:00] this, like, street race?

Executive Producer Tania: Also-

Crew Chief Brad: Or don’t do it when there’s cars around at least …

Crew Chief Eric: because it’s the excitement of the street racing glorified by Fast and the Furious. If you, see if you have to make the time to go to the drag strip, it’s not as exciting.

It’s not as, as impulsive as it is when you do it on the road and basically endanger all the civilians around you. Because it’s not like when we were growing up and there was a lot less traffic on the road. But still, go to the track, then you can really show off how OEM negative you are. No video, though.

That sucks.

Executive Producer Tania: No.

Crew Chief Eric: Also, I’m just gonna say #roofrails. You want to spot a police interceptor Explorer? They don’t have roof rails. Dun, dun, dun. Let’s go behind the pig ball to talk about America’s News I have an update, NASCAR Jason next time. Ready for this? Oh my

Executive Producer Tania: God, you’re following this more than I am.

Crew Chief Eric: It’s like Formula 1.

If I don’t stay in lockstep with this, then you’re just gonna give me a bunch of flack [01:24:00] that, you know, I didn’t know because I wasn’t paying attention or whatever. So I’m paying attention. Days of Thunder 2, I’m gonna put alleged, in air quotes, alleged plot points according to the Instagrams. I read that Cole Trickle is now a team owner, and he is facing the most challenging season yet for his team because his rival team is using AI and analytics to win with perfect race, and he doesn’t believe in that, and he’s gotta drive by feel.

So rather than supporting his younger drivers that drive for him on his NASCAR team, oh no, Tom Cruise, Mr. Mission Impossible, Cole Trickle, gonna jump back in to a NASCAR and show all these young whippersnappers how it’s done old school and win a championship. That is allegedly the plot of Days of Thunder 2.

Are you still gonna watch it?

Executive Producer Tania: Yes.

Crew Chief Brad: Can I just say?

Crew Chief Eric: Go for it.

Crew Chief Brad: I’ve seen this movie before.

Crew Chief Eric: Oh, really?

Crew Chief Brad: With this exact plot. It’s called-

Executive Producer Tania: F1?

Crew Chief Brad: It’s called Cars [01:25:00] 3.

Executive Producer Tania: I was gonna… That was the first thing I thought of actually.

Crew Chief Brad: Where Lightning McQueen is out there having a good old time with his buddies, and then the new Jackson Storm comes up with all the analytics and checking his tire pressures and, and everything, and he’s so much faster.

He’s going 201, 202, 203 miles an hour, and Lightning McQueen doubles down on the boomerness. He goes back to Doc’s Roots and starts trying to race on the street, on, uh, on the sand, on the dirt, and he goes to the beach, and he go- goes to the hollow and w- and loses a destruction derby, and he finds Smokey, Doc’s old coach.

Crew Chief Eric: Got it.

Executive Producer Tania: So if it’s going to follow the plot of Cars 3, then Cole Trickle is not gonna be successful in his endeavors, and he is gonna have to mentor a junior driver to win.

Crew Chief Eric: This is Tom Cruise. He doesn’t lose at anything. Tom Cruise doesn’t lose anything.

Crew Chief Brad: Tanya [01:26:00] brings up a great point. So yes, if they follow the Cars 3 formula, then she’s right.

Tom Cruise/Lightning McQueen finds out that he’s not fast enough even with the old tricks, so he tags in his new female driver, ’cause Cruise was played by a female character, a, a female voiceover, so I’m ass- I’m, I’m making the assumption that she’s female. She’s non-binary ’cause she’s a car, but I’m making the assumption that she’s female.

Have to tag in a female driver to, to win it all, and they’re gonna beat Jackson Storm.

Crew Chief Eric: There you go. Boom. Days of

Executive Producer Tania: Thunder 2. But this is also the plot of the F1 movie where- Yes … ancient 100-year-old Brad Pitt comes to show the young ones how it’s really done. And drive it old school.

Crew Chief Eric: Yes. It’s Formula 1 with NASCARs.

It’s gonna be terrible, and you’re still gonna watch it.

Crew Chief Brad: Because old culture is always better than new culture. Right, Eric?

Crew Chief Eric: Is that like the previous Subaru [01:27:00] is less ugly than the current Subaru when you compare them? Is that, is it, we’re going back to that?

Crew Chief Brad: This is old car culture is better than new car culture.

Crew Chief Eric: I guess so. Yeah, I mean, that’s was the theme of the episode, right? Is- Exactly … that’s exactly where we were.

Crew Chief Brad: And it all comes together.

Executive Producer Tania: Way to pull that thread.

Crew Chief Eric: Well done, sir. Well done. In other news, there is allegedly a America250 race.

Executive Producer Tania: It’s this weekend. Ah. You have not missed it yet. It’s on Sunday. I think practice, qualifying, whatever is probably Saturday.

But please do watch this video with the sound so you can hear Alex Palou taking a virtual ride around, or at least read what he’s saying. This is going to be the lamest- race where every corner is second gear, which we already know from the track map, because it’s straight, 90-degree turn, straight, 90-degree turn, straight, 90-degree turn, we’re done.

But wait till the end, because if this is truly what that looks like, there’s gonna be a massive wreck.

Crew Chief Eric: Yeah.

Executive Producer Tania: At pit lane.

Crew Chief Eric: Terrible.

Executive Producer Tania: You come into a 90-degree turn, and then, boom, there’s a wall that you have to [01:28:00] split. Immediately go into pit or don’t go into pit. I’m like, “That’s wild.”

Crew Chief Eric: Aside from the fact that this is obviously on iRacing and it’s, you know, a simulation, see, this is what iRacing gets wrong.

You know what’s missing here?

Crew Chief Brad: Pedestrians.

Crew Chief Eric: Well, all the blown water mains, the potholes, the metro buses abandoned on the side of the road. Like, this doesn’t look like DC. This could be anywhere. This road is too smooth. This is not what they’re gonna actually be racing on, ’cause they’re not gonna pave anything.

They haven’t spent any time doing… This looks like garbage. This is worse than Long Beach. This is worse than St. Pete. This is worse than any… Look at that thing at the end.

Executive Producer Tania: That turn is so dangerous to me. I’ll be interested to see how that actually looks- That’s awful … in real life.

Crew Chief Eric: I’m glad I’m going in the opposite direction that weekend.

Me

Crew Chief Brad: too.

Crew Chief Eric: That’s all I gotta say. All right. Well, our motorsports news is brought to you in part by Enduraverse, powered by Hyperdev, America’s premier endurance racing community. And be sure to check it out online where you can now join as a free member under the Explorer program, and that’s [01:29:00] free forever.

So be sure to check it out online and become a member at enduraverse.com. Well, let’s wrap up this episode with a quick trackside report. You asked Brad about that gas tank earlier. We found the problem.

Crew Chief Brad: It’s a Ford.

Crew Chief Eric: Well, yeah, that, yes, is part number one. But we might actually have a running car now. Long story short, after diagnosing all this stuff, replace this, change the sensor, do the thing, all the things we talked about the last time, we got down to the point where we traced it to two remaining sensors that were tied to the ECU that were giving this electrical fault that we had.

But where, oh where, would Ford put the sensors? Above the gas tank, up against the bulkhead, which requires you to drop the gas tank to replace said sensors. Took us a little bit to get the sensors, ’cause they had to be ordered and shipped and came from Lord knows where, because nobody has anything anymore.

It’s all just-in-time inventory. So put the sensors in, put it all back together, put the [01:30:00] gas tank back up, make sure it didn’t leak, blah, blah, blah, blah. And then what happened, Tanya?

Executive Producer Tania: But it ran

Crew Chief Eric: And how did it run?

Executive Producer Tania: As it should.

Crew Chief Eric: Oh, amazing. Amazing, after all that time and all that.

Crew Chief Brad: Yay.

Crew Chief Eric: And that was the first time Tanya drove it more than, I don’t know, like, 10 feet.

So what do we think?

Executive Producer Tania: I mean, it’s not gonna win any land speed records, but it’ll be a perfectly good momentum car.

Crew Chief Eric: She did a one wheel peel.

Crew Chief Brad: Compare it to a Mark 4 Volkswagen, the driving experience.

Executive Producer Tania: I don’t know, ’cause- ‘Cause

Crew Chief Brad: you’ve driven a f- almost fully track prepared Mark 4, and you’ve driven, now, a track prepared Focus.

Executive Producer Tania: Arguably, this isn’t a track prepared-

Crew Chief Eric: No …

Executive Producer Tania: car, right?

Crew Chief Eric: This is like a stage one

Executive Producer Tania: car. Suspension-wise, like, they’re gonna be night and day.

Crew Chief Brad: Well, true.

Executive Producer Tania: And, I mean, just driving it up the street, accelerating it, I don’t know.

Crew Chief Eric: It makes a whole bunch of noise. Especially from the air box.

Crew Chief Brad: I like noise.

Crew Chief Eric: Yeah, I’m excited.

So that means we just gotta hurry up and [01:31:00] wait now. There’s really nothing left to do other than just get our registration intact, get our tech forms. We were at the starting line the last time we tried to do this, so what’s next for the car? It’s sitting, it’s waiting, it’s, you know, we go out and start it and move it a little bit just to make sure it’s okay.

And Summit Point October, and then if we can survive Summit Point, I’m gonna s- try to stretch my wings a little bit and I wanna go to Road Atlanta in December. So hopefully we’ll get two races out of it this year. If not, we’ll get one race out of it next year, and we plan for starting next season in Mid-Ohio and then trying to do some of the races we didn’t get to do this year.

But we’re back on target, and unfortunately, after all these false starts, we’ll be celebrating a year of this project from when we said we were gonna do it by starting at Summit Point, because that’s when we went last year to kind of scope things out and do recon. Sucks that we didn’t get a little bit more experience, and then I am on the reserve list with the Studebaker team for the Gingerman race, but all of their drivers are committed, so they said unless somebody bows out, they don’t wanna do the penalty thing where you take an [01:32:00] extra driver and then, like, the max is four or something they were saying.

So I was like, “That’s fine.” So they got me on standby, and then they were talking about potentially doing Road America, which not everybody wants to do. And even in a slow car, I think Road America would be a blast. I’d be able to check that off my list. So hopefully some more endurance racing action. This year’s sort of a meh, but maybe next year we can really get into it.

Looking forward to it. And then you’re out of commission too, right, Brad?

Crew Chief Brad: Uh, yep. September 9th I’ll have my surgery, and then I will come out to support the team on, in October at Summit Point, but I won’t, I will be virtually useless, uh, with the broken wing, so.

Crew Chief Eric: What’s the heal time on that?

Crew Chief Brad: I’ll be in a, a sling for six weeks- Oh, wow

and then I can resume somewhat normal activity without any lifting or anything like that. And then four months-

Crew Chief Eric: Oh …

Crew Chief Brad: and then four months to kind of start doing light lifting, and then six months I should be kind of almost back to normal.

Crew Chief Eric: Wow. So New Jersey next year, right?

Crew Chief Brad: I, I’m definitely planning on racing next year.[01:33:00]

Crew Chief Eric: Very good. Very good.

Crew Chief Brad: You know, speaking about the track now, 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, carcollectorguy.net.

Executive Producer Tania: If you’re hearing us for the first time, be sure to jump back into our podcast catalog and check out other programs we offer, like The Ferrari Marketplace, The Motoring Historian, Voices of Endurance, Automotive History Live, 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 BreakFix VIP by visiting patreon.com/gtmotorsports.

And as always, thank you to our co-host and executive producer, mechanic and driver, and-

Crew Chief Eric: Team [01:34:00] principal …

Crew Chief Brad: team principal, yes, Tanya, and to all the fans, friends, and family who support Granturing Motorsports, as well as the Motoring Podcast Network. Without you, none of this would be possible. Outro. ‘

Crew Chief Eric: Cause we’re old now.

Crew Chief Brad: Sorry

Crew Chief Eric: Sorry. So wha- what is this sorry stuff?

Crew Chief Brad: I didn’t realize you guys were on time waiting for me. Tanya’s usually got technical issues. You don’t have a life, so you’re just sitting there doing a whole bunch of nothing.

Crew Chief Eric: Hey now. Hey now. Hey now.

Crew Chief Brad: Yeah, remember, we don’t do the intro anymore. We don’t, we don’t do the welcome to the drive-through, this is number blah, blah, blah, blah, blah, blah, blah.

Where we talk about all car adjacent automotive news. Drive-through window number one, number 71. Anyway. I

Crew Chief Eric: do things for the betterment of the automotive enthusiast community. That’s what I do.

Crew Chief Brad: Yep, yep, yep. AKA nothing.

Crew Chief Eric: You know, we could only all be so fortunate. [01:35:00] I

Executive Producer Tania: gotta look at it again. I don’t think I have access to it anymore, actually.

Crew Chief Brad: Yeah, I gotta subscribe, which I’m not gonna do.

Crew Chief Eric: Yeah, can’t get to the rest of the article either, so you’re gonna have to jog it from memory here. You just got, you got bamboozled by the Mazdas on the screen. That’s what it was. Um-

Crew Chief Brad: I swear I thought she had a sound machine, and she pushed a button and it was like-

like, um, apartment or something. I was like, what the… Everybody say hi to Catherine.

Crew Chief Eric: Yeah, yeah. Brad has a, has

Crew Chief Brad: a guest. Can’t really see you.

Executive Producer Tania: Hi.

Crew Chief Eric: Hello. Sorry about that. No

Crew Chief Brad: worries. That’s Louie too. Nice. Whoops.

Crew Chief Eric: Go for it.

Executive Producer Tania: I have other stuff in there that’s really good. What, what,

Crew Chief Eric: what

Executive Producer Tania: you got? Uh- What you got? No, no, not, not for, not for this podcast.

Not

Crew Chief Eric: safe for podcast. NSFP.

Crew Chief Brad: That’s our next segment, the more politically, you know, focused segment. Yeah, yeah,

Crew Chief Eric: yeah, yeah.

Crew Chief Brad: Where I put my tinfoil hat on and talk about the governments trying to control us all, and Tanya makes fun of Trump.

Executive Producer Tania: There

Crew Chief Eric: you go.[01:36:00]

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 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 Is Car Culture Dead?
  • 00:04:11 The “Flip Phone” Epiphany and the Collector Market Wealth Shift
  • 00:10:07 Low Tech Sweet Spot, 2008?
  • 00:15:16 Mustang Mach-4 Debate
  • 00:17:42 More Manuals On The Chopping Block
  • 00:21:13 Ferrari Luce $40 million sale?
  • 00:25:49 Luxury Market Confusion
  • 00:27:49 What Is OEM Plus?
  • 00:34:49 Oh Volkswagen…
  • 00:39:14 Bugatti Bolide on Steroids, aka Destrier
  • 00:41:16 Dodge Charger Sixpack?
  • 00:46:02 Maserati Wants a V8 Back
  • 00:51:33 GM vs Kei Cars
  • 00:53:12 GR Corolla Price Shock
  • 00:55:04 Subaru Remote Start Fees
  • 00:59:21 2026-2030: The Cars Worth Waiting For?
  • 01:02:43 Scout Skepticism
  • 01:04:43 Lost And Found
  • 01:10:05 Dealer Parts Cannibalism
  • 01:12:29 Rear Wiper Delete Fail, Jawn
  • 01:15:39 Hot Wheels Storage Racks
  • 01:17:25 Lego Subaru Rally Car
  • 01:18:23 Florida Man!
  • 01:23:42 Days Of Thunder 2 Rumors
  • 01:27:17 DC “American 250” Street Race Preview
  • 01:29:05 Trackside Report: The Focus Fix!
  • 01:33:01 Wrap Up, Sponsor Plugs and Post Outro Banter

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What do you think? Cool or Uncool? Cast your vote for 80+ cars on our uncool wall!

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The Man Who Knew Shelby (Part 2)

The Cobra with surrealistic paint job is a famous  car that was owned by the real life inspiration for the Beatles song A Day in the Life. he owner was  friend of the Beatles. “A Day in the Life” was primarily inspired by newspaper reports read by John Lennon in early 1967, most notably the tragic car crash death of socialite and Guinness heir Tara Browne. Lennon used these stories to craft a narrative reflecting on death, apathy, and suburban life, with additional input from Paul McCartney and contemporary literature   he was on the way to an unveiling of the car when he crashed in another car and died and they wrote the song in commemoration of him.

Photo by Wallace Wyss
The Super Snake was one of two twin Paxton supercharged ones with automatic trans. One was sold to Bill  Cosy who returned it but not until he made a comedy album about owning it. The other was sold to a guy who got a ticket, and in anger as he left the citation site, he floored it, inadvertently drove off a cliff and died.
  • Artwork by Wallace Wyss
  • Artwork by Wallace Wyss
  • Artwork by Wallace Wyss
  • Artwork by Wallace Wyss
  • Artwork by Wallace Wyss
  • Artwork by Wallace Wyss
  • Artwork by Wallace Wyss
  • Artwork by Wallace Wyss
In the mid-’50s while still a regional racer,  Shelby was working on the ranch one day and a race was coming up. In a hurry to get to the track, he still wore his chicken overalls. He lost the race but because of the overalls. got more publicity and decided from then on he would wear his farmer overalls. He even wore them at Le Mans in 1959 when he won the race overall for Aston Martin.

(The Blue Cobra, Above) Ken Miles, a British mechanic recruited by Shelby early on in Cobra history, piloted the flip top (fenders lifted with hood) a leaf spring big block, at Sebring but managed to hit the only tree on the course.

Photo courtesy Wallace Wyss

His back up driver tried to race it after it was hastily repaired but it did not finish.

Photo courtesy Wallace Wyss

EDITORS NOTE: Author Wallace Wyss, once a automotive historian, has now segued to being a fine art portrait artist, exclusively of classic cars. He invites galleries to write if they want to try out a sample of his automotive artwork on their walls Wyss can be reached at photojournalistpro2@gmail.com

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Grand Opera to Grand Prix: How Spectacle Shapes Culture, Identity, and the Future of Motorsports

In the late 19th century, cities built opera houses the way nations today build Formula 1 circuits — as monuments. An opera house wasn’t just a venue for music; it was a declaration of cultural sophistication, a place where elites gathered to see and be seen, and a symbol that a city had arrived on the world stage.

Fast‑forward to the 21st century, and the Formula 1 Grand Prix has inherited that mantle. When a country hosts a race, it’s not merely staging a sporting event. It’s making a statement about global presence, ambition, and identity. The fashionable, the famous, and the aspirational gather under the spotlight, just as they once did beneath chandeliers and velvet curtains.

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This parallel — between grand opera and Grand Prix — is the focus of a fascinating cultural analysis by Skip McGoun, emeritus professor of finance at Bucknell University and longtime scholar of automotive culture. His argument is simple but profound: both opera and Formula 1 have served as stages for prestige, identity, and social display. And both may be approaching their cultural “peak.”

Bio

Skip McGoun
Skip McGoun is the William H. Dunkak Emeritus Professor of Finance at Bucknell University and was a long-term Visiting Professor at the University of Ljubljana in Slovenia and at the University of Donja Gorija in Montenegro. He has presented and published on the history and culture of finance as well as automobile history and culture and served as Area Chair of the Vehicle Culture Section of the Popular Culture Association.

Synopsis

This History of Motorsports episode features Skip McGoun, emeritus finance professor at Bucknell University, comparing Grand Opera and Formula 1 Grands Prix as expensive spectacles that persist because they serve social functions beyond entertainment: creating a “there there” (brand identity for places) and providing venues to “see and be seen.” McGoun traces opera’s shift from royal courts to civic opera houses used to signal wealth and cultural sophistication, noting architectural features designed for social display. He argues F1 has similarly become an internationally recognized marker of wealth and technological sophistication, increasingly used by countries—especially from Hungary (1986) and Malaysia (1999) onward—for global rebranding, and he points to luxury/fashion and technology sponsorships as evidence of elite audiences. He closes by asking whether F1 has reached “peak Formula 1,” paralleling opera’s post-peak contraction, followed by audience discussion on rebranding, economics, and media change.

Follow along using the Slide Deck from this Presentation

Transcript

Crew Chief Brad: [00:00:00] Brake Fix’s History of Motorsports series is brought to you in part by the International Motor Racing Research Center, as well as the Society of Automotive Historians, the Watkins Glen Area Chamber of Commerce, and the Argettsinger family.

Crew Chief Eric: In the late 19th century, cities built opera houses the way nations today build Grand Prix circuits, as monuments.

Back then, an opera house wasn’t just a place for music, it was a declaration of cultural sophistication, a stage where the elite could see and be seen, and a symbol that a city had arrived. Fast-forward to the late 20th and early 21st centuries, and that symbolic mantle has shifted. Today, a Formula 1 Grand Prix carries the same weight.

When a country hosts a race, it’s not just about speed. It’s a statement of global presence, ambition, and identity, and once again, a place where the fashionable, the famous, and the aspiring gather under the spotlight. So what does this transformation tell us? What can the [00:01:00] evolution from grand opera to Grand Prix reveal about the future of motor racing and the cultures that build their identities around it?

To explore those questions, we’re joined by someone uniquely equipped to connect these worlds. Skip McGown, emeritus professor of finance at Bucknell University and a longtime visiting professor across Europe, is a scholar who has spent his career examining the history and culture of both finance and the automobile.

He’s presented, published, and even chaired the Vehicle Culture section of the Popular Culture Association. And today, he helps us unpack the symbolism behind the spectacle and what it might mean for the road ahead.

Skip McGoun: Okay, well, speaking of cueing the music, I’m really glad that this is an academic conference as opposed to a music festival. First of all, it would mean that there are a lot more people in the audience now than there would be under those circumstances. And second, starting out on a Saturday morning at a music [00:02:00] festival would probably mean I’m the least desirable act on the program.

The other thing is, looking at this title, you know, you might think that Mark and I had a contest over who could come up with the least likely connection to motorsports. This isn’t true. This was purely by accident. Take a look at these images, and what I wanted to do was try to come up with what I felt were maybe the sorts of mental images that people might have for grand opera and Grand Prix.

Looking at grand opera, we have an opera diva wearing what I suppose now we would consider a kind of absurd costume. And looking at that image, you can also hear her singing becoming progressively louder until she finally dies at the end of the performance. On the other hand, we have the driver. And I was listening [00:03:00] to Paul’s presentation yesterday, and the way he was describing, I think it was the futurist ideal of the Italian man.

You know, could certainly imagine the qualities in our heads when we see an image like that. And not only that, it is connected, I think, to Mark’s presentation because that could be the astronaut image. For that matter, you could probably put a cigarette in his mouth, a hat on his head, and he could be the Marlboro Man.

Okay, so this is, this is a very familiar image to Americans. So we have one image that’s very, very positive, very, very attractive. We have another image that I wouldn’t s- necessarily say is a negative image. It’s, it’s also kind of a, almost a disparaging image, not something that we really can identify with.

It’s a very different mental images of grand opera and Grand Prix. But I think there are some similarities as well. First of all, when you consider opera, I [00:04:00] would expect that a lot of people, if not most people’s image of opera, is something that people don’t attend unless they’re otherwise compelled to do so.

Sadly, this I don’t think is unusual for cultural events. Now, I don’t know what the n- numbers are for opera, but at one point I did read 90% of the people who are visiting an art museum are not there for the art. They’re there for some other reason. Opera is really not most people’s idea of entertainment.

I’d also like to make a statement here that might be considered somewhat heretical in this context. But if I had to imagine a less spectator-friendly event than a Grand Prix, it would be difficult. But we have one event that’s [00:05:00] really avoided by a lot of people, and we have another event that I would argue is not necessarily at the apex of entertainment value.

So that’s one similarity. Second similarity is that putting on a Grand Prix or a grand opera is ferociously expensive. And I believe that neither of these could possibly cover all of the costs of the event simply on the basis of entrance fees. Even if you’re filling the stands or filling the, uh, auditorium, it’s not gonna pay for everything.

So if you’re looking at these two, what I would say is that society or the economy or whatever you call it, is expending considerable resources Against the amount of entertainment returned. So the conclusion from that is that somehow both of these [00:06:00] are supplying something that society wants. In effect, they’re performing some sort of social role, satisfying some sort of need society has in order to justify really kind of expending more resources than the entertainment that the attendees are getting in return.

So what are those two needs? The first need is kind of associated with place, is places have to or want to have a there there. Now, the phrase there there comes from Gertrude Stein, who in her autobiography had returned to Oakland, where she grew up, and was disappointed to discover that there was no there there.

And since then, that phrase has just begun to pop up all over the place. The way I like to think of it is for there to be a there there, it’s kind of like a brand image. A place has a brand image, and places want to create a there [00:07:00] there. I would assume this is… And that’s the one social role that I believe Grand Prix and Grand Opera both satisfy.

The second one is the idea of there there. Obviously, okay, I’m playing on the words. People want to associate with people they want to associate with. There has to be somewhere for people to hang out with the right kind of people. And I believe that, again, Grand Opera and Grand Prix both provide us with that sort of venue.

We want to go to those because they are there. Who’s they are there? People we want to associate with, people we want to be like, people who want to like us. Now, what I’m going to do is first look at Grand Opera. Does it satisfy those two social needs in order, again, to [00:08:00] justify the resources that are being expended in order to put it on?

Opera got its start in royal courts for obvious reasons. It was very expensive, again, to put on even back then. It was a way for royalty display its wealth. It was a way to display its culture. Okay, opera is, I think, especially interesting in that it combines music with art, with literature. And of course, the courts had to employ Or hire experts in all of those areas.

But in some cases, they actually participated in the operas themselves. So you had this royal beginning. What happened over a period of time was commerce increased. Merchants became wealthy in trade. So the wealth wasn’t necessarily concentrated in the aristocracy anymore, it was getting diffused out more into the [00:09:00] population.

You know, so how do these newly wealthy merchants display their wealth? And how do these newly wealthy merchants display the significance of the place where they’re living, you know, to kinda give their city a there there? They built opera houses. So opera had this historical connection with royalty, so when other common folk became wealthy, this was how they displayed their wealth.

So this was a way of saying, “Our city is someplace. There’s a there there.” Now, this is one of the earliest civic opera houses that is still there. This is the San Carlo in Naples. Probably, though, the most famous is, uh, Charles Garnier’s Paris Opera. Honestly, it’s… I don’t know about you, I cannot look at that image without thinking wealth and culture.

This was kind of the epitome of creating a there there. And if you [00:10:00] look at really cities all over the world, and even smaller, most of the cities in Europe, like if you look at the opera houses, one in Budapest, there’s one in Vienna, there’s one in Frankfurt. Cities built these really grand opera houses.

Other cities weren’t quite so wealthy. They constructed opera houses as well. Opera was a way to say, “There’s a there here.” Okay? And that there is associated with wealth and culture. So why is this a good thing? Well, it kind of reflects on the people who live there. You know, people are proud to say, “I’m from Naples,” or, “I’m from Paris.”

And it, of course, reflects on the people who might come there. There’s ways of monetizing that brand image. Are we still doing this? Yep. This is obviously one of the more famous uses of architecture in order for there to be a there there. I mean, this has become Sydney, no question. And it’s still being [00:11:00] done.

Relatively recently, much more recently than this, Oslo built an incredible new opera house. Hamburg built the Elbphilharmonie. So opera is still a way to kind of create a there there, a brand image that has the right connotations. Of course, when you have a grand opera house, you attract celebrities. And there were international celebrities, performers in the past, and international celebrity performance now.

You had celebrity conductors in the past, you have celebrity conductors now. The idea is there’s a there there, and that brand image is created, at least in part, with an opera house. Now, I want you to take a close look at this. This is, this is a drawing or an illustration of one of the earliest grand opera houses, and there are three things that I’d like to point out.

First of all, you notice the tiered boxes, and you notice how they’re shaped. They’re [00:12:00] clearly designed with a better view of the people across the way than whatever’s going on onstage. This was an excellent way to see and be seen. But at the same time, you notice there are floor-to-ceiling partitions between each of these boxes.

And the idea was that people would go to the opera, to the same performance night after night. Because the reason wasn’t there to be entertained by what’s going on onstage, it was to be entertained by what was going on everywhere else. People would go, and they would have dinner there. I think there were facilities behind the boxes for preparing meals.

People would sit in the boxes and read the newspapers. One thing that you can’t really see all that well is that these boxes had curtains so that there were other forms of entertainment that could be indulged in in the boxes as well. Now, the other thing that’s a little unusual about this is notice there are no seats here in the pit, because the pit was [00:13:00] an area where people could wander around, you know, where they could meet their friends, they could gossip, and no one was concerned that all of that talk was somehow interfering with the pleasure of the performance, because that really wasn’t the point of it.

The point was to see and be seen. And of course, there was kind of a presumption that at least right people of a certain sort were there, because you couldn’t just walk in off the street, okay? So these had to be people that were able to afford the entrance fee, the price of the ticket. Let’s take a look at the Paris Opera House.

You notice a couple of differences. First of all, the partitions between the boxes are not floor to ceiling, so there’s less privacy than there was. You’ll notice that there are seats in the pit, you know, so there wasn’t this wandering crowd during the performance. But of course, we still had boxes facing boxes.

And this very clearly shows the traditional [00:14:00] horseshoe shape, you know, of an auditorium, which obviously is much more effective at looking across at people on the other side and looking across at the, um, VIPs who had boxes at the very end, as opposed to watching what was going on on the stage Notice here that the area for circulation is no longer available.

What fascinates me about the Paris Opera House is that if you look at the plan, it’s in three pieces of the same size. One piece is the stage and the backstage area, one piece is the auditorium, and the next piece is the entrance lobby, which is as large as the auditorium. And you can see from the design that this is an excellent place for people to display themselves, to walk around, to see and be seen.

And as much space was devoted to this as was devoted to the [00:15:00] auditorium. That hasn’t necessarily changed. This is from the inside of the Sydney Opera House, and we still have seating, again, on the sides facing across, and very open. And you don’t have quite so large a lobby, but you do have a very fine restaurant and bar.

So if you’re interested in seeing and being seen, this is the place here to do it. Opera can be used in more dramatic ways to create a there there. Okay, this is the Roman Colosseum in Verona, where they stage a performance of Nabucco. Probably not the best place to hear the music, but obviously a great place to be able to tell people that you were there.

I don’t know if you’re familiar with this. This is from the Bregenz Opera Festival, where the extraordinarily elaborate stage settings are constructed in Lake Constance. Again, is this the [00:16:00] best place to hear music? Is there a best place to see performances? Although they’re, they’re shown on screens, so you can watch it that way.

But it’s to be there, and certainly put Bregenz on the map. Bregenz also, I think, has an excellent contemporary arts museum. But this is Bregenz. The Colosseum with the performance of Nabucco is Verona. And not only is it a great place to see and be seen, it’s a great place to kill and be killed. I, I don’t know if you remember the James Bond film that opened at the Bregenz Festival, where a number of people were shot, one of whom was not James Bond.

What I’m trying to illustrate here is that grand opera was, and I believe is still, an internationally recognized expression of wealth and cultural sophistication. It creates a there there for places, and it creates a, an appropriate venue [00:17:00] to see and be seen by the right people. Now, let’s take a look at Grand Prix.

What I’m going to try to do is make the argument that Grand Prix is an internationally recognized expression of wealth and, in this case, technological sophistication It wasn’t always that, but I’d like to make the case that within the last, I don’t know, 30, 40 years, it has become that. So we’re gonna look first at whether or not there is a there there, where the Grand Prix kind of create this brand image, now, in this case, not for cities, but for countries.

This is a little difficult, and, you know, you can disagree with how I’ve gone about this. But what I did was I looked at the dates when countries first hosted a Grand Prix. So these were the charter members at the first one in 1950. What we’re looking for is, is there some [00:18:00] evidence that holding the Grand Prix was kind of a deliberate attempt at brand image management, either image creation or maybe a rebranding to augment or alter the image?

First of all, I would argue that every one of these has a story as to how it ended up on this list when it did. All you had to do is attend the film on Thursday night, you know, to see the story of how racing came to Watkins Glen. So I don’t know all of these stories. I don’t know how many of these stories have even been documented, and I suspect a lot of what went on is not something that anyone would ever want to have documented.

But this is the original batch, and there’s nothing on there that’s surprising. These were all European countries that had long [00:19:00] histories of racing, okay? They had established venues for it. No surprise. Now, let’s look at the rest of the 1950s. Again, you know, a number of familiar countries. They did expand into the United States, but again, large market, history of racing, large automobile industry.

Goes without saying, it wasn’t trying to rebrand the United States. The interesting one to me is Argentina. This, I think, was a consequence of Fangio’s fame at the time. So that was really the motivation to create a Grand Prix in Argentina in the early 1950s. Again, not having anything to do with the country itself.

1960s, not necessarily any surprises, although, uh, you know, South Africa, we’re talking about the essentially European part of South Africa. We’re not talking about the much broader population there. And again, a history of racing. This, to me, is where it starts to get [00:20:00] interesting. Brazil, kind of following on with the fame of a driver, in this case Emerson Fittipaldi.

Okay, so they can kind of capitalize on that by holding a Grand Prix there. The one I find most interesting, now sincerely, you can disagree with any of these. As I said, I have no idea what the real story was behind. I’m only trying to kind of infer it from what happened where, when. Japan, I think, would be interested in rebranding itself.

You know, it didn’t want to be seen as this just tradition-bound culture. It wanted to be seen as an industrial power, particularly in the area of automobiles. You know, this was when they were, you know, starting in the process of making big pushes to export their automobiles abroad, you know, including to the United States.

So I would argue that in this case, this may be one of the first examples we’ve seen of a Grand Prix’s effort to kind of rebrand a [00:21:00] place. Moving on to the ’80s, I find a couple of these curious. San Marino, that’s pretty small. And of course, the race was not held in San Marino. It was held in Italy. I think Italy wanted to have another Grand Prix, but at the time the tradition was to label Grand Prix with the name of a country.

So San Marino steps up to the plate and puts their name on another Grand Prix that’s being held in Italy. So th-this was not an effort to rebrand or create any sort of image for San Marino. Europe, a little odd. Europe isn’t a country. At the same time that this was going on, Europe was creating Europe, the European community, you know, subsequently to become the European Union.

So a way of enhancing that image of Europe as a unit, you create a European Grand Prix, which was actually held at the Nürburgring, which hadn’t [00:22:00] had a Grand Prix since 1976. This was kind of a way to, for Germany to take another bite at the apple. The real rebrand here was Hungary. Even though I was alive and reasonably cognizant of what was going on in the world in 1986, I’m not sure people had much of an image of Hungary.

Hungary? Um, I don’t know. So Hungary’s trying to kind of take a step into the international spotlight by hosting a Grand Prix. I think that was probably the first step in using Formula 1 as creating a there there. Japan was kind of trying to create the idea of a different there there. This is like a there there from ground zero.

1990s, Pacific Grand Prix was held in Japan. Again, I’ve got to wonder if Japan wanted to, uh, have another race, but this time they called it the Pacific Grand Prix. Luxembourg, this race was [00:23:00] also held on the Nür– at the Nürburgring. You tell me, was it- A way to hold another race in Germany and Luxembourg tagged along, or was it a way to, for Luxembourg to kinda take a step up and maybe get a different image other than a place to park your money and then tap into Germany to actually hold the race?

I don’t know. Again, Malaysia, I believe, is kind of similar to the idea of Hungary. Malaysia wants to begin to appear on the world stage, and they do that with a Grand Prix. After that, it all broke loose. We have at least two of these countries that have been, are of course, very familiar to Americans, but not with images in America that they would’ve wanted.

So this was, I would say, a rebrand. I suspect most Americans had heard of Singapore, but had no idea where it was. Bahrain and Abu Dhabi would’ve been very challenging. So here, clearly for, I think all five cases, it’s a [00:24:00] way of saying there’s a there there, or at least the kind of there we would prefer you to think of.

Same here. Three countries that I think would want a different image. Russia clearly would’ve wanted a better image than was circulating in the United States. India would kind of want a certain better image than was circulating in the United States. Korea, again, was looking to sell a lot of cars, and this again, would be a way of associating the automobile with Korea.

Azerbaijan, I’m willing to bet that there were very few Americans that could put their hand on a world map and cover Azerbaijan. I’m not so sure too many Americans would’ve known how to pronounce Azerbaijan. Clearly, they’re looking to step up. And finally, in the 2020s, again, Saudi Arabia, not a very good image in the United States, as we are seeing in the news.

But by holding a Grand Prix, well, you [00:25:00] know, maybe people will look at it differently. Qatar again. Rwanda. You know, just as I was preparing this presentation, I’m reading a news story that, you know, Rwanda’s in discussions with the FIA to hold a Grand Prix there. I think that even beats Azerbaijan in terms of rebranding.

I would argue that like we saw with grand opera being used to create a brand image for cities, F1 now is being used to create a image for countries. I think it started with Hungary in 1986, and then once Malaysia in 1999, then the dam broke. It was all a process of creating or altering, rebranding a country.

The expense of putting these Grand Prix on was covered by the benefits that these countries hoped to obtain. By holding the [00:26:00] event. And of course, this is way beyond entertainment. It was a much different motivation, which was why they felt it was worth doing. Again, has a Grand Prix become a place to see and be seen?

Okay, so this is a tough one. So I’m trying to figure out a way to kinda get at this without trying to look at celebrity photos of Grand Prix to see who was there. So what I figured was that if companies are advertising luxury, fashion, and technology, they must expect that there are people in the audience, or spectators, who have an interest in luxury, fashion, and technology.

In other words, those are the they, as in they’re there. I presented on this topic a, a couple conferences ago. You know, and when it started out, it was all automotive products, [00:27:00] tobacco products, alcohol products. So I think when these items began to be advertised, it was a signal that the firms doing the advertising suspected that those sorts of people would be out there in the stands.

They would be there. Keeping in mind, too, this again, a very, very complicated issue, and not one that’s necessarily, you can necessarily get at with this approach. But I thought that a lot of reason that companies advertise is not necessarily to reach the people in the stands. They’re to get the access so that they can take their best clients and customers, and they can go to those back areas and get close to the stars.

Same result. So let’s take a look. First thing I notice, and what I’ve really– what I’ve done here is gotten all of the examples of a [00:28:00] certain product category that I could find. It, it’s hard to be too specific about what was accomplished because notice, you have some ads that are very large and clearly visible from the stands, some that may be marginally visible, or some that hard to imagine someone there actually seeing this.

You know, in a lot of cases, I’m thinking the, the smaller ads here are associated with kind of a barter deal. Longines provides timing, equipment, and services to, I think in this case, a longtime sponsor of Ferrari. And in exchange, Ferrari puts the name on the car. Not necessarily so the public can see it, but it’s there They’re a sponsor.

So this was really one of the first uses of luxury fashion technology sponsorships. And I can’t help thinking that a lot of those had something to do [00:29:00] with providing services to the teams. This, I think, was a major, major change for a sportswear company to actually become a title sponsor. It’s very significant, very innovative.

Again, the idea being that there were people out there who were interested in clothing and what they were wearing. Obviously, I wouldn’t have kind of fallen into that category. The only r-real fashion advertiser here was Ted Lapidus, which actually was in the same year as Benetton. And there are all sorts of backstories to these that, you know, I stumbled across.

Kilimato was a cosmetics company, and I believe had some sort of either business or personal affiliation with the team. And in exchange for, you know, providing a lot of money to the team, painted the car. This one’s very fascinating. Red Bull decides to branch out into [00:30:00] clothing, so they rename Toro Rosso to AlphaTauri and paint the car.

I don’t know that that’s ever happened before and whether it’ll ever happen again, but that’s how we got a sportswear company as a title sponsor. There were a lot more examples of wearables that really weren’t title sponsors. You know, they just appeared. I recognize a lot of those. I don’t recognize– I think for the most part, it did kind of fall under the sportswear category.

You know, we’re really not talking about high fashion here. Although I think either Ellesse or Annabelle. I had to look up a lot of these. More upscale. You know, but the names that are familiar, Nordica, Diesel, Tommy Hilfiger, Russell Athletic, are sportswear. Notice that some of the names are relatively large, some of them are smaller.

I was just excited to learn that my new glasses are Carrera. [00:31:00] That was not intentional, okay? Somehow I managed to avoid fashion altogether, but the person who was fitting my glasses said, “These look pretty good on you.” So I said, “Okay.” Now, my old glasses, I had someone tell me that I looked like an Italian philosopher, especially when I was holding an espresso.

That, that like made my day. So I was kinda shooting for a similar look, okay? Now, take a look at the dates They all seem, you know, they, they all seem to kind of, you know, fill… In the ’80s and ’90s was when this sort of sponsorship peaked. Then technology began to emerge. So what we had was advertising by companies that I’ve, I’ve labeled m- mainframe computing, computer services from a centralized location.

And notice that these were pre- pretty large. Then not surprisingly, following up on that, we had personal computer advertising. You know, and I’m not [00:32:00] lingering on these slides, and it’s like kind of Where’s Waldo is trying to, to find where the ad is somewhere on the car. Electronic components, computer-related services, other business services.

Notice, you know, we’re no longer in the automotive products, tobacco, and alcohol era. So this is how I would sum it up. The idea that this was a place to see and be seen, to me, I think started to emerge in the, the ’80s, and then in terms of wearables on into the ’90s. And then the association with the technological sophistication started out again around the same time, but then really exploded into the current century.

Now, early in my career, I would be talking with a colleague. His comment to me was always along the lines of, “This is a kind of an interesting idea, McGoun. So what? Why should anyone care about this? Why should it matter? What can we do with it?” Can’t get up here and say, [00:33:00] “Well, yeah, you know, I shown this cool connection between grand opera and Grand Prix.

Any questions? So what?” I would argue that peak opera occurred in nineteenth century Italy. This is when opera was its most popular, the stars were the biggest, the tunes were the most familiar, and I would say, sadly, this has remained the core of the opera, uh, repertoire ever since. You know, there are others, but this is what shows up in the Roman Colosseum.

This is what shows up at Bregenz, Peak Opera. What happened? How did kind of opera fall off its peak? Remember, opera is entertainment, and still is entertainment, but at the same time, it was the place to create a there there for a city, and it was the place to go and see and be seen by the right people.

Okay, this is the Festspielhaus in [00:34:00] Bayreuth, designed by Wagner. And one thing that happened, and I think kind of Wagner was certainly instrumental in it, that the opera became less entertaining. You know, you couldn’t hum the tunes anymore, and it became more esoteric. But looking at the design of this, first, what do you notice?

There are no side boxes Wagner said, “Look, you go to the opera to hear my music and watch the activity on the stage. You don’t go for any other reason.” Okay? Seeing and be seen just kinda fell off the map in terms of opera or, you know, film. The other interesting thing about this is, what’s interesting about the pit here?

There are no aisles. There’s an aisle on one side, there’s an aisle on the other side. So if you didn’t have one of the world’s strongest bladders, you are going to see and be seen in a not very nice way. Okay? So you’re trying to get from here all the way around to the [00:35:00] end. So his idea was, “Look, no one interrupts my performances.

You sit there, you watch it, you pay attention. That’s it.” But as we saw, that really wasn’t the point of opera. It wasn’t just entertainment. Opera is still alive. It’s alive with new venues. Okay, the open-air opera in Santa Fe. Glyndebourne, again, still a place to see and be seen, but not with the cachet that it had before.

It still creates a there there. Again, for Santa Fe, it’s more than a place to get an authentic burrito. And what could be a better way to see and be seen than here on the lawn at Glyndebourne? We’re talking serious cachet here. So those old rationales are still in play, and they are trying to introduce contemporary themes.

This is John Adams’s Doctor Atomic. This is Turnage’s [00:36:00] Anna Nicole. You know, I, I was reading the New York Times this morning, and they’re talking about another new opera that’s being performed. But these operas just, they don’t enter the regular repertoire. Okay? It’s really kind of frozen in time. Now, Formula 1, it doesn’t get any more associated with fashion than this.

You know, LVMH is the largest, wealthiest fashion conglomerate in the world. Arnault is one of the wealthiest people in the world. If there was ever any doubt about the connection between Formula 1 Grand Prix and fashion, luxury, there you go. I just saw that article in the Financial Time. Now, my understanding from the article is what Apple’s interested in doing is acquiring content for their virtual reality equipment.

That’s the connection here, so further cementing the idea of an association between Grand Prix and technology. So [00:37:00] here’s the question I’ll leave you with. Have we now reached peak Formula 1? Looking back over what happened to opera, in retrospect, we can look back and we can see that there was a peak opera where things more or less got frozen.

And the relevance of grand opera and its effectiveness at performing those necessary social functions didn’t disappear. It’s still there, and it’s still entertaining, but it shrunk. And Formula 1 now is riding the crest. So have we reached peak Formula 1 in satisfying those social needs? If not, how much longer does it have to go?

Where can it go? Or do we already see signs of atrophy and something else out there emerging to take over? Thank you very much.[00:38:00]

Kip Zieter: Skip, I’m wondering, as a, as a NASCAR fan, to go back to the opera houses, would my parallel be the Grand Ole Opry? Sorry, just kidding. Anyway. Anyway, that was, that was terrific. We have people with microphones in the audience. Does anyone have questions or comments for Skip?

Skip McGoun: I really want to reply to that.

You know, that’s a really excellent observation. And as I was going through here, I realized that there are other, I don’t know what I should call it, institutions, events, whatever, that also perform these functions. It’s just that at the times, these had really reached kind of the apex of, of visibility. But no, I agree, I agree completely.

Trevor Roberts: Uh, before I hand off the mic to everybody else, uh, I finally get to play in my wheelhouse as a musician here. It’s interesting to look at the sliding scales of both of these, and it’s a great comparison and a great talk. But I would say they’ve kind of gone diametrically to each other, where opera at one point in time, again, [00:39:00] like it was the seen and be seen.

It was the, “Oh, we hope people will pay attention.” And now, again, like you were talking about, you kind of gloss over the celebrity and all of that of Formula 1 now. But I mean, you look at Martin Brundle’s grid walks, they’re all just people that are there. They have no care in the world other than, “I’m rooting for Mercedes today because they paid me to be here.”

Skip McGoun: Wait, why… Okay, let me ask. Why did you say they were there?

Trevor Roberts: Effectively invited and paid to be there just to be, to be seen. I mean, there’s the real fans in the, the grandstands and all of that. But you have all of these people that, you know, like 17th century opera, where it was walking around and having a conversation.

They’re on the grid just to be seen and to have their celebrity out there. Or, I mean, Louis Vuitton is now sponsoring all the trophies this year.

Skip McGoun: Well, I didn’t want to overdo it, but at the same time, there was a large popular f- following of opera at the time as well. You know, people would l- kind of line up at the, at the entrance to the theater, you know, to see people come in.

It’s like, you know, every night there was something like Academy Awards. So it’s kind of… I kind of [00:40:00] glossed over- Yeah … the fact that, yeah, it was much broader than just that.

Paul Baxa: Thanks, Skip, for that wonderful presentation. As a connection to my talk yesterday, Giuseppe Campari was an opera singer, and he was actually a, not so much an amateur.

I think he performed in some of the bigger theaters at the time. Just to fill, fill in one thing with Hungary, I think you’re correct that it was trying to build up the image of that country. But it was also significant because it was the first Grand Prix behind the Iron Curtain. Hungary was still part of the, the Soviet, uh, world at that time, so.

Skip McGoun: In- interesting. Okay, short personal story. I broke through the Iron Curtain once, going from Austria to Yugoslavia, and I didn’t notice any difference, that I had been fed this Eastern European stereotype. And I’m looking around, it’s like, “Okay, where are the bread lines?” You know, “Where are the depressed-looking people, you know, wearing ugly clothes?”

So, you know, it’s obvious that Hungary and many [00:41:00] other countries like that really needed, uh, needed the rebrand.

Mark Raffauf: I thought that was really very, very interesting because the parallels are, are fantastic. However, couple observations being still involved in the industry today. One is, it’s my opinion, having been on FIA commissions and things before 2000, a lot of Formula 1 races had nothing to do other than how much money Bernie Ecclestone was gonna make by having another race.

Okay? Okay. Two- Yeah. See, this is- After 2000, after 2000, I wonder what your thoughts are, this is the question, of the percentage of failures of this process. Turkey, India, China, Korea, they all failed. Yeah. No, that was- So there’s a lot of, there’s a lot of things that I think you’re making a point, but I think there’s gonna be more to it to your endpoint, which in our world here in the US, I mean, we have massive partnership deals with people like AMD and Lenovo.

It’s all business to business. It has nothing to do with the consumer. They don’t put their stuff on cars. It’s all about [00:42:00] enticing people to use their products on a business-to-business level, which I’ve seen as a fascinating development of what you’re talking about. I agree with everything you said.

Don’t get me wrong, and don’t be critical. Oh. But there’s a lot of stuff going on out there that potentially in five years, Formula 1 on television will be gone. It won’t be there. That, you know, it’s- It will be every other way, easier, better. Might have to pay for it more. Yeah. But you’re gonna get better content through other ways, I think.

That’s just my opinion. But I am, I’m interested in your thoughts on at least the part about the- Seriously, I mean- …

Skip McGoun: the

Mark Raffauf: shift in the economics and where it goes … that’s an excellent

Skip McGoun: point. Yeah. I, you know, I would love some time to make a presentation, you know, on just one of those cases. We’re at that point Yeah, well, I’m at the point where I’m kinda reaching my sell-by date, so.

At, at any rate, when, when I was listening to your presentation yesterday, you know, you were talking about that the, you can get a car now and get it on the track for only, only three-quarters of a million dollars. You know, so the idea is that you’re right. I’m, [00:43:00] I’ve thought about that, is there are people who are clearly making money on this.

But they’re also highly subsidized by the folks who are willing to kick in three-quarters. It would- Yeah … kinda like an NFL player buying their own equipment and then playing for free. Sure. Yeah, I know I might get a concussion and ruin my life, but heck, I’m there for the fun of it. Yeah. So the, if you look, if you look at the whole cost- Right

it’s not even close. But yeah, I’d like to do what you were suggesting. Yeah. Really would.

George Webster: So another perspective on this. A year ago, I was at a N- paid barbecue. I met some people at the table who were Formula 1 fans. I’m a Formula 1 fan, it goes back to 1960 or whatever, the first year here. These people, I tried to talk to them about Formula 1.

We had nothing in common because their Formula 1 was all drive to survive. Yeah. And nothing else. Yeah. And I don’t know what that means, but that’s a whole other [00:44:00] perspective on this thing, that there’s another universe out there.

Crew Chief Eric: On the internet, our British friends have been a flurry of comments. Some of them overlap with things that have been said in the room.

But one that stands out specifically is in remark to what you were talking about, countries using Formula 1 to basically symbolically represent themselves in a better light. There is an opposing point here, and I think it’s very valid, which is why I’m bringing it up. It’s the flip side of this argument, is the South African Grand Prix being taken off the calendar in the ’80s when the world was pressuring South Africa to end apartheid.

So any comment on that?

Skip McGoun: I don’t know if that’s inconsistent with anything here. Diametrically opposed organization. W- well, no, you’re s- you’re saying it was, th- you know, it was taken off the calendar because of opposition to apartheid. Yeah. Well, it was kind of like rebranding in a negative direction. It’s still, Formula 1 was a key component in brand image.

Its absence was as [00:45:00] significant as its presence. Perhaps even more so.

Audience Q&A: I wanna bring this back to Watkins Glen. Okay. Watkins Glen has an opera house. Or did. It, it’s gone. Yeah. Well, F1 was in Watkins Glen, and it’s gone. What happened during that time when the rich and famous came to the Glen for, uh, natural beauty reasons, and they had an opera house because it was a there there.

They had to have a place to go. And lots of small towns had opera houses- Oh,

CROWD: yeah …

Audience Q&A: where drama and music and speakers came. N- not of great note, but it was a place- That small rural places aspired to be like the grand places of Europe-

Skip McGoun: Mm-hmm …

Audience Q&A: and have an opera house- Yeah … even here,

Skip McGoun: so. Well, that’s the thing.

Opera kind of fell off the wagon, you know, in terms of providing for those social needs, and replaced by something else. Movies. [00:46:00] Movie, you can’t mingle or gossip. You know, it’s more like the Festspielhaus at Bayreuth. All right, Jim Ellis, the last piece we got. Uh,

Jim Miller: thank you. So to, uh, first, a couple of quick things.

One is to underscore Paul’s remark about the Hungarian race being behind what, in those days, was called the Iron Curtain. Uh, that’s worth looking into. I, I don’t know much about it, but it’s only three years short of its becoming an independent country. Uh, the second thing, more important, is w- where can I get a pair of glasses that will make me look like an Italian

CROWD: philosopher?

Jim Miller: Oh, that’s- You’ll have to ask Carol. Okay.

CROWD: Uh,

Jim Miller: and, and lastly, Herbert von Karajan, who led the Berlin Philharmonic for forever and recorded numerous operas, was a major Porsche driver and owner. And I think as an Austrian, he was buddies with Ferry Porsche.

Kip Zieter: The glasses question sounds like a coffee break discussion to [00:47:00] me.

Skip, that was wonderful. Thanks very much. Always thought-provoking as always. Thank you.

IMRRC/SAH PROMO: This episode is brought to you in part by the International Motor Racing Research Center. Its charter is to collect, share, and preserve the history of motor sports, spanning continents, eras, and race series. The center’s collection embodies the speed, drama, and camaraderie of amateur and professional motor racing throughout the world.

The center welcomes serious researchers and casual fans alike to share stories of race drivers, race series, and race cars captured on their shelves and walls, and brought to life through a regular calendar of public lectures and special events. To learn more about the center, visit www.racingarchives.org.[00:48:00]

This episode is also brought to you by the Society of Automotive Historians. They encourage research into any aspect of automotive history. The SAH actively supports the compilation and preservation of papers, organizational records, print ephemera, and images to safeguard, as well as to broaden and deepen the understanding of motorized wheeled land transportation through the modern age and into the future.

For more information about the SAH, visit www.autohistory.org.

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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 Introduction: Opera to Grand Prix
  • 01:39 Images and Stereotypes
  • 03:54 Two Shared Similarities
  • 06:20 “There-There” Explained
  • 07:50 Opera Origins and Civic Pride
  • 10:44 Modern Opera Branding & Social Theater
  • 15:27 Opera Spectacle Locations
  • 17:03 Grand Prix as Status Symbol
  • 17:43 F1 Expansion Timeline
  • 22:07 Rebranding Nations with F1
  • 26:08 “They’re-There” at the Track
  • 27:52 Luxury Sponsorship Mechanics – Sportswear vs High Fashion
  • 31:25 Peak Era? and Tech Shift – The So What?
  • 35:14 Opera Today Still Alive
  • 38:02 Audience Q&A
  • 47:12 Wrap Up, Sponsor Credits and Outro

Livestream

In case you missed it, please enjoy the original recording of: Symbolic Significance: A Grand Opera and a Grand Prix by Skip McGoun

This episode is sponsored in part by: The International Motor Racing Research Center (IMRRC), The Society of Automotive Historians (SAH), The Watkins Glen Area Chamber of Commerce, and the Argetsinger Family – and was recorded in front of a live studio audience.

Learn More

Michael R. Argetsinger Symposium on International Motor Racing History

The International Motor Racing Research Center (IMRRC), partnering with the Society of Automotive Historians (SAH), presents the annual Michael R. Argetsinger Symposium on International Motor Racing History. The Symposium established itself as a unique and respected scholarly forum and has gained a growing audience of students and enthusiasts. It provides an opportunity for scholars, researchers and writers to present their work related to the history of automotive competition and the cultural impact of motor racing. Papers are presented by faculty members, graduate students and independent researchers.The history of international automotive competition falls within several realms, all of which are welcomed as topics for presentations, including, but not limited to: sports history, cultural studies, public history, political history, the history of technology, sports geography and gender studies, as well as archival studies.

The symposium is named in honor of Michael R. Argetsinger (1944-2015), an award-winning motorsports author and longtime member of the Center's Governing Council. Michael's work on motorsports includes:
  • Walt Hansgen: His Life and the History of Post-war American Road Racing (2006)
  • Mark Donohue: Technical Excellence at Speed (2009)
  • Formula One at Watkins Glen: 20 Years of the United States Grand Prix, 1961-1980 (2011)
  • An American Racer: Bobby Marshman and the Indianapolis 500 (2019)

Opera began in royal courts, where rulers used lavish productions to display wealth, taste, and cultural sophistication. As commerce expanded and merchants grew wealthy, opera moved from palaces to cities. Civic opera houses became the new symbols of prosperity — architectural declarations that a city mattered.

Even cities without immense wealth built opera houses to create a “there there,” a brand identity rooted in culture. Residents took pride in saying they were from Naples or Paris, and visitors associated those cities with refinement.

This tradition continues today. The Sydney Opera House has become synonymous with Australia. Oslo’s waterfront opera house and Hamburg’s Elbphilharmonie are modern examples of architecture used to project cultural prestige.

Photo courtesy Skip McGoun

Early opera houses made their social purpose explicit. Tiered boxes were shaped to provide better views of other patrons than of the stage. Floor‑to‑ceiling partitions offered privacy. People attended the same performance night after night not for the music, but for the social theater happening around them.

They dined in their boxes, read newspapers, and enjoyed private entertainment behind curtains. The pit had no seats — it was a space for wandering, gossiping, and mingling. The performance was merely the backdrop.

Later designs, like the Paris Opera House, refined this concept. The lobby was as large as the auditorium, built as a grand promenade for display and conversation. Even today, venues like the Sydney Opera House maintain open sightlines and social spaces that encourage visibility.

Photo courtesy Skip McGoun

Opera also embraced spectacle in unconventional ways. Verona’s Roman Colosseum hosts operas like Nabucco, where the experience is more about being there than hearing perfect acoustics. The Bregenz Festival stages operas on floating sets in Lake Constance — visually stunning, culturally iconic, and designed to put Bregenz on the map.

Opera, McGoun argues, remains an internationally recognized expression of wealth and cultural sophistication. It creates a “there there,” and it provides a venue for the right people to see and be seen.


Formula 1: The Modern Stage for National Identity

Over the last 40 years, Formula 1 has evolved from a European motorsport tradition into a global branding instrument. Countries now use Grand Prix events to craft or reshape their international identities — just as cities once used opera houses.

McGoun traces this evolution by examining when countries first hosted a Grand Prix.

Photo courtesy Skip McGoun

The original 1950 season included only European nations with long racing histories. The United States joined soon after, driven by its massive automotive industry. Argentina entered largely due to Juan Manuel Fangio’s fame.

The First True Rebrand: Japan and Hungary

Japan’s entry in the 1970s marked a shift. The country wanted to be seen not as tradition‑bound but as a rising industrial and technological power. Hosting a Grand Prix aligned perfectly with its push to export automobiles and assert itself globally.

Hungary’s 1986 Grand Prix was even more significant. As the first race behind the Iron Curtain, it represented a deliberate attempt to step into the international spotlight and create a national identity from scratch.

The 1990s & 2000s: The Dam Breaks

Once Malaysia joined in 1999, the pattern became unmistakable. Countries began using Formula 1 to announce themselves to the world:

  • Singapore
  • Bahrain
  • Abu Dhabi
  • Russia
  • India
  • Korea
  • Azerbaijan
  • Saudi Arabia
  • Qatar

Even Rwanda has reportedly explored hosting a Grand Prix — perhaps the most dramatic rebranding attempt yet.

Just as opera houses once created cultural prestige for cities, Formula 1 now creates technological and cultural prestige for nations. The cost of hosting a Grand Prix is justified not by entertainment value, but by the promise of global recognition.


Formula 1 as a Venue for Social Display

If opera houses were built for social display, can the same be said of Formula 1?

McGoun approaches this by analyzing sponsorship — specifically luxury, fashion, and technology brands. If these companies invest in Formula 1, they must believe the audience includes people who care about luxury, fashion, and cutting‑edge tech. In other words, the “they there.”

Photo courtesy Skip McGoun

Early sponsorships were dominated by automotive products, tobacco, and alcohol. But when luxury brands began appearing on cars and trackside banners, it signaled a shift:

  • Benetton became a title sponsor
  • Ted Lapidus brought high fashion into the paddock
  • Cosmetics companies painted entire cars
  • Red Bull rebranded Toro Rosso into the fashion label AlphaTauri

By the 1980s and 1990s, sportswear brands like Nordica, Diesel, Tommy Hilfiger, and Russell Athletic were everywhere. Even eyewear brands like Carrera appeared — a detail McGoun jokes about after discovering his own glasses carried the name.

Photo courtesy Skip McGoun

As the 1990s gave way to the 2000s, technology companies surged into Formula 1:

  • Mainframe computing firms
  • Personal computer brands
  • Electronic component manufacturers
  • Business‑technology service providers

The message was clear: Formula 1 wasn’t just fast — it was technologically sophisticated. Sponsorship reflected that identity.

Today, luxury and tech converge. LVMH sponsors trophies. Apple explores acquiring Formula 1 content for virtual‑reality platforms. The association between motorsport, fashion, and technology has never been stronger.


Peak Opera, Peak Formula 1?

McGoun closes with a provocative question: Has Formula 1 reached its cultural peak?

Opera’s peak occurred in 19th‑century Italy, when its stars were the biggest and its tunes the most familiar. Over time, opera became more esoteric, less accessible, and less central to cultural identity. It didn’t disappear — but it shrank.

Formula 1 today is riding a similar crest. It satisfies deep social needs: prestige, identity, spectacle, and technological aspiration. But how long can it sustain that role? Are we already seeing signs of atrophy? Or will something else emerge to take its place?

The parallels between opera and motorsport suggest that no cultural institution remains at its peak forever. But for now, Formula 1 remains one of the most powerful stages on which nations — and people — project who they are and who they aspire to be.


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The Man Who Knew Shelby

Wallace Wyss is a car world regular, first a writer with 18 car histories on the shelves, and and now a fine artist. A man who sees the  romance in a car, he has fallen in love with some models more than others, revealed by his work ,His passion for the Cobra led him to write  extensively about Carroll

Shelby, the Texas-born racing legend who turned a British roadster into an American performance icon. Here our correspondent interviews him about why this subject prevails

Photo courtesy Wallace Wyss

You started out as a writer before transitioning into art. Can you tell us about that?

Sure. I grew up in Detroit and started in college as a fine art student, completing one year of art school. But then an ad agency came recruiting summer interns. When they told me the art slot was already filled, I said, “OK, I’ll be a copywriter.” That decision led me to a degree in journalism and 40 year career as an ad writer, book author, and publisher.until I rediscovered art.

Your artwork seems to reflect a deep fascination with the AC Cobra. How did that begin?

Honestly, who wouldn’t be fascinated? The Cobra was a stunning, lightweight aluminum-bodied car powered by a Ford V8 engine. It was incredibly fast and had curves that were impossible to ignore. I first saw them in high school, cruising along Detroit’s famous Woodward Avenue.

Photo courtesy Wallace Wyss

You started writing about the Cobra before painting it, correct?

That’s right. I was introduced to the Cobra in person during the summer of 1965. My twin brother and I had driven from Detroit to California looking for summer jobs. I walked into Motor Trend magazine at just the right moment—they had just fired everyone but the editor. Suddenly, as a teenager, I was working as an associate editor. One of my first assignments was visiting Carroll Shelby’s factory at LAX airport to see the new 427 Cobra. The PR rep offered me a chance to test drive it, but my editor, Mike Lamm, put the kibosh on that, saying, “It’s too much car for him.” Years later, I met Shelby, and he laughed, saying, “That big block could kill you in a second.” He wasn’t wrong!

Photo courtesy Wallace Wyss

Speaking of Carroll Shelby, who exactly was he?

Shelby was a Texas chicken farmer turned race car legend. He started racing sports cars and quickly made a name for himself, even  competing in Europe with teams like Aston Martin. His crowning achievement as a driver was winning the 24 Hours of Le Mans in 1959.

He was also larger than life—6 feet tall, always wearing a 10-gallon Stetson hat and cowboy boots. When he decided to stop racing due to a heart condition, he reinvented himself as a car builder.

Photo courtesy Wallace Wyss

When did you first meet Shelby?

I’ll never forget it. I was back in Detroit one day, walking during lunch, when I heard a roar and saw a red 427 Comp Cobra with outside pipes drifting around a corner. Flames were shooting from the side exhausts, and the sound spooked a policeman’s horse. I was tempted to grab the horses reins (I had done some ranch work in Montana…) but when the lady pulled up to me and asked where the convention center, I forgot about the horse and volunteered to show her where it was.

She agreed, and off we went, tearing down the Lodge freeway. At Cobo Hall, she introduced me to Shelby, who quickly handed me off to Phil Remington, his lead mechanic. That brief meeting left a lasting impression.

Photo courtesy Wallace Wyss

How did you come to write your first book about Shelby?

That was Shelby’s Wildlife: The Cobras and the Mustangs, published in 1977. At the time, I was living on the West Coast and called Motorbooks in Wisconsin, pitching a Ferrari book. Tom Warth, the founder, told me, “We don’t need more Ferrari books. How about one on the Cobra?” he asked.

I initially said no—I didn’t want to write about American cars. But two days later, I reconsidered. That book became a deep dive into Shelby’s life and cars, based on interviews with him, his team, and former employees.

The book cover was designed by the late David Faulkner of Albuquerque. I still don’t think I’ve come up to his level of art. Photo courtesy Wallace Wyss

You never wrote biographies of other racers. Why was Shelby different?

Shelby was unique. He was like a cowboy hero come to life—charismatic, funny, and larger-than-life. He embraced the cowboy image, wearing his hat and boots everywhere. Of course, it was part showmanship. In reality, by the time I met him he lived in Bel Air, one of California’s wealthiest neighborhoods, and belonged to the exclusive Bel Air Country Club. Bel Air Country Club. But that rugged, good-ol’-boy charm made him relatable. In my paintings, I like to capture him as the cowboy turned race drive as he was in the 1960s. That image symbolizes the spirit of the Cobra.

Photo courtesy Wallace Wyss

When did you start painting Shelby and his cars?

It was around the time of a car show on Rodeo Drive in Beverly Hills sometime after 2009. I planned to bring along my latest Shelby biography to sell, so made a small oil portrait of Shelby—my first oil in nearly 40 years. The book sold quickly, and I then told the buyer, “Say, I’ve got a painting of Shelby in the car.” I showed him the picture of the work and his reply was: “Go get it—you just sold that too.” That moment sparked my return to art.

Do you still paint primarily Cobras?

Cobras remain a favorite, but I also paint Ferraris and other classic cars. Italian cars, with their exotic designs, fascinate me too. I’ve owned two Ferraris, but there’s something raw and unrefined about the Cobra that keeps drawing me back.

Photo courtesy Wallace Wyss

What medium do you prefer for your art?

I work with acrylic oil on 11” x 17” heavy textured paper. If I like a piece enough, I’ll order larger canvas giclée print, sometimes  embellishing it with fresh oils so it looks like an entirely new painting. My preferred size for those is 20” x 30.”

What’s your perspective on automotive art as a market?

Unfortunately, automotive art is often dismissed as a niche subject, forever trapped in only being sold in automotive settings, much like  airplane art. But there’s potential. Jack Vettriano’s Bluebird at Bonneville, which depicted a land-speed record car, sold for nearly $1 million. That shows people can see artistry in machines. Still, only a handful of artists make a living in this field. I hope to see more recognition for the genre.

Photo courtesy Wallace Wyss

Do you still write, or is art your main focus now?

Art has become my way of expressing what I couldn’t capture in writing—those emotions and memories tied to great cars. I write interviews, design critiques of cars new and old, and event reports like from Pebble Beach. I also penned a action packed novel about a former detective turned classic car barn finder hired to retrieve a prototype stolen from an automaker. I still have hopes of selling it to Hollywood–it could even be a series about a car collecting detective. I myself was a part time barn finder myself for a couple of decades, buying what today would add up to millions of dollars worth of cars.

Photo courtesy Wallace Wyss

What’s a typical day like for you?

I split my time between art and writing. Plus work out each day, tying to stave off old age. (Hey, I’m only 81…). When I’m not painting portraits of classic cars, I unwind at an outdoor café in Redlands, Claremont, California, reading fiction and soaking up the atmosphere. If I’m lucky, I’ll spot a Cobra rolling by, and it all comes full circle.


EDITORS NOTE: Author Wallace Wyss, once a automotive historian, has now segued to being a fine art portrait artist, exclusively of classic cars. He invites galleries to write if they want to try out a sample of his automotive artwork on their walls Wyss can be reached at photojournalistpro2@gmail.com

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The Bianco Speciale: The Remarkable Journey of the Only White Ferrari 250 GTO

Few cars in the world command the reverence, curiosity, and mythos of the Ferrari 250 GTO. Among the 36 (plus or minus a few) examples built, one stands alone — the Bianco Speciale, chassis 3729 GT — the only factory white GTO ever produced. Its story is not just about rarity; it’s about innovation, rivalry, engineering evolution, and the colorful personalities who shaped motorsport in the 1960s.

Photo courtesy MECUM Auctions

During a special live session of Automotive History Live, the Motoring Podcast Network team — Crew Chief Eric, William Ross, and motoring historian Jon Summers — unpacked the full saga of this extraordinary machine. What follows is the distilled narrative of that conversation, tracing the Bianco Speciale from its origins in British club racing to its modern status as one of the most culturally significant Ferraris ever built.

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The story begins with British racer and Jaguar dealer John Coombs, a man deeply embedded in post-war motorsport culture. As Jon Summers explained, racing in Britain after WWII offered a familiar sense of adventure and competition: “You built the machine, you put the guy in the machine… sometimes it came back, sometimes it didn’t.”

Coombs was a capable Formula 3 driver, but he found his true calling as a Jaguar dealer and team owner. His cars were famously painted in a distinctive off-white/gray — a livery that stood out among the sea of British Racing Green competitors.

But Coombs had a problem: Jaguars were getting beaten. Badly. And as William put it bluntly: “The Jags were slow, and he was getting beat by Ferraris.” So Coombs did what any competitive racer would do — he ordered the fastest thing available: a Ferrari 250 GTO.

Bio

What’s So Special About the Bianco Speciale brings together insights from across multiple automotive history and marketplace podcasts to tell the full, multidimensional story of one of the most fascinating Ferraris ever built: the lone factory‑white 1962 Ferrari 250 GTO, chassis 3729GT.

Drawing on conversations with auction specialists, historians, and legendary racers, this presentation traces the car’s journey from its origins in the hands of influential British dealer‑tuner John Coombs to its modern status as one of the most coveted automobiles in the world. The narrative explores why Coombs specified the car in right‑hand drive, the racing modifications he commissioned, and how the GTO became intertwined with the culture of 1960s British motorsport. Figures such as Graham Hill, Roy Salvadori, Mike Hawthorn, Jack Sears, and Lofty England appear throughout the story, illustrating the era’s competitive landscape and the personalities who shaped it.

The presentation also incorporates firsthand reflections from David Hobbs, whose early racing career intersected with the same club‑racing world that produced the Bianco Speciale. His anecdotes illuminate the transition from amateur to professional racing and the evolution of race‑car engineering—context that deepens the significance of this particular GTO’s development and use.

From a modern perspective, the talk examines the car’s meticulously documented provenance, its rarity as one of only eight right‑hand‑drive GTOs, and its singular status as the only example finished in white. Market analysts and auction experts—including voices from Mecum Auctions, Motorcopia, and the Exotic Car Marketplace—provide insight into the car’s escalating valuation, the mindset of today’s high‑net‑worth collectors, and the logistical and historical weight of presenting such a machine at a major auction. Estimates have placed its potential sale price well into record‑setting territory, underscoring its cultural and economic importance.

Together, these perspectives form a comprehensive portrait of why the Bianco Speciale stands apart—not only as a mechanical masterpiece, but as a touchstone in racing history, collector culture, and the evolving narrative of the Ferrari 250 GTO.

Slides

Follow along using the Slide Deck from this Presentation

Transcript

Crew Chief Brad: [00:00:00] Welcome to Automotive History Live, where the stories drive us. From the grand lawns of Concours to the icons that shape the road ahead, we celebrate the machines, the makers, and the moments that define automotive history

Matt Anderson: All right, folks. Well, we’ll gather again here to move on to our next presentation. We have a special panel called What’s So Special About the Bianco Specials? It will pr- be presented by Crew Chief Eric, William Ross, and John Summers. And I want to mention, hopefully all of you got a, uh, tire gauge.

Appreciate you bringing those. That’s- More to come … a gesture that does not fall flat, so to speak. They also have swag bag- Yeah, sorry. They also have, uh, swag bags on the way out, too, folks, if you’d like to grab one, filled with some car care products and other goodies as well. Without further ado, Eric, I’ll turn it over to you to, uh, lead the session.

Crew Chief Eric: Thank you, Matt. Folks, we’re gonna have a little fun with this. This is gonna be a live version of one of our Motoring Podcast Network podcast episodes, so we’re gonna put the final [00:01:00] chapter on the Bianco Speciale. So today, we’re diving into the remarkable story of the Bianco Speciale, the only factory white Ferrari 250 GTO ever built, Chassis Number 3729 GT.

Featured across multiple of our MPN shows, we tapped experts, historians, and even legendary racers to help us trace this car’s journey from John Coombs’ right hand drive ’60s British club racer to its modern status in a class containing the most valuable and culturally significant Ferraris in existence.

Its provenance, its drivers, its engineering, and its impact on the collector market all converge in this presentation to show why this singular GTO stands apart from all the others. That said, as Matt introduced us, I’m Crew Chief Eric from the Motoring Podcast Network, and joining me is William Ross from the Exotic Car Marketplace, and John Summers, the motoring historian.

So gentlemen, let’s explore what truly makes the Bianco Speciale special. So William, it’s [00:02:00] not very often that we get called to do a project of this caliber, to a car so special as this, but more importantly, cars of this status do not come into the public eye very often, especially at auction. Can you tell us about how this story kind of fell into our laps?

William Ross: Well, it was a great opportunity for all of us to be involved with Mecum at the get-go when they had the opportunity to auction this car off. Chris Mealy, who is the vice president at Prancing Horse Nashville, was actually driving to the airport after Amelia Island, and he was driving with John Shirley, who was the previous owner of the car, and this gentleman just casually mentions it.

Chris says, “Hey, you know anyone that might want to buy John’s car?” And Chris was rather like, “Oh, that’s kind of a, a significant statement and question to ask.” Their actual first thought was, “Let’s call Dana.” Chris is very good friends with Dana Mecum. I don’t know if you’re aware, you know, Dana’s got an unbelievable collection of cars of all brands, makes, models, everything like that, but he does have some really good Ferraris.

But it wasn’t something that he felt fit in his, and it just wasn’t gonna work, so [00:03:00] after some meetings and that, they felt it was probably best to bring it to Mecum Kissimmee. Due to the fact is the Bachman collection was coming there as well, ’cause Chris was very familiar and friends with the Bachman family themselves.

All their cars got serviced at Prancing Horse Nashville, so it just coincided very well. That seemed to work as the best opportunity then for selling. That got them to Mecum, and that got us involved in regards to promoting and building up the hype for the car and getting eyes on it.

Crew Chief Eric: And I got a quick shout-out to Don at Garage Style for also hooking us up with the Mecum folks as well and getting us involved in this project.

But let’s move on to what makes the Bianco Speciale special. John, you’re our resident Brit, so it’s appropriate that you talk about the original owner of this vehicle, the infamous John Coombs. So let’s talk about the who, the what, the where, and most importantly, the why of this Ferrari. Why this 250 GTO?

Jon Summers: Let’s, uh, let’s sort of position up John Coombs a little bit first of all. In the immediate post-war period, [00:04:00] there was a big motivation in Britain to do some kind of motor racing, because motor racing made people feel a bit like the war. You know, you built the machine, you put the guy in the machine, the machine went off, it did great things.

Sometimes it came back, sometimes it didn’t. There was a sense of adventure. There was a sense of winning and losing. So motor racing took the place, I think, for a lot of people that were involved in the RAF and in preparing tanks and that kind of thing. It sort of took the place of the war. So John Coombs was one of those.

Formula 3 at the time was Fiat 500 engines in the back of, I guess what we’d call, like, go-karts now But fundamentally, Coombs was involved in this, was quite good, was a handy Formula Three racer, but realized he wasn’t gonna be the same, in the same league as somebody like Mike Hawthorn or Stirling Moss.

So he becomes a Jaguar dealer, and he’s a Jaguar dealer in the southeast of England, in a town called Guildford, just near London. Because [00:05:00] he’s involved in selling Jaguars, he races Jaguars, win on Sunday, sell on Monday. So the car that we’ve got pictured behind us is a car that was extremely well-known to the British public in the late 1950s.

Really, it’s pretty unusual for a British manufacturer, you know, for a British guy to advertise as aggressively as Coombs is advertising here with that number plate, “Buy one.” Buy one. You see the car race, it’s got the plate on it, buy one. Now, the car’s not in British racing green, is it? That’s because most Jaguars were in British racing green.

So Coombs decides he will have his own livery and will paint the car… It’s not quite white. It’s sort of gray, isn’t it? Did that answer your question, Eric? I’m anxious that I don’t talk on too much- … and, uh, and spoil the information later in the presentation.

Crew Chief Eric: It did, and I think it sets the stage for our audience to understand John Coombs’ motivation.

But the one thing you missed, John, is why did he buy a Ferrari?

Jon Summers: Well, ’cause it was the fastest thing out there.

Crew Chief Eric: There, and he was getting beat. The Jags were slow. Yeah, the Jags were slow, and he was [00:06:00] getting beat by Ferraris, which actually segues into where we took this next. And William, during our research, you stumbled across something really interesting about this particular 250 GTO that John Coombs owned, and I can’t do air quotes with a microphone in my hand, but it might have been studied at Jaguar, hence reverse engineered, for the benefit of the lightweight E-Type Jag, at which point, John, you asserted that this story about this particular Ferrari might be more important to the history of Jaguar than it is to Ferrari.

Jon Summers: Yeah, I th- I think it very much is more important to the history of Jaguar than it is to the history of Ferrari, and I think this is why Mecum didn’t really seem that clear on, on how to tell this element of the story of the car’s life. Because Coombs used the car, raced it, made modifications to it, and then, because he had this close relationship with Jaguar, you know, as part of, uh, regular, you know, meetings up at Browns Lane, the Jaguar factory, he had lunch [00:07:00] with Bill Heynes, Jaguar’s chief engineer, and said to Bill Heynes, “Look, unless you do something about the E-Type, I’m gonna have to carry on racing the Ferrari.”

And Heynes was like, “No, no, you know, you represent us.” Combs was like, “No, I’m gonna need to race the Ferrari in order to win. The E-Type’s just not up to it.” So the outcome of that lunch was our GTO, the Bianco Speciale, spending the winter of, I think it was 1962 or 1963, but spending that winter at Jaguar’s factory in Browns Lane in Coventry being studied by Jaguar engineers.

So it seems quite likely The lightweight E-Type which emerged the following year and was more competitive with the GTOs, it wasn’t actually faster, it was, uh, better than, than they had been before. It seems very likely that that lightweight E-Type was a direct result of looking at not just [00:08:00] Ferrari GTOs, but specifically the Coombs GTO.

William Ross: Coombs never actually said, “Yes, that happened.” He denied it, but it’s very, very well known that that’s what happened. So he’s gonna say, “No, I didn’t do that, no,” but everyone knows that that’s what they did. Everyone besides Coombs knows that that’s what happened. So I think it’s a great honor for that car, ’cause look, taking someone else’s car, let’s, “Hey, let’s make it like that and make it go faster.”

So it kinda showcased what that car was right out of the gate.

Crew Chief Eric: Yeah, it’s a very valid point, and we’re gonna put a pin in that because we’re gonna come back to another special tangent of this particular research that we did. There’s someone else in the mix. As we know, history is not linear. It is links in a chain.

That’s how I like to look at things. There’s a lot of other things happening at the same time. There happened to be some other now famous people at Jaguar at the same time that this car may or may not have been there, and this car may or may not have been on track. So we’re gonna get to that as we go along, but William, let’s talk about the so what.

What makes this 250 GTO stand out from all the 35, 36 plus or minus 3 others that exist in the world?

William Ross: Being the only white one [00:09:00] produced from the factory is the big one. One of only eight right-hand drive cars also makes it stand out as a little more special than, I guess, the other ones, I guess you could say.

Everyone understands these were race cars. Yes, you could put a number plate on them, drive them on the street, but they were built to race. It wasn’t like they were cranking these things out one every week or one every day. This was built over a couple year span. You’re only talking 36 cars, so they were spaced out pretty well.

Isserini designed the car, but then after the pals revolt happened, he’s gone. But Scaglietti, who did the bodies for it, followed along the lines of what everyone else was doing subsequently down the line. But now Coombs, obviously, this being a race car, modified it pretty quickly. It wasn’t like it’s something over a long period of time, is adding vents to the hood and adding another side vent to the car.

As you can see here, when it first raced, it had two on the side. But then as, I believe it was its second race, when it showed up a couple months later at Brands Hatch, it had three vents on the side and it had a louvered hood. Now, the three vents became standard on all the Scaglietti cars ’cause they were following the whole progress, said, “Well, we might as well just put them on there [00:10:00] ’cause everyone’s doing it.”

Not so much with the vents on the hood, ’cause then you’re getting into aesthetics, but that’s how it changed, I guess separating itself from some of the other cars, but it, it really helped with cooling. If you look at other GTOs, the nose, the front end changed. On a majority of them, there’s the three portholes that you can remove those You had to take them off by hand.

That’s gonna give you better airflow, but on later models, the nose on the front changed, the air intakes and the, your marker lights that were on the front also changed in style, design, and function in regards to brake duct cooling and what have you. So this car came out, I wouldn’t say different out of the gate, but what set it apart was after it was built, manufactured, and started being raced by Coombs, you know, they realized, “Hey, we gotta do some tweaks and adjustments to this car to make it even better.”

Far followed, so Galletti saw that and said, “Well, we might as well just do that right out of the gate for everyone else ’cause they’re gonna end up having to do it anyways.” So I guess you’d say it proves it out. Yep. So it was, uh, a, a nice progression of it. I guess that’s one way it helps, too, when you have a car that’s got a gestation period of several [00:11:00] years instead of something that’s just done, “Here’s a design.

Let’s crank out thousands of them.” You can tweak it as it goes ’cause there’s several things on those cars as they got later produced. They incorporated it permanently, like the rear wing on it. Like, on earlier cars, it’s bolted on. Later cars, it’s actually built into the body work. So there’s a few little tweaks like that you look at, and that’s what’s neat about these cars is you kind of see them grow in regards to style, design, and function because you’re gonna have issues with lift, especially Le Mans, down Mulsanne.

So that’s where these cars were basically designed to really go fast at, so they tweaked them to fit that parameter.

Crew Chief Eric: William, you mentioned there’s really 36 plus or minus three ’cause there’s some series two stuff that gets things confusing in there, but it’s over a span of years. But this car in particular, if I remember correctly, ’cause there’s copious amounts of data on this car, there’s like records, just boxes and boxes of them that we went through that w- with help from Chris and things like that.

This car was in the first 12 that were built, so its influence on the rest of the 24 plus or minus three that exist is huge because [00:12:00] it set the standard for GTOs that followed after it.

William Ross: Correct. You know, laid the groundwork for all the subsequent ones after. So then it becomes for collectability wise.

It’s like, do you want an early car because that’s the one where they were fine-tuning stuff and just bolting stuff on? Do you want a later car where it was actually then formed into the body? So and especially being right-hand drive as well in the earlier cars, then demand changed, so hey, we need to start making the rest in left-hand drive ’cause that’s where the market’s at and that’s how they went.

You know, so i- it’s, it’s really neat to follow that and see it. You can pull this up on the internet. You just look at all the serial numbers for all the cars. You can see how they progress and just pull up photos. You can kind of really look at this stuff and diagnosis it and kind of see the tweaks. I was just telling John a few minutes ago about looking at photos this morning, like I was, on GTOs and just seeing the changes on it.

It was really neat. I don’t know, maybe it’s just me ’cause I’m, I’m a fanatic about them but it’s really cool s- looking at that stuff, just the engineering. And one thing I always, I love and, and mesmerized me is, you know, that was all done by hand. It wasn’t like you had stamping machines. You weren’t creating dyes.

It was all done, and I guess that helps you with tweaking the [00:13:00] cars because, hey, you just changed a buck a little bit here, shaved this off on the wood buck there. Let’s, hey, let’s do this. Hey, let’s just bolt it on. Oh, then we can put it on later.

Crew Chief Eric: In reference to tweaking, this car constantly evolved through its lifetime, unlike a lot of other GTOs that became static or became status symbols and some that were still raced even to this day.

This car continually evolved over its lifespan. So when it went to auction in January, it was not technically in its original configuration. It’s not necessarily a resto-mod either. Right. So can you talk about multiple engines and other things that this car actually sold with when it went to auction in January?

William Ross: Due to the value of the car and that Colombo V12, the value comes into that motor, and you’re not gonna get another one. But the beauty of this was is, especially Ferrari Classiche, is they have the ability to remanufacture pretty much anything. When John Shirley sent it back to Ferrari, the one thing was is the motor.

They actually recast a whole new motor for this car. So technically you could say it, it, I mean, it’s matched to the car and that. It wasn’t like they pulled it from another [00:14:00] car, which happens quite a bit with Ferraris. They’ll just take it from a different chassis number and throw it into another one.

Usually people can trace it down and bring it back to its original car. But again, how does that affect value? Hard to say, but you still had the original motor with it. But the beauty of that is, is you can enjoy that car, take it to events, race it in historic stuff, and not worry about damaging the original motor- Mm-hmm

which is fantastic to be able to do. ‘Cause then they get to share it, which is great to see, too. John was very good about doing that, and the new owner, David Lee, he’s really, really good about taking this car out. In the short period of time he’s owned it, he’s already been sharing it immensely, which is great to see, ’cause that’s where these cars need to be.

I mean, any car, any of these historic cars like that need to be shared, seen, driven, put out in public, ’cause, you know, these things are pieces of art, no matter what it is. Look at a Pinno. A Pinno is a piece of art. Just look at it. I mean, I think it is. I, I just appreciate it.

Crew Chief Eric: Well, speaking of art, let’s hyper-focus on the color a little bit more.

John, you and I debated this ad nauseam about this particular white. Is this Coombs white? Is this [00:15:00] Alpine white? Was the car originally white when it left the factory? Both of you mentioned how Coombs’s cars left Jaguar in that particular white to stand out from the rest of the racing crowd. This car’s been repainted a bunch of times.

It’s been repainted yet again even this year. We’ll talk about that a little bit more as we talk about the future of this car. But my big conjecture was that because of the body work changes, which were not done by Ferrari, adding the third vent, adding those hood louvers that you saw, that’s custom body work.

The front half of that car had to be painted at some point. Whether that matched Ferrari’s paint, I don’t know if they sent buckets of spaghetti and paint along with it, with the car, when it showed up in England. But let’s talk a little bit more about this Coombs white and the legend behind it. I

Jon Summers: think that is quite an interesting point, Eric, because y- William mentioned this is one of the first dozen GTOs made.

I think it speaks to how much respect Ferrari held Coombs in that Coombs was able to order a car- Yeah … at all, that he was able to get hold of a car at all. I think that’s pretty significant. So clearly he’s got it [00:16:00] in his workshop, and as Eric just said, you know, he’s gonna have painted the car. Would it have come from

I mean, was it Fantuzzi who built the car, William, or was it Scaglietti who designed it? And then I, I wasn’t sure- Well, Pininfarina

William Ross: designed it, and it was designed off of the 250 GT- Short wheelbase. In essence, what the design was for was for Le Mans And that’s kinda how Enzo was trying to skirt the rules, ’cause for homologation purposes you had to build X amount.

Bizzarrini is like, it’s the same chassis, same wheel base, it’s just the body’s tweaked a little bit. It was Scaglietti that built the bodywork, but Bizzarrini was basically the designer. Scaglietti did a lot of the changes upstream down the line.

Jon Summers: So I guess it was my thought, is whether it left the factory in Italy in, in red, how it got to Coombs’ place in Guildford, and did it have the modifications then?

Probably not. I’ve got a feel like Coombs and his guys went out and thrashed it- Mm-hmm … and it overheated, so they cut the louvers. And then in order to get it ready for racing, I mean, you saw how perfectly prepared that Salvadori Jaguar Mark 2 was in the slide [00:17:00] earlier. I don’t think it’s a coincidence that Coombs’ place is only about 15 or 20 miles from where McLaren are based now, and we all know the kind of McLaren standard, that you win the race by being better prepared, by everything being cleaner and more precisely made than what the other guys are doing.

So Eric, I think the white paint’s really important, because I think the, the car, you know, whether it came from Italy in red or white is not relevant, but by the time Coombs had it and had raced it, it was in that white. And I think Mecom were right to make a big deal out of the fact that it was white. At the time I wasn’t sure about that, but after we did the research, I was like, you know what?

They were right to make a big deal- Yeah … out of it being white.

William Ross: Well, it took a little… John ordered the car through Maranello Concessionaires in, uh, England. So, you know, when you ordered your car you went to the dealer. There was a gentleman, though, in Italy at Ferrari, Alfredo Reali. I don’t know if I’m pronouncing his last name right.

I’m not Italian, so my apologies. But this is, like, basically the precursor to the tailor-made programs they have now where, you know, if you’re a very [00:18:00] well, high-place customer, you can order whatever you want. So there was internal negotiations in Maranello by Alfredo on John’s part, or Maranello Concessionaires’ part, to get that car in white.

So, but again, did it leave there? We don’t know. There’s, there’s no confirmation of that. But there was some negotiating going on internally to allow that car to be white.

Crew Chief Eric: John unearthed this picture from somewhere. I’m sorry if it’s a little grainy, it just happens to be the quality of it. But I, I absolutely adore this picture because it exemplifies why the white was so important.

Just looking at this, you realize it stands out from the crowd, regardless of what is with it. And there are other 250 GTOs in this picture with the bianco speciale. You have the red, the green, there’s some Jaguar E-Types, there’s another red one in the back. That white, it’s grainy here, but it just pops when you see this picture in real life.

Jon Summers: I was gonna say, Eric, guys, just look at the grid. This is the 1961 or 1962, I think it’s ’62-

Crew Chief Eric: Yeah …

Jon Summers: Silverstone International Trophy race. Those two Aston Martins are one-offs, aren’t they? It’s the [00:19:00] Aston Martin Project 212 and 214. I, I think you’re looking at probably half a billion dollars in terms of current value on, on those racing cars.

So that’s a freak of the moment. But yeah, look how many green cars there are, look how many red ones there are, and they just kind of fade into the background, but the white stands out. And I feel like Coombs was aware of that. It wasn’t just the Mark II that was white, it wasn’t just the GTO that was white.

The E-types he raced were in that- Yeah … were in that white as well. Sort of dove gray, I think that was the Jaguar- I think … brand name for the color.

Crew Chief Eric: So John, again, thank you for bringing this up, but this segues us into a deeper conversation about its racing pedigree, especially in the British club racing scene.

So let’s talk about some of the famous drivers who drove this car or, and/or owned this car.

Jon Summers: Okay. These, uh, these chaps that we’ve got driving it here. No names. All of them are no names. I’m, I’m, I’m straining. So we, we talked about Coombs already. Graham Hill, you must know that name. I mean, the guy won Le Mans, he won Indianapolis 500.

He’s, he was Formula One motor racing [00:20:00] champion a couple of times, and also a great representative for our sport, right? A funny bloke and a great storyteller, and a real tragedy that he went in the, in, in the way that he did. Coombs hired him to drive the car, right? And the stories of the early tests where he drives the car and is unhappy with it, and demands Coombs makes all these changes.

And Coombs says yes, and doesn’t make the changes, and Hill comes back and drives the car and says, “It’s much better now. Thank you for making those changes,” right? And I mean, look at his face, right? You can see the kind of bloke that he is. Salvadori. Salvadori won Le Mans with Carrol Shelby. He actually died, when Shelby died, Salvadori died just a few days later.

He did participate in Formula One. He was a back marker in Formula One, I think for Aston Martin. I think alongside Shelby when he, when at Aston Martin at that time. But, you know, for Salvadori, this is somebody who would’ve done all right in NASCAR. He didn’t mind. Rubbing was racing. And he said about after Mike Hawthorn died, “If I ever met Mike on the road,” ’cause the two of them lived in Southern England, “If I [00:21:00] ever was driving on the road and I met Mike, I knew we were gonna have a hell of a dice.”

In other words, these were two guys who would race like Curtis Turner and Joe Weatherly on the road. Not quite as bad as Turner and Weatherly, I’ve gotta say, but you know, the British version of Turner and Weatherly on the public highway. Rose, you’re also fantastic for that. They are indeed. And the third owner, Jack Sears, now Mecom’s material didn’t make a big deal out of him, ’cause I guess, you know, Hill and Salvadori were, were the big names.

But Jack Sears was a big name in, in British touring car racing. I guess the big thing about Sears was that he had the foresight to buy a Holman-Moody Galaxie when they were racing in NASCAR, so it had this honking 500 horse 427 motor on it. So you imagine when you went to a circuit like Silverstone or something, I mean, the story Jack Sears tells in this Galaxie is he was on pole.

Away from the start he didn’t try that hard, a few of the Jaguars passed him, but by the time he’d got down to Becket’s, which isn’t even the main straight, [00:22:00] he’d just blown all the Jaguars off without even trying. Like, on part-throttle he’d blown them off. So British saloon car racing, when we think of the early ’60s, and as an Englishman, you think of Galaxie’s and Jaguars, and Jack Sears is the driver of…

So what happens? How come Sears owns the GTO? He’s around the British club racing scene. Coombs can’t get rid of the car, and it ends up with a guy called J.A. Pearce, who’s based in a town called Slough, that’s just west of London. Now, if you’ve been to Windsor Castle, if you’ve taken a trip to England, you’ve been to London, you’ve gone out to Windsor Castle, Slough’s just the other side of the freeway.

Slough’s horrible, Windsor’s really nice. Windsor’s where the royals go to school. Slough is where they built the Ford GT40. Slough is also where J.A. Pearce was, and J.A. Pearce took the engine out of our GTO and put it in the back of a Cooper single seater and raced it pretty successfully in, in the ’60s.

What happened to the [00:23:00] body we’re not really sure about. It just sort of sat around with Pearce’s for a little bit, and eventually a sale is made of the body, the roller, to Sears. Sears puts a normal 250 GTO motor in it, paints the car red, and for most of its life, this is how it lives. Right up until the John Shirley period, it’s in this red, it’s carrying the wrong motor.

The real change was where in the early ’90s when there was the first classic car boom and when the 250 GTO became established as, quote, ‘The most valuable car in the world,’ close quote.

Crew Chief Eric: All right. Well, there is a driver missing from this list that we’re gonna get to in a little bit. He didn’t necessarily drive the 250 GTO that we’re talking about, but he was there in the paddock with some of these most favorite drivers.

But I want to take a minute to highlight some of the racing shots that we were able to get from the various archives of the car in action. William, is there anything you want to add about this while I kind of flip through these?

William Ross: You can see evolution, changes in the car in regards how it just evolved over [00:24:00] its life.

These are great, great photos. I don’t know about you guys, I spend hours online or on my phone just looking at old stuff like this, ’cause there’s so many resources you have to be able to access them. Definitely check out Revs Institute’s site. That is phenomenal. But you can see how things change by seeing the three portholes.

Like I was talking about before, see the opening here on the nose, in subsequent older cars, that got elongated. Those were actually lights, but then you can see they removed the lights and then turned them into cooling ducts. Later built cars, that design all got changed and tweaked. Again, for cooling. I don’t know if it was too much for aerodynamics and front end lift to get a little more aero onto the front end to keep it down.

Even then, you know, you’re reaching, you know, almost 200 miles an hour on the Mulsanne. So Aerodynamics, I guess you would say, in its infancy. Wasn’t like they had all these computers and fluid dynamics and stuff like that to study it. It was kind of more along the lines of just eyeballing it, or the old school ways, they put the tape on the strands- Yeah

and just watch it drive around and see where the wind flow was going and stuff like that. So they knew it was there, but you know, trying to [00:25:00] understand it, it’s a black art as they say, and Adrian Newey seems to have it down to a science.

Crew Chief Eric: Not this year.

William Ross: Not this year, no. But, you know, I mean, they’re just gorgeous cars.

Why they get to the value they are, I mean, yes, there are so few built, but then you start really getting down in the nitty-gritty, it’s like, well, why is that one worth more than this one? And, you know, a lot has to do with history and everything like that, but this car was raced extensively throughout its life, so it wasn’t like it was put away and hid anywhere, so, which is also great to see.

And there’s copious, copious notes and just history and everything on this car itself, on this specific chassis, that you can follow through and just see its life. And it’s kinda interesting to see, because it’s a race car. I mean, yes, you can drive it on the street, but you know, just see how it was utilized.

And like John was saying, “Hey, Jack Sears bought it, then he just stuck it in a corner to pull the motor out of it.” I mean, at that point in time, it was worth a couple thousand dollars. I mean, you hear the stories. You know, the one that got donated to the school for high school kids to work on and everything like that.

That’s the one that Ralph Lauren owns now. Uh-huh. These stories are great, you know, and that’s what’s fabulous about institutes like this, Revs, to keep that [00:26:00] alive and give you that opportunity to be able to study this stuff and just follow its history because these, these stories are great. Eric’s got some great podcasts that he does in regards to, like, an Evening With a Legend and that, you know, talking to these guys.

It’s great that we’re able to document that and record this for subsequent generations and hear it because they pass on, those stories die with them. They’re not told and kept alive. They’re just awesome to see.

Crew Chief Eric: I love it when my colleagues do my job for me. It’s great. As William mentioned, you know, we wanna segue into this hidden driver, this mysterious person we’ve been talking about.

So to William’s point, once we started connecting the dots and looking at how all the evidence that we had lined up, the time period, where this car was, who was in the car, who was racing, the teams, who they were competing against, it dawned on me when I was sitting down with David Hobbs for an episode of Evening With the Legends, some of you are very familiar with that program.

Yeah. Nobody famous in the racing world at all. So I’m sitting there talking to Hobbo and he’s telling his, you know, after dinner spiel, as John likes to call it. He’s very good at [00:27:00] that. He’s recounting his life story and starting in the early days in the ’60s and racing in British Club Racing and racing for his dad and prototype transmissions.

And, and he mentions Graham Hill and seeing these people, blah, blah, blah. And at the time, it didn’t all come together because we had talked to Hobbo before we started this project, but when we got midway through, I do what all good hosts do, and I called him up and I said- “David, I am working on this project.

It involves this car, and these places, and these people. I would like to have a conversation about your experience.” Because as we thought about it, there’s nobody really left to tell stories about this car. And for us, it is to William’s point about capturing the living history. So it m- felt right to call up David, and he was very, very cool about it.

He’s like, “Absolutely. Let’s get on and let’s have a conversation. You know, let me tell you about my experience club racing there with Graham Hill, Roy Salvadori, and seeing this car in person at the track.” I think this next slide, hopefully the video plays. The era of

David Hobbs: racing, club racing, obviously it was a feeder system of sorts for young drivers.

Obviously there were, uh, some older drivers. Not [00:28:00] many, but I mean… And a lot of people that did club racing had no interest in going any further. The people like me, and Jack Sears, and Graham Hill, and Jimmy Clark they had designs on, on going into, into professional racing, even though there wasn’t much money in it really, very little money at the time.

That was my, of course, obviously John Coombs was there at that meeting as well because Graham Hill was driving his, uh, John Coombs’ E-Type. This is before the Ferrari came along. Coombs was very successful. Graham Hill drove for him in the, uh, in the 3.8 Mark II, which was also white. He drove for him in the E-Type, which was white, and then of course they got the, the 250 GTO, which of course was a hell of a car.

Jon Summers: What we’re thinking about is can you look at this Ferrari and say, well, the guys at Jaguar obviously looked at this Ferrari and then made these changes to the Jaguar as a result, and therefore we need a early lightweight E as a comparison.

David Hobbs: I, I think really that the Jaguar were trying to, uh, I don’t know about crib, but to [00:29:00] try and actually improve the E-Type by following the Ferrari, some of the Ferrari practices, uh, rather than the other way around.

I mean, I think the Ferrari was always the quicker of the two cars.

Crew Chief Eric: All right. The clip speaks for itself. The most important part, the reason we left the question in from John, that middle break, so he talks a little bit about the club racing experience, seeing Graham Hill, all that kind of stuff. That other part, the missing link here, is that at the same time all of this is happening, David Hobbs is working at Jaguar.

So he’s in the research and development department, and he’s one of their factory test drivers at that point. Very young in his career, very early on. So that’s what kind of brought all this together, and so that’s, if you wanna see the rest of that interview, you can actually scan the QR code or I can send you the link later, but it’s very, very interesting to see it from a racer’s perspective who lived it and was there looking from the outside in.

So William, we need to get on to why is this so special today in 2026? I think that conversation starts off with the exclusive GTO Owners Club.

William Ross: Yeah, I mean, obviously more recent owners, say in the past 20 years, [00:30:00] you know, have obviously spent millions of dollars acquiring it, but you still have several that have owned their cars for many, many decades.

But you got some great people that own them, and it’s great to see a good portion of them share their car with the world. Lord Bamford’s got actually two, so he’s in that very unique club. He’s a JCB guy. Yeah. He’s like earth moving. Yeah, so I should say, yeah, Lord Bamford. But I always love telling the story about Nick Mason.

I mean, I’m sure everyone here is familiar with the band Pink Floyd and who he is. Well, in the ’80s when they were doing, I say, a comeback tour, relaunching their tour, they needed money to get things going. They needed about a million bucks. So I mean, you’re talking about ’80s, what’s that? Maybe like 10 million today, and you look at numbers.

Nick had the car. So what do they do? Put it up for collateral, got the loan against the GTO to pay for that tour. Obviously, it was rather successful, so he got to keep the car. They didn’t repossess it. But I always thought that was a great story regarding Nick and his car. But again, he’s one too that absolutely loves and enjoys car racing.

I mean, he’s, he’s a racer at heart. His wife drives the car immensely, his kids do. His son-in-law [00:31:00] is Dario Franchitti’s brother, Mario Franchitti. Yes. So I mean, there’s racing through and through in that family. But, you know, there’s some very, very famous people. Like I said before, you know, Ralph Lauren’s got the car that was donated to the high school for high school kids to work on and learn the car.

It kind of would blow your mind today, but again, back then, you know, I wouldn’t say it was just a car, but it was just a race car. It was old. Yeah, it was worth a few dollars, but it wasn’t what it’s worth today. I would say it’s either unfortunate or however you wanna view it You know, maybe that’s what drives the value today is because individuals like that set the precedent that I have more than you, so they’re willing to pay more because they have the money to do it, so it drives up the price.

Yeah. But fortunately, there’s several individuals that do own them, that do share it with everybody. They drive them. I know every couple years it’s kept secret because they don’t want people knowing where all these cars are gonna be at once, but they have a, a GTO Owners Club and they do, I dunno, every two, three, four years, something like that, they put together a driving tour.

They meet somewhere. I know they’ve done it in the United States several times. They’ll just pick a nice area and get an [00:32:00] itinerary set up. They’ll stay at Motel 6, stuff like that. You know, eat McDonald’s. Stuff like that, but anyways, they’re real nice people. I mean, a couple of them you can approach and talk to.

They’re more than happy to talk to you about the car. Yeah. Other ones, you’re never gonna get near them, but you always have the respect and appreciate- Yeah … the individuals that they understand and want to share the car. It’s very impressive, that list of owners.

Crew Chief Eric: Yeah. Two important things about this as we transition in, into the next slide here is that David McNeil has the world record setting Ferrari 250 GTO, and we’re gonna talk about that as the high end of the value of these cars.

But more importantly, as you sort of alluded to there, it’s longtime ownership. They don’t change hands very often. That’s something we want to hone in on, we want to reiterate. And our GTO, as John likes to call it, has only changed hands five times in 60 plus years. And the first two owners were very, very short.

The guy with the used car lot- Yeah … and John Coombs only had it for a couple of racing seasons. But then Jack Sears and, um- John Shirley … John Shirley, over 30 years?

William Ross: Yeah. Yeah.

Crew Chief Eric: Yeah,

William Ross: so they, it, it was in long-term ownership.

Crew Chief Eric: Yeah.

William Ross: I [00:33:00] said a lot of these individual, like Nick’s owned his car since ’77.

Crew Chief Eric: Long time, yeah.

William Ross: Yeah, so I mean, there, there’s quite a few that have had, like Lord Bamford. He’s had his for ages too- Forever … as well, so. Coming to market in the past 10, 15 years, we’ve seen a couple pop up at an auction. You know, and obviously all the scuttlebutt starts, “All right, what’s it gonna go for, this and that?”

But majority of these cars, when they do change hands, they’re gonna change hands privately. Individuals in that tax bracket usually like to keep all their stuff private. They just work through individuals that have the means or knowhow and contacts. Someone knows someone that wants another, wants one. So it’s usually not too difficult to find someone to purchase the car, but you really don’t hear about it a lot because they change hands privately.

Crew Chief Eric: And if you’re interested, that’s what he does for a living, so. Talk to him after. That being said, the range for these cars is a noted $35 to $75 million. So David Mc- McNeil’s being on the high end of that, $75 million, that number was leaked out because that was a private sale.

Jon Summers: Well, and that, and the McNeil car was considered a great car- Yep

because it’s the only silver [00:34:00] one, and it’s one that won at the Tour de France one year. Correct. So it has a, it has a good race history, and it’s a very distinctive looking car. And, and as William said, if the transactions are private, how do we know what Dave McNeil paid? The answer is we don’t really know what Dave McNeil paid.

There’s just gossip in the space- Yeah … and that number has always been 70 or 75 million. I’ve heard both of those numbers various times. I just want to touch on, on the range here, and it reflects on, on the white car. The $35 million car was a car that Bonhams had probably about 10 years ago now, if you look back at their records, and this car was considered as having a poor history.

Yeah. And its poor history was because when it was bought new, it was bought by a wealthy French guy. Early in its career, it may have been at a motor racing event or it may have just been on the road, but the guy wrecked it and was killed in it. Now, I’ve not dug into the provenance. I’m sure the people at Bonhams would know, but it seems very likely, often in these kind of [00:35:00] situations, the family just keep the car.

So you’re probably waiting for a significant person, maybe a wife or a mother, to pass on before the car can come back to market. So that’s what happened with that car. But so that’s had no history at all, and what history there has been has been poor. So that car was clearly going to be the bottom of the range.

So when we approached the Mecum auction, the feeling was, if 35 is the

bottom and 75 is the top, but just last year we saw that Mercedes make 140, well, gosh, could this, the white one, great provenance, pretty original, could this be the first $100 million Ferrari? Could it even do more than the Uhlenhaut Coupe? That’s what- Right … we were wondering up at Mecum, weren’t we?

Crew Chief Eric: Yeah, that’s right.

Yeah. They had some ideas floating around. So what we did is we called in our Canadian buddy, David Nyens, who runs Motorcopia, and he has a fantastic analysis program that he’s written, and he came up with a valuation [00:36:00] based on provenance, based on all this other information about the car, and he came up with a number of $63 million.

That was what we went in for. That’s what we were thinking. But let’s talk about what actually happened. Mecum was the chosen auction. William, briefly, how did it end up at Mecum? There’s a story there, too.

William Ross: There was crickets. I, you know, Chris Beale from Prancing Horse was, you know, an individual stated earlier bringing this to Mecum and bringing this to Dana, and getting everything set up and agreeing to all the terms and all that kind of stuff.

So it was obviously very much hyped, and Mecum was obviously ecstatic to have this car, ’cause that is a feather in an auction house’s cap to have a GTO cross their block. You know, obviously they put a lot behind it. As John was stating, you know, Mecum had very high hopes and people were throwing around some very large numbers.

People say, “Well, it’s only one of eight right-hand drive,” this and that, you know. I sa- I had my thing, I was at 40 to 45. A few other people were on kind of my thought process too. I feel being right-hand drive diminishes value because when an [00:37:00] individual that can afford that car, they want the car they want.

They won’t just, “Well, we have one’s available. It’s only one of the 36, so I better grab it.” That’s not how they think. They’re gonna get what they want. So stepping up to it, and I believe where it hammered at- was at a price point that the buyer, David Lee, was comfortable paying for it and wanting a GTO.

Would he probably have preferred a left-hand drive? I’m sure, but then he was probably gonna pay 15, 20 million more. But you never know what something’s worth, what some- what someone’s willing to pay for it. Yeah. That’s where auction process and going in front of an auction like that, it can skew numbers, it can throw numbers off.

It can also set market values. Those cars, it’s when someone wants that specific car, ’cause of provenance, history, someone will step up and pay for it. The numbers were kind of getting way up there- Yeah … in regards to what some people thought it was gonna bring.

Crew Chief Eric: And unfortunately, there’s a lot of what if, there’s a lot of speculation, there’s a lot of had it gone to Sotheby’s, had it gone to Bonhams, had it gone here, had it gone there, would it have hammered at different numbers?

[00:38:00] Honestly, it’s irrelevant, because the type of person that’s going to buy that car is going to be in a very slim margin of people that can afford that car, and we know the window of opportunity in terms of its value, so 35 million to 75 million. So y- you funneled everybody down, and I don’t think it matters where it lands, because if you’re willing to pay what it’s worth, which is different than its value, then that is extremely important.

So that’s why, in the end, what makes David Lee’s purchase of the 250 Special is that somebody still wants to buy one of these in 2026. And more importantly, some people might say, “Well, if you compare it to Nick Mason or you compare it to Lord Bamford, you know, how many gray hairs do they have versus David Lee?”

But you have to also think back, how young was Nick Mason when he bought his 250 GTO? So now the clock is sort of resetting. Are we going to see a new breed of 250 GTO owners going forward? Which brings us really, John, to a conversation about the future of the 250 GTO, and maybe ours in particular.

Jon Summers: Yes. I thought we were gonna talk about the modern [00:39:00] supercars now.

Crew Chief Eric: We are. There’s one more slide, though.

Jon Summers: Oh, okay.

Crew Chief Eric: Because the future, the future of this car is really interesting. Serendipitous, in a way, because right after the auction, of all people, Mattel decided to cast it and immortalize it in their Vintage Racing Highline series of cars, right? What

William Ross: an incidence.

Crew Chief Eric: Or maybe something more.

William Ross: I don’t know how fast Hot Wheels can bring out a car, but it was

Crew Chief Eric: I mean, down to the very triple gill side vents and the number 10 every… It looks a lot like David’s car.

William Ross: You never know, maybe one of you guys could be walking home with a car.

Crew Chief Eric: Yeah. That being said, there is a special treat in this bin up here.

If you are interested in owning your own Bianco Speciale white 250 GTO, they are in that bin for you to take home with you.

William Ross: Not all of them have one in it, so have, you gotta be aware of that. I said

Crew Chief Eric: so. Look for the green dot.

William Ross: It’s gonna, it’s a, it’s a random pick.

Crew Chief Eric: All right, John, you wanted to talk about this, the future of these cars.

Jon Summers: I kind of did wanna talk about this, just because when we left Mecum, I was left feeling a little bit like, oh, ’cause that, the white car made 36, so [00:40:00] that seemed low to me. I felt like it was worth more than that, and I was very surprised by that because this orange Porsche 918 that you see at the top of the screen there, it strolled across the block just before, and the estimate on it was three to five, and it made that six.

And we also watched this Enzo here. The estimate was definitely under 10. I think the estimate was, like, three to five, and then it went ahead and made 15. Now, further to this, I’ve a neighbor who has a couple of Ferrari 308s. He was telling me, I was, I was saying to him, “Oh, I listened to a podcast last night, and they were saying 360 Challenge Stradale,” so this is the Ferrari 360, but the street race version of it, Challenge Stradale.

360s now, they used to be a 250 or $300,000 car. I had read that one had sold for 600, and he said, “What? I heard about one that went for 800 last week.” So we’re in a very, very strange place with [00:41:00] values for certain collector cars. Now, the question, who’s buying these cars? We spent a long time talking about that at Mecum, but as we were walking back to the car, I found myself thinking This is a passing of the baton, isn’t it?

That those of us who have been around the space a little bit will remember when the most valuable cars were Duesenbergs, the Olympian stuff of the interwar period. And then all of a sudden, the post-war racing cars driven by the Nick Mason generation buying cars, those cars went up in value. And I still know people at Pebble Beach who look at a Packard and look at a Ferrari and, like, roll their eyes.

They’re like, “How can you even compare one with the other?” Well, I’m feeling like that at the moment as the Bianco Speciale underperforms and the orange 918 does nearly double the estimate. Now, I don’t know, maybe if you like orange. I don’t know. I mean, there are some teams- There are some, there are some football teams that play in [00:42:00] orange, aren’t there?

You’ve got a- It’s

Crew Chief Eric: papaya.

Jon Summers: That’s what I keep saying … maybe, maybe if you, maybe if you love the orange, you know. But I just gotta believe that the person who bought that car bought it so that when you go to an event, everyone knows, you know, you’re there because you’ve got the only orange, the paint to sample, the only orange 918 that there is.

So I think that’s how the hobby’s changing. I think you can see it in the price, and I think this is the inflection point.

Crew Chief Brad: Yeah.

William Ross: People are getting more about status and being able to say, “Oh, this is one of one,” and that instead of actually, hey, you know, just about what the car is. And it’s unfortunate ’cause it’s pricing many and many people out of getting even, I’d say, an entry level collector car.

It’s not affordable. Instead of something, you know, what was two years ago was, say, 150. And again, that’s not, you know, money to sneeze at, but it’s definitely in the realm of possibility for a lot of people. Now, all of a sudden, it’s worth $400,000. Like, well, I can’t do that.

Crew Chief Eric: Yeah.

William Ross: You know, it just, it’s unfortunate.

Crew Chief Eric: Well, folks, I know we [00:43:00] went over time. We could probably talk the rest of lunch and the afternoon on this particular topic. So we don’t have room for questions, but we will take them during lunch if you want, or during the break. But if you are interested in learning more about what we do, the things we talk about, each of us have our own shows on the Motoring Podcast Network, or you can go back into the archive and learn all about the Bianco Speciale and all the different things that we researched along the way.

So with that, I appreciate everybody’s time, patience, and appreciate you guys listening to us.

William Ross: And if you guys want a swag bag, just raise your hand, and these two young ladies right here will- And they shall pass them out … bring them out.

PROMO: This episode is made possible by the Studebaker National Museum, the home of South Bend, Indiana’s automotive and industrial heritage. The museum preserves and interprets the legacy of Studebaker through its world-class collection of vehicles, [00:44:00] artifacts, and archival materials, including several nationally designated treasures.

As a center for history, design, and innovation, the museum inspires enthusiasts and the community alike through its exhibits, programming, and commitment to safeguarding the stories that shaped American transportation. To learn more or plan your visit, check out www.studebakermuseum.org. This episode is also brought to you by the Society of Automotive Historians.

They encourage research into any aspect of automotive history. The SAH actively supports the compilation and preservation of papers, organizational records, print ephemera, and images to safeguard as well as to broaden and deepen the understanding of motorized wheeled land transportation through the modern age and into the future.

For more [00:45:00] information about the SAH, visit www.autohistory.org.

Crew Chief Eric: I 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, Gummi Bears, and Monster.

So consider signing up for [00:46:00] Patreon today at www.patreon.com/gtmotorsports. 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 Panel Introductions
  • 00:52 Bianco Speciale Overview
  • 01:58 How the Auction Happened
  • 03:37 John Coombs Backstory
  • 06:04 Jaguar Reverse Engineering
  • 08:46 What Makes It Unique
  • 14:50 The Mystery of Coombs White
  • 19:31 Racing Pedigree and Drivers
  • 23:36 Archival Racing Photos: Spotting GTO Evolution
  • 26:26 The Hidden Driver Revealed: David Hobbs and Jaguar Link
  • 29:50 Exclusive Owners Club and Famous Names
  • 33:09 Private Sales And Price Range
  • 36:10 Mecum Auction Outcome
  • 39:05 Hot Wheels Immortalization
  • 39:51 Modern Values Inflection Point
  • 42:58 Wrap Up And Sponsors

Live Stream

In case you missed it, please enjoy the original recording of: What's so Special about the Bianco Speciale? by The MPN Team

This episode is sponsored in part by: The Studebaker National Museum, The Society of Automotive Historians (SAH) and was filmed on location in South Bend, Indiana – Recorded in front of a live studio audience.

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One of the most fascinating revelations from the team’s research is that Coombs’ GTO may have directly influenced Jaguar’s engineering.

Coombs had a close relationship with Jaguar’s chief engineer, Bill Heynes. During a lunch meeting, Coombs reportedly told Heynes he would have to keep racing the Ferrari unless Jaguar improved the E-Type. The result? The Bianco Speciale spent the winter of 1962–63 at Jaguar’s Browns Lane factory, where engineers studied it closely.

Jon Summers noted: “It seems very likely that the lightweight E-Type was a direct result of looking at… specifically the Coombs GTO.” Coombs denied this ever happened — but everyone else knew the truth.


Engineering Evolution: How the Bianco Speciale Shaped Later GTOs

The Bianco Speciale wasn’t just raced — it was developed. Coombs modified the car early and often:

  • Added hood louvers
  • Added a third side vent
  • Tweaked cooling and airflow
  • Adjusted bodywork for better performance

These changes were so effective that Ferrari’s coachbuilder Scaglietti incorporated them into later GTOs. William explained: “It set the standard for GTOs that followed after it.” Being one of the first 12 GTOs built, its influence on the remaining production run was enormous.


The Mystery of the White Paint

The car’s color is central to its identity. Was it painted white at the factory? Was it repainted by Coombs? The truth is murky. What is known:

  • Coombs ordered the car through Maranello Concessionaires.
  • Internal negotiations at Ferrari allowed the car to be delivered in white.
  • Coombs’ team likely repainted parts of the car after modifying the bodywork.

Jon Summers emphasized why the color mattered: “By the time Coombs had it and had raced it, it was in that white… and Mecum were right to make a big deal out of it.” Historic photos show the car glowing against a grid of red Ferraris and green Jaguars — unmistakable, intentional, iconic.

Photo courtesy Jon Summers, The Motoring Historian

The Bianco Speciale’s racing pedigree is astonishing. Among its drivers:

  • Graham Hill — Formula One champion, Indy 500 winner, Le Mans winner #TripleCrown
  • Roy Salvadori — Le Mans winner with Carroll Shelby
  • Jack Sears — British Touring Car champion

Hill famously demanded changes to the car during testing. Coombs pretended to make them — and Hill returned saying the car felt much better. Later, the car’s engine was removed and raced in a Cooper single-seater. The GTO body sat dormant until Sears reunited it with a proper V12 and repainted it red, where it remained for decades.

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One of the most compelling modern insights came from racer David Hobbs, who was working at Jaguar during the same period the GTO was being studied. Hobbs confirmed the competitive tension between Ferrari and Jaguar, and the likelihood that Jaguar engineers were learning from the GTO’s design.

His firsthand account tied together the timeline, the personalities, and the engineering rivalry — a rare living testimony from someone who was there.

Photo courtesy MECUM auctions, provided by Garage Style Magazine

Today, Ferrari 250 GTOs are the crown jewels of the collector car world. Values range from $35 million to $75 million, with private sales rumored even higher.

The Bianco Speciale has changed hands only five times in 60+ years, including long-term ownership by Jack Sears and later John Shirley. In 2024, it crossed the Mecum Kissimmee auction block, selling to enthusiast David Lee.

While some expected it to break records, the final hammer price reflected a complex market where rarity, provenance, and buyer preference intersect.


The Future of the Bianco Speciale

Shortly after the auction, Mattel immortalized the car in its Hot Wheels Vintage Racing Highline series — a sign of its cultural impact. The casting includes the triple side vents and racing number 10, mirroring the real car’s details.

As Summers noted, the collector market is shifting. Modern supercars are skyrocketing in value, sometimes outpacing historic icons. But the GTO remains a symbol of motorsport heritage, craftsmanship, and exclusivity.

And with younger collectors like David Lee (below) entering the GTO Owners Club, a new generation of stewardship is beginning.

Photo courtesy Garage Style Magazine

The Bianco Speciale is more than a rare Ferrari. It’s a bridge between eras:

  • From British club racing to global collector culture
  • From Jaguar’s engineering labs to Ferrari’s racing dominance
  • From the hands of legends to the garages of modern enthusiasts

Its story continues to evolve — and thanks to historians, racers, and storytellers, it remains alive for future generations.


Automotive History Live! at the Copshaholm Concours d'Elegance

The Studebaker National Museum, partnering with the Society of Automotive Historians (SAH), presents Automotive History Live! The Symposium established itself as a unique and respected scholarly forum and has gained a growing audience of students and enthusiasts. It provides an opportunity for scholars, researchers and writers to present their work related to the history of the automobile and the cultural impact of motorsports. Papers are presented by faculty members, graduate students and independent researchers.

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Where the stories… Drive Us. From the grand lawns of Concours, to the icons that shaped the road ahead, We celebrate the machines, the makers, and the moments that defined automotive history.



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Streamline Moderne The Automotive Equivalent of Art Deco

For the most part, when you meet an automotive artist, you find that they have picked their era. They like what they grew up with. In my case it would be giant Fifties cruisers like Cadillacs, the first Corvettes, but then I suddenly got a passion for furrin’ cars, which had little inspiration from Detroit where I was born and raised..But fortunately there were car clubs where owners owned D type Jags E type Jags, Porsches, Mercedes gullwings,etc.so I became steeped in everything offered in Europe and America.

But ,to their credit,  Detroit had the great Henry Ford Museum. There I was also exposed to prewar European cars ,especially the limited edition body styles that fall into the classification of “Streamline Moderne”. In architecture “Art Deco” was all the rage in the late ’30s through to the beginning of the war. It started in architecture and fashion But some of it got into cars too. Especially in Europe, in Paris specifically, and in Italy in the ’33 through ’39 era.

The Automotive Streamline Moderne movement started in the 1920s and picked up steam, inspired by not the Space Age (which was still decades into the future) but the airplane age, particularly the Schneider cup air races, where planes were becoming notably faster each year by virtue of new aerodynamic fuselage changes.

This Schneider Cup tracer, a Supermarine S6b was designed in England but inspired French automotive coachbuilders.; Photo courtesy Wallace Wyss

One of the first things automotive coachbuilders copied from airplanes was the “blister”-shaped covers for the fixed landing gear (when the wheels were not yet retractable) and so essentially half of a blistering fairing was used to cover the rear fender cutouts to make them more aerodynamic.

Here’s some of the other popular Streamline Moderne features found in the cars of the ’30s and ’40s.

  • rear wheel skirts or spats
  • tapered trunk lid and tail of the car, even being brought back in some coach built 2025028 Rolls Royce’s
  • front wheel skirts or spats, only available on a few cars like the Delahaye 135 and 165
  • slanted windscreens or even retractable ones (like on the Shah of Iran’s Bugatti Type 57)
  • disappearing convertible top cover, with no sign of folded top, usually body colored lid covered rear spare tire
  • headlight covers, headlights in the fenders and then enclosed in plexiglass covers tapered rear roofs in cuts (fastback)
  • tailfins, usually one up the middle of the trunk

Since there was little use yet of  wind tunnels then, no one knows if all these body smoothing tricks resulted in any noticeable decrease in the Coefficient of drag.

1937 Delahaye 135M Figoni et Falaschi; Photo courtesy Wallace Wyss; Details on how you can acquire this painting are available at the bottom of this post.

But only a few race drivers cared about that. The important thing was that the Streamline Moderne era led to cars being the stars as a part and parcel of the fashion world. It’s no coincidence that there were concours d’elegance (such as in France and the UK) where women’s fashions were often tied in with one-off cars exhibiting the Streamline Moderne style. In some cases the woman with the car wore clothes matching er car’s color (in extreme cases, dying their  poodle’s fur to match!).

This was not a playground for the middle class, no, the most flamboyant Streamline Moderne cars were also expensive cars because the customers ordering them could afford to have the coachbuilders go all out and create unique body shapes nobody else had. Clark Gable was one of the film world’s leading men and he ordered some luxury cars with streamlined coachwork

French were the leaders

There is no doubt, going by the last decades’ concours results, that the French coachbuilders were leading the charge, not only on French marques but on British chassis brought across the pond.

Bugatti; Photo courtesy Wallace Wyss; Details on how you can acquire this painting are available at the bottom of this post.

English coachbuilders were right behind the French in going aero, but their Streamline Moderne is not celebrated as much. The Italians also got into it; but the war pretty much ended the contest among all the European automakers as the practice of having a coach built body built for your car died in the postwar age of mass production. Sadly, the coachbuilders began to close their doors one by one, some reverting to mass production; others hanging up the tools; no longer relevant.

But now through concours d’elegance like the Pebble Beach Concours, and the Chantilly Arts & Elegance in France, there is a rediscovery of the beauty; the aerodynamic improvements in ménage and safety, and let’s face it, the brilliance of making a car’s coachwork  a fashion statement, i.e. “My car’s more aero than yours is….”

Here’s some of the most famous French coachbuilders.

De Villars

This company, called De Villars, was established in Courbevoie by Frank Jay Gould, an American billionaire, in 1925 to make bodywork for the cars of his compatriots residing in France. He named his son-in-law Roland De Graffenried De Villars as manager and that’s the name that went on the coachbuilder’s badge.

They didn’t do that many cars, but most of them were for the crème de la crème of society, on such chassis as DELAGE, HISPANO-SUIZA, MINERVA, RENAULT; with the best examples on DELAGE or DELAHAYE. The war did them in though at least the factory was bought in ’45 by Jean Daninos who created Facel Vega, which made some elegant cars, though not elegance in the same flamboyant style as the pre-war coachbuilders did.

LeTourneur & Marchand

This Carrossier was in Neuilly sur Seine, started when two coachbuilders working for Henri Binder, Jean-Marie LETOURNEUR and Jean-Arthur MARCHAND set up their own bodywork business in 1905. They quickly moved up from ordinary middle class cars to the most prestigious chassis. They became the coachbuilder of choice for DELAGE and partnered with them on a subsidiary, AUTOBINEAU.

Americans in Paris

One of the great regrets of my life is that I was at a concours in 1965 where Howard “Dutch” Darrin was a judge but did not ask him about his time in Paris (which I didn’t know about at the time). Howard “Dutch” Darrin had earlier co-founded with Raymond Dietrich the firm LeBaron in the USA. But what American could resist going to Paris between the wars, where the partying was, reportedly, non-stop? So at a certain point in 1926, Darrin combined with another American Thomas HIBBARD. One of their first designs was a convertible roadster that can be found on many a prestigious chassis. When Tom Hibbard returned to America in 1931, a man named Fernandez, identified in history as a South American banker, joined the company and his name was included in the coachbuilding badge.

Saoutchik

Pronounced “So-oh-Chuck”, Saoutchik is famous as a French coachbuilder, operating in Neuilly sur Seine but he was originally from the Ukraine. He began doing coachworks in 1906 and in the 20s worked on a lot of open cars. This was before Germany was threatening France again and, before hostilities began, he made a name with Mercedes cars. He was remembered for working a lot with chrome and nickel silver decorations and for very neat interior fittings.

1949 Delahaye 175; Photo courtesy Wallace Wyss; Details on how you can acquire this painting are available at the bottom of this post.

He was a coachbuilder that survived WWII but by then his postwar designs were “out of sync” you could say, almost over the top, almost too flamboyant. One French coachbuilder critic said his postwar designs were “real caricatures and symbolize, more than all others, the decadence of the French bodywork.”

In other words, the ambiance had changed after the war, you could no longer “justify” a 25-foot long two seater car with spats front and rear. Cars had become slightly more practical, even luxury cars.

One feature that survived…

Some coachbuilders are known more for one feature they developed that survives today. Such was the case of Marcel POURTOUT, a coachbuilder in Bougival first, then later in Rueil-Malmaison. His company was formed in 1925, and was a pioneer in cross-country creations, working with LANCIA-FRANCE. He is credited with the disappearing hardtop offered on a prewar French car.

1939 Delahaye 165M Figoni et Falaschiin; Photo courtesy Wallace Wyss; Details on how you can acquire this painting are available at the bottom of this post.

Figoni & Falaschi

Giuseppe (or Joseph) Figoni was born in 1894 in Piacenza, Italy. When he was still a little boy he emigrated with his family to Paris. He started working as an apprentice at a wagon builder at the age of 14 and he soon seemed to be a true artist in metalwork. He left to fight in World War I and when he returned he opened up a body repair shop in Boulogne-sur-Seine, a suburb of Paris. He began by modifying the coachwork of touring cars and eventually the quality of his work allowed him to establish a prosperous business. By 1925 Figoni was building complete bodies on a variety of chassis, including a.o. Delahaye, Bugatti, Renault, Delage, Panhard and Alfa Romeo.

Talbot Lago; Photo courtesy Wallace Wyss; Details on how you can acquire this painting are available at the bottom of this post.

In 1935 Figoni acquired a partner, businessman Ovidio Falaschi, who also originated from Italy, creating Figoni & Falaschi. This partnership created some of the most memorable designs of the 1930s through 1950s. Falaschi kept an eye on the finances while Figoni provided the designs.

Figoni was fascinated by the emerging aircraft industry and was much influenced by the shapes of airplanes. Much of his work centered around aerodynamics and his designs projected a feeling of motion even when at a stand-still. He started with a simple sketch, reproducing the design by affixing narrow iron straps to the chassis and then created a wood frame in ash to which the hand-formed sheet metal was attached.

Figoni’s fascination with tear drop shapes caused a sensation at the Paris Auto Salon of 1936 when he presented a Delahaye 135 with elliptical shapes and enclosed tear drop shaped pontoon fenders, which he called “enveloppantes”. Figoni went on to create another icon of the streamlining era; the Talbot-Lago T150C SS Tear drop Coupe.

Vanvooren

Located in the western Paris suburb of Courbevoie, almost concentrated on producing car bodies for luxury cars, being closely associated, during the 1930s, with the products of Hispano-Suiza, Bugatti, Rolls-Royce and Bentley.

It helped if you were a prestige car coachbuilder, it helped if you had a fancy showroom in Paris, and Vanvooren had a show room located at 33 Rue Marbeuf in the oh-so-toney 8th arrondissement of Paris.

Now one-off commissions for custom bodywork are the ultimate but you can’t always count on those so next best is a contract from a prestige automaker. Vanvooren was assigned to do 20 Bugatti Type 57s, including four cabriolet bodied Type 57S models. But the ultimate Bugatti touring car (as opposed to race cars) might be the one they built at the end of the decade, in 1939, when they were commissioned to provide the coachwork for a unique Type 57 as a wedding present for the future Shah of Iran, Mohammad Reza Pahlavi. The irony was that the Shah, when asked by the French government what French car he wanted as a wedding present chose a Delahaye 165 by Figoni & Falaschi he had seen at the Paris Auto Salon, but that car, had already been spoken for so the French government got a smaller copy made by Vanvooren on a Bugatti chassis. So ironically, Vanvooren’s wildest design is a copy of another coachbuilder’s work.

Shah Of Iran Bugatti Type 57 by Vanvooren; Photo courtesy Wallace Wyss; Details on how you can acquire this painting are available at the bottom of this post.

One of the most interesting streamline modern British cars bodied in France was “lost” physically and credit wise, overshadowed by the war.

The Bentley Mark V “Corniche” was designed to succeed the Bentley 4¼ Litre in 1940. The design was done by the Paris-based dentist and part-time car designer (and resistance fighter) Georges Paulin. Vanvooren was lined up to do the production versions. Then, after seven Mark V “Corniche” chassis arrived in Paris, and four had been bodied, the German invasion came. The prototype, identified by Chassis number 14-B-V was damaged in testing. And then while awaiting transport back to England, it was bombed on the dock in Dieppe! Eventually after the war, the Bentley Continental fastback used some of its ideas, so you could say the most elegant British car for some time was actually originally designed in France.

1949 Delahaye 175S; Photo courtesy Wallace Wyss; Details on how you can acquire this painting are available at the bottom of this post.

So it is; the flamboyance of Streamline Moderne is now fully recognized, and as with my own case, creating new fans in later generations, eager to go to concours in hopes of seeing newly restored examples from that bygone era in car design.

EDITORS NOTE: Author Wallace Wyss, once a automotive historian, has now segued to being a fine art portrait artist, exclusively of classic cars. He invites galleries to write if they want to try out a sample of his automotive artwork on their walls Wyss can be reached at photojournalistpro2@gmail.com

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Charles Mendez: A Privateer’s Journey to Le Mans

Charles Mendez’s story is a reminder that the 24 Hours of Le Mans isn’t defined only by factory titans or headline‑grabbing victories. It’s also shaped by the privateers—the determined, resourceful racers who show up with grit, ingenuity, and a willingness to solve problems on the fly. His two appearances at Le Mans, first in a Porsche 935 and later in a Peugeot P79/80, capture an era when endurance racing demanded equal parts courage and mechanical creativity.

  • Photo courtesy Charles Mendez
  • Photo courtesy Charles Mendez
  • Photo courtesy Charles Mendez
  • Photo courtesy Charles Mendez

Mendez’s path to Le Mans began in American endurance racing, where he built a reputation for hands‑on problem solving and a deep love for long‑distance competition. A chance meeting with Alain Bertaut opened the door to Europe. As the transcript notes, “he and a partner purchased a factory‑updated 935 in 1979 with plans to run two cars at the 1980 race” . Arriving in France, he was struck by the contrast between the quiet off‑season circuit and the electric atmosphere of race week, especially the ritual of downtown scrutineering that transforms the town into a celebration of endurance racing.

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His first Le Mans outing was a crash course in logistics and the unforgiving nature of the event. Shipping issues—“oxidized wastegates cost practice time” —and the challenge of running two cars stretched the team thin. A rain‑soaked incident with a Ferrari and a stalled return to the pits ended the race early, a harsh reminder that Le Mans rarely gives second chances.

Photo courtesy Charles Mendez

But that setback led to a new opportunity. Bertaut arranged a test with Gérard Welter’s WM/Peugeot program at Paul Ricard, where Mendez encountered language barriers, chilly introductions, and a radically different kind of race car. The Peugeot prototype was built for sheer velocity—“trimmed for top speed on the long Mulsanne, capable of well over 220 mph” —forcing him to relearn racecraft after years in rear‑engine machinery.

Photo courtesy Charles Mendez

Synopsis

In this episode of Evening with a Legend, we interview American endurance racer Charles Mendez about his two 24 Hours of Le Mans starts—1980 with Racing Associates in a Porsche 935 and 1981 with WM in a Peugeot P79/80—set against his broader Sebring 12 Hours legacy. Mendez recounts how promoting Sebring led to opportunities in a 935, meeting Le Mans organizers, and bringing cars overseas with little European experience.

He shares first impressions of Le Mans, the realities of privateer racing, lessons from a rain-soaked 1980 retirement, and how friends helped connect him with WM for 1981 testing at Paul Ricard. Mendez details the Peugeot’s quirks, high-speed Mulsanne challenges, mechanical issues during the race, why he stopped owning race cars, and his advice to young drivers: never give up and don’t get cocky. The conversation also covers safety-driven track changes, today’s endurance racing, Le Mans Classic, and Mendez’s current life and mentoring interests.

  • Let’s talk about your road to LeMans, how did you put the deal together for your first attempt in 1980 with the Porsche 935
  • When you think back to your first trip to Le Mans, what stands out most vividly about arriving there as a driver?
  • How did the atmosphere and culture of Le Mans compare to the American endurance racing world you were coming from?
  • Privateer efforts at Le Mans have their own unique challenges; what did running as a privateer teach you about resourcefulness and teamwork?
  • What was the moment during the races —good or bad—that taught you the most about what it takes to survive 24 hours at that place?
  • Let’s talk about your second attempt because The 1981 Race with the WM team was entirely different compared to the year prior. 
  • What was your relationship like with the cars you drove there—their strengths, quirks, and how they behaved over such a long race?
  • Can you walk me through a stretch of the race where everything felt on the edge, and how you managed that mentally and physically?
  • Speaking of “on the edge” – Le Mans nights are legendary; what did the race feel like from behind the wheel at 3 a.m. on the Mulsanne?
  • Why not another return to Lemans?
  • Looking back, is there a decision—strategic, mechanical, or personal—that you think changed the trajectory of your Le Mans runs?

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’m delighted to introduce Charles Mendez, whose Le Mans resume is brief but memorable. He made two starts at the 24 Hours of Le Mans, first in 1980 with Racing Associates in a Porsche 935, and then again in 1981 [00:01:00] with WM in a Peugeot P79/80 Both of which are machinery that embody the privateer spirit of the era.

Though he never claimed a class win or overall podium, Charles delivered a best overall finish of 13th and earned a class podium once, demonstrating consistency and resilience across 317 laps of competition. His Le Mans efforts sit alongside a broader legacy in American endurance racing, most notably his later role as a Sebring 12 Hours winner and promoter, making him one of those quietly influential figures who bridged grassroots racing passion with top-tier international endurance events.

And with that, I’m your host, Crew Chief Eric from the Motoring Podcast Network, welcoming everyone to this evening with a legend. So with that, Charles, welcome to the show.

Charles Mendez: Well, thank you. It’s good to be here.

Crew Chief Eric: Let’s talk about your road to Le Mans. How did you put the deal together for your first attempt in 1980 with the Porsche?

Charles Mendez: Well, let me offer some context to frame that in, ’cause it all kind of [00:02:00] started in mid-1977 when, uh, Dave Cowart and I, uh, took over the promotion of the 12 Hours of Sebring. It had been on, teetering on failure for a few years. It had some rough times, and John Greenwood finally decided to give up his efforts at promoting the race, so David and I took it over.

And during the ’78 race, which was our first year promoting the race, I was, uh, fortunate enough to be on a press tour with Brian Redman and Dick Barber, ’cause Dick was bringing two cars to the race, and Dick found he had an available seat in the second car and offered it to me, and I took it immediately.

And this marked the first opportunity I had to be in a 935 and in a car and team that really had the potential to win or do very well in the race. So I kind of look at that as the beginning, although that’s in retrospect. At the time, I had no thoughts whatsoever about going to Le Mans. It was just too big of a jump from [00:03:00] there.

But following that, I tried to buy a 935 for the end of the ’78 season. I was not successful with that. Ended up taking an older 934 and a half and converting it for the 1979 season. And when I was at, uh, the Daytona 24 Hour, I met Alain Bertaut, who was the organizer or director of the 24 Hour Le Mans. He, we kind of hit it off very well, and he began to encourage me to bring my cars over for the, uh, 1980 race.

As the year progressed, I was able to locate a factory updated 935 that Bob Aiken and I purchased in mid ’79. We decided that we would have two cars to run the following year, and then tho- those two cars would, uh, go over to Le Mans for the 24-hour race. So that’s kind of the, the road to getting there, and I attribute a lot of that to just good fortune and, uh, some opportunities that presented themselves along the way.

Crew Chief Eric: So obviously you’d done a lot of racing [00:04:00] Stateside before this point, but had you turned any laps on any European track before heading to Le Mans?

Charles Mendez: No, not at all. Well, our first year at Le Mans we just took our cars over and came back. In the 80, ’81 race, I did go over to the Nürburgring and ran that race, or a shortened version of it, in 1981.

Crew Chief Eric: When we look back at your very first trip to Le Mans, a lot of people talk about all the fanfare and what it’s like when you get there, and how it’s like almost being on a different world compared to a lot of other racetracks. So what were your first impressions of your first trip to Le Mans, and what stands out most vividly as a driver?

Charles Mendez: I had two first impressions, if that’s possible. In December of ’79, I was on my way to Germany for the Porsche Cup awards banquet. Uh, I contacted Alain and he invited me to stop over, took me over for a tour of the track and for lunch at, uh, Un Under, which was very nice. But it’s, it’s always interesting to see a, a racetrack like that that essentially is set up for one [00:05:00] race a year, when you see it unclothed ’cause it’s often quite different than when all the fans are there and the excitement and the cars and what have you.

I, I experienced the same thing at Sebring when we took it over. I’d never been to the track during, uh, off-season. It was shocking. It was in such a state of disrepair, but we got past that. We carried it along. My second first impression obviously was, uh, when we arrived for the race itself and the crowd, the enthusiasm, the, the electricity in the air was just spectacular and overwhelming, especially starting off with the downtown tech inspection, which when you’re there, you finally feel that you’ve become a part, a small part that is, of the history of Le Mans, and such a great history.

Crew Chief Eric: If we talk about the American in Paris experience today, it’s very different. Le Mans is a very global thing. It’s recognized around the world. People tune in. They come from all over to watch the race. At the 100th, [00:06:00] there were almost 350,000 people in attendance, not counting all the folks on television.

But you come from the pre-Mulsanne Chicane era, where there was a lot of different ways to be perceived as a driver. I’ve heard it referred to as a British race on French soil. I’ve heard, you know, about battles and this and that. And we talked to some of the pre-Mulsanne Chicane drivers about what their experience was like coming over to France as an American and racing with very few other Americans there.

What was that like?

Charles Mendez: You know, it just kind of fit in the overall scheme of things, and I say that meaning that I was so focused on preparing the cars and being there all together, I really didn’t see it as anything other than another long-distance race that we had to deal with virtually the same things Yeah, Le Mans is different.

It’s got a long straight, it’s a lot of high speed stuff, but in the end, it still was a long distance race that you had to address all of the challenges, which back then, unlike today, the cars, you know, had to [00:07:00] be managed much more carefully because if you didn’t, they often wouldn’t hold up. Today, it’s a 24 hour sprint race and, you know, it’s got 24 hour sprint racers driving those cars, so they, they never seem to give up, let up for a second.

Crew Chief Eric: At that point, obviously you had driven a lot of tracks in the United States, Sebring included. When you compare places like Sebring and Daytona to the pre-Mulsanne chicane configuration of Le Mans, what were the speeds like? Were you able to pull those kinds of speeds here stateside at Daytona in the bowl, or is Le Mans just so totally different from those tracks you can’t even compare them?

Charles Mendez: From the standpoint of 935s, which I was, drove mostly in the US, the top speed was probably, uh, uh, just under 200 miles an hour, maybe just over, depending how you geared the car. Uh, with the Mulsanne, you obviously had a longer run, so you could gear it a little longer. Overall, we were running probably in the sub 200 miles an hour.

Now, in the case of the, uh, Peugeot, that [00:08:00] car, which was running a smaller horsepowered motor, they had that thing geared and trimmed out. The car I drove would run about 220 miles an hour, and their lead car was running about 240. So they were top end terminal speed on the Mulsanne was just below the, uh, 936s, but still pretty quick.

Now, I don’t think they could have done that at Sebring, ’cause we only had a one mile straightaway, whereas Mulsanne was three miles. That was kind of the difference. Daytona was a little different in that, you know, you, you lost a little bit of, of speed in the, going into the second banking, but not a great deal, you know.

Crew Chief Eric: So I want to pull on that thread for just a second, because if any of our listeners have ever done track time, you begin to realize that above 150 miles an hour, you start to get tunnel vision, and things begin to blur, and you, you become hyper-focused in a way. Le Mans is even more interesting because you’re on a two-lane country road where it’s already very narrow, and doing over 200 miles an hour, what’s that [00:09:00] like?

Charles Mendez: Well, you need to be careful. I didn’t get enough time in the car in the 935, so I never really appreciated, uh, having that car there. But I was, I guess I was so acclimated to it that it was so comfortable and, uh, came pretty natural. So it would’ve been, uh, very similar to a Sebring race, which we ran on 300-foot wide airport runways in some areas, and then we were on just barely two-lane roads that were in the interior of the airport facility there.

So it took a, a lot of discipline in, in managing the car throughout that circus.

Crew Chief Eric: Let’s talk about being a privateer at Le Mans. That isn’t so much a thing anymore as it used to be, and even I think the last winning privateer team, we had Andrea Robertson on here. Her, her husband, and Dave Murray won with their private entry GT40 back, that was almost 15 years ago at this point.

So let’s talk about being a privateer in the ’70s, where there were a lot of 935 entries. You were in that period [00:10:00] where there were a ton of folks there. Being a privateer, that presents its own unique challenges, and you running a team, what did, what was that like?

Charles Mendez: I don’t think I ever looked at it from the standpoint of being a privateer as much as being kind of a rookie at the race, because this was our first time.

We didn’t have a lot of experience within our team. Uh, the drivers were all new to the track as well. That in itself was more of what was impactful, I thought, than the fact that we were a privateer. Porsche provided pretty good support to the 935 owners, maintaining, uh, rigs with parts for the cars and what have you.

So it wasn’t like you were totally out there on, on your own. In the sense of being the smaller guys racing up against the bigger guys is the way I looked at it. That’s the way I characterized it in my head.

Crew Chief Eric: So obviously 1980 was a lessons learned kind of a year, which leads you to your road to your second attempt at Le Mans ’81 with the Peugeot.

Talk to us about the good, [00:11:00] the bad, the indifferent, and what your first attempt at Le Mans taught you, and how that changed your approach to 1981.

Charles Mendez: Well, there were several factors in there. First, we brought over two cars, which for the first time there I think is probably a little more than we should have taken off.

I think we had more of an attitude of a holiday cruise than a serious race for some of the guys with us. We discovered some things that we didn’t anticipate. For example, the trip over in the boat caused our wastegates to oxidize a little bit, and so we had to deal with that during practice. We lost a lot of important practice time, but overall I, I just felt that we were maybe a little naive in going there with great expectations but not quite being well prepared.

Crew Chief Eric: So why the switch from Porsche to Peugeot?

Charles Mendez: Well, I think you characterized it in your notes of the good and the bad. Well, you know, if they say, uh, get the bad stuff out of the way early, that’s exactly what happened to, [00:12:00] to me. Uh, at the start of the race it was ra- it was raining very hard. Visibility was very low.

I came together with a Ferrari, which I would say is his fault, my fault, didn’t really matter. And on the way back to the pits I was careful to get out of the racing line because I was fearful that if a car might come up upon me and may ha- he may have somebody following him closely, it was conceivable he could move over and I, he, the other car might come into me.

I wasn’t scared for my own personal self, I was just more concerned with creating a problem on the racetrack. And as such, I got into the wrong side of the track. Stewards held me up there for a time to get me back into the pits and, uh, and in that process I stalled the car. Our battery wasn’t strong enough, couldn’t get it restarted.

My crew went up to Alain and said, uh, “Can we appeal and have some dispensation to take a battery out there and get the car started?” And he said, “No, I’m sorry, the rules are the rules and that’s the way it is.” That ended my race. Uh, obviously, uh, [00:13:00] very disappointing. Great life lesson, how to deal with adversity when it hits you smack in the nose.

After the race, Alain said he was very sorry and he said, “Don’t worry,” he says, “I’ll make this up to you,” which I had no idea what that meant. But I went off my merry way. We, my wife and I stopped in Paris on the way home and went back to the US and lived with this very disappointing outcome for several months.

And then towards the end of ’79, I’d, I’d had a pretty good year in IMSA that year. I had a, a win, two seconds, two thirds, and first in class, second overall, because Peter Gregg always won, and I was lucky enough to finish second in the championship that year, so I felt pretty good. That year, uh, you know, Al, Alain had teased me up in early ’79 about bringing the car over, and obviously he was disappointed with my outcome, but he contacted me at the, the end of ’80 and said, “You’ll be getting a call from Gérard Welter, who owns the WM team.”

And I said, “Okay.” This is December, the [00:14:00] race isn’t until June, and finally I got a call from him in, I think it was late January, and he said, “Charles,” he says, “you will be at Paul Ricard on the weekend of March 21.” And I said, “Oh my God, Gérard, I can’t do that. That’s the weekend of my Sebring race.” And he says, “Hmm.”

I’ll call you back.” And I thought, “My God, I just blew an opportunity to go to Le Mans.” Fortunately, he did call me back, said, “You, you will be in Paul Ricard in…” This was the end of April. They were testing their, their new car for Le Mans. They wanted to do a 24-hour simulation on the car and the motor primarily.

And so, uh, they took the older car there, and I was invited there with a couple of the other drivers, and we ran, I don’t know, two or three days to get the time in on the c- on the engine, and let them do the sorting there. But it was kind of interesting. Uh, I was not familiar with that area of France. And, uh, on my way there I pulled off the interstate and asked the guard at the station there, I said, “How do you, uh, get to Le Castellet?”

And he [00:15:00] says, “Ah, Le Castellet.” He says, “Which one?” He said, “There are six Le Castellets.” I said, “Oh, my gosh.” And it’s midnight, I’m exhausted and, and a little discouraged. Anyway, I f- after I found the proper address, I discovered that the owner of the, of the inns had perished in an auto accident that very day.

So they sent me off to another hotel, I forget the town, and, uh, spent the night there, connected with the, uh, Peugeot guys the next morning. Went to the racetrack. Things were, were pretty good, but they weren’t very communicative with me, and obviously they didn’t speak English and I didn’t speak French, so that was just a natural barrier.

Finally, we tested a little bit that day, and that evening at dinner there were about 15 of us there, and buddy of mine had shown up at that point, and it was just icy. And it, it wasn’t rude, but it was just icy. And, uh, finally, uh, one of the fellows next to me, uh, we started talking about where he was from, and he was from Beaune, and we started talking about wines, and we started talking about cheeses.

And I knew the [00:16:00] geography of France pretty well, ’cause I’d studied a lot about wines. And all of a sudden, that chilliness evaporated, and they were the greatest guys in the world. We had more fun together. And that continued all the way through the race at Le Mans.

Crew Chief Eric: Obviously you had a lot of seat time in the 935 over the years, and you were at the height of the 935 period.

When you talk about that relationship with that car, like you said, it was second nature, the speed was natural, regardless you’re doing 150 or 200 miles an hour. But let’s talk about the strengths, the quirks, the weaknesses of the Peugeot. I mean, it’s a car that people don’t even think about or talk about when you talk about the legacy of Le Mans, the Peugeot P7980 specifically.

So what was it like to drive? I mean, you did that testing at Paul Ricard, but once you got it out on the Mulsanne and you start turning laps with it, did you like it?

Charles Mendez: Of course I liked it Well, to be honest with you, I had not driven many other cars prior to that, and so this was a, an introduction to a purpose-built race [00:17:00] car that was more in line with something like a 936, though not to that level, of course, or the Rondeaus, uh, which were racing at that time at Le Mans.

So for me, I had to learn how to drive a race car other than the 935, and that was a little intimidating at first because it wasn’t the speed as much as it was the handling of the car was considerably different. You know, the last thing I wanted to do was create a problem for the team, which would be another, another X on Le Mans for me.

So I was very careful with it, but just to give you an example, I came in, uh, after our first practice sessions and I asked the fellows if they could put a rear view mirror on the car, ’cause y- you couldn’t see out of the inside of the car. It was blocked by the motor compartment. And they had a little, like a little silver dollar-shaped piece of metal that would, protruded through the plastic side window, which when you were at speed, that thing fluttered like a [00:18:00] butterfly there so that you couldn’t see anything there.

And finally I said, “Look, you know, I’m not a sissy, but I sure don’t wanna wreck your car.” So they agreed to put a mirror. They put it on the right front fender, which worked perfectly well. I just needed some, be able to have some visibility on that side of the car. And the guys came back and recited to me how much drag coefficient that added to the car, which was detrimental to them because their car was trimmed out so well purposely for the Mulsanne.

And when I say trimmed out, I mean it, downforce was compromised, everything was compromised for top speed. Because that was a fairly small engine they were getting, and small horsepower relatively speaking, but they were getting, you know, speeds well in excess of 220, 240.

Crew Chief Eric: To your point, the 935, you’re constantly managing the back end of that.

Older 911s are notorious for that, plus all the turbo boost that the 935s were making. I mean, I’ve heard them referred in very different types of [00:19:00] adjectives of what they’re like to drive. But you go to this mid-engine, lower powered Peugeot that can do higher speeds down the Mulsanne. What was it like compared to the other cars that were out there?

Because 1981 especially, you had Hurley Haywood in a 936, and you had a lot of other drivers there. Maybe it had some strengths over some of the other cars, but you guys just weren’t able to capitalize on it?

Charles Mendez: Yeah, I think the comparison to the 936, probably a little more difficult. Our two lead cars qualified in the top 10, I believe, that year.

We qualified about 20th. They were running, uh, much more competitively with whoever was up, was running up front. Obviously the 936s were and some 935s. So, you know, I, I wasn’t trying to compare myself to the top runners. Figured we were in a, you know, a year older car. Uh, we weren’t gonna run up there, and we weren’t there to, to prove anything other than bring that car home together and have a decent finish for the team.

Crew Chief Eric: And you know what’s funny about ’81, there’s such a mixed bag of cars in there. Like [00:20:00] you mentioned, you have the Rondeau, you have the Porsche 936s, you have the Peugeot. And I’ve always envisioned being able to ask someone like Marco Alain what it was like to drive one of the Lancia Le Mans cars. You competed against them.

They were pretty much in your group of cars running together. What was it like to run against the Lancias?

Charles Mendez: You know, I wasn’t paying attention to them, to be honest with you.

Crew Chief Eric: That’s fair. That’s fair. I mean, they sort of bookended you. There was one behind you and one in front of you- Yeah … sort of in the, in the pecking order there.

So I was really curious, because I’ve heard they were exceptionally twitchy and partially unreliable.

Charles Mendez: Yeah. You know, we were running very consistently throughout the race till about 1:30 in the morning. We were bouncing around 13th or 14th place at the time. I was out at, on the course at night, right front steering arm broke on the car.

I came in, we lost probably an hour in the pits replacing all of that. So it, it kinda mixed us up in the order till we got, finally [00:21:00] got back to the end. I wasn’t really keeping track too close to the cars we were running around, because we kinda lost connection with them at that point.

Crew Chief Eric: All right, so let’s talk a little bit more about the driving experience, ’cause obviously your second attempt, you guys completed the race.

There were a lot more laps at Le Mans. Can you walk us through a stretch of the race where you particularly felt, like, on edge or you had to, like, overcome maybe mental stress, or you were feeling fatigued? Like, how do you find the resolve to keep going when things get tough?

Charles Mendez: Things started off a little tough.

About an hour before the race started, one of the mechanics came over to me. He was all excited. He motioned me over to the car, and I looked inside the car, and I realized he was pointing to brand-new seat belts that had been put in the car, which the first thing that registered with me is that that car was very difficult to adjust the belts in, because they were attached way inside the monocoque.

The, uh, the mechanic was kind of puzzled by my reaction, but I got in the car, and when I tightened the [00:22:00] belts up as much as possible, I had about a three-inch gap between the buckle and my stomach. I knew that an accident at speed in a situation like that would squirt you out of that car or through the roof of the car.

Crew Chief Eric: And these were the days before submarine belts too, right?

Charles Mendez: No, we had submarine belts, but still the, there was too much play in the belts there. And, uh, recognizing that I had very little that I could do at the time, I got a piece of hard foam rubber which I put on my stomach to run the race with, and I basically put it out of my mind that anything was gonna happen.

Obviously, if you had that in your mind, you would, you’d be a, a mess out there. But throughout the race, that proved to be fortuitous because, again, what we learned after the race, the rotors that were on the car were just slightly too big for the calipers. So the car was creating excessive heat coming in the car, which was a pain in the neck, but it was [00:23:00] also creating excessive heat on the, uh, on the brakes.

Throughout most of the track, that was not an issue because, you know, the brakes weren’t having enough time to really cool, but by the time you got to the end of the Mulsanne, the, they’d cooled enough to where the pistons had pulled back considerably.

Crew Chief Eric: Ooh.

Charles Mendez: So when you went down on the pedal, the first time, the pedal went to the floor, and the second time, you got it half up, and the third time, it was back to where it should be.

And the car, the way the, uh, the pedal area was designed, it was very difficult to cross over one foot over to the other. And so what I had to do is after the kink, as I was going up the final hill there, I would slide down in my belts. I’d wiggle down enough to where I could reach the brake with my left foot so I could keep the power on, pump the brakes up so when I crested the hill and was down to the brake point for the Mulsanne, I’d have a full pedal of brake.

So I drove the race that way, most of the, most of the [00:24:00] entire race. If that doesn’t quirk you out, I don’t know what will, but it was fine. You know, once you adapt to those things in a car, you just, things work. You figure out a, a way to work around a problem and, and you go with it. You know, you mentioned the fact that we’re running on street roads or public roads.

Especially on the Mulsanne, there was a, there were ruts on the road. As you’d move to change the lane to pass a car, to stay out of a, an approaching cars, you’d, the car would basically, and this car, the steering was so delicate, if you literally took one hand off the wheel, you couldn’t hold the wheel in balance.

It would develop a, a rhythm, and it would begin to wanna steer itself. But as you’d go over those ridges, and this was true for everybody, this wasn’t just unique to this car, but the car would kinda jump from side to side.

Crew Chief Eric: Add to that, the nights at Le Mans are legendary. So if you were doing this in the middle of the night, that adds even more stress to the equation, right?

Charles Mendez: The nighttime, to be honest with you, uh, the one thing I loved about Sebring, which really was my [00:25:00] favorite part of the race, was driving at night. For some reason, I fi- I just found that the nighttime was a, was peaceful In calming, you know, there were obviously fewer cars around. I didn’t find, uh, Le Mans to be much different other than longer runs, higher speeds, and what have you, and then being in a car that was a little, a little different.

I won’t say it w- there was nothing wrong with the car. The car was quite capable.

Crew Chief Eric: 1981’s race comes to conclusion. A finish is a finish. It’s better than not, as you said yourself, in not so many words, but why not another return to Le Mans?

Charles Mendez: Couple of things. Let me tell you one more story before we shift to that question, okay?

Crew Chief Eric: Fair enough.

Charles Mendez: With all the brake issues, with all the uniqueness of the car and, you know, different environment, about 6:00 in the morning I was coming back for my next stint, and I saw a headline and it, a picture of the Calberson car, which was a Rondeau, which, uh, I think was Jean Lafosse had crashed and been killed.

And I [00:26:00] looked at that and I said, “Man, you can get hurt in these cars.” I said, “Let’s put that aside for now.” But anyway, uh, after the, uh, ’81 race, I decided that for several reasons that owning race cars was not really best suited for me. So I sold my interest in the 935 to Bob Aiken, my partner. I decided to basically just pick up rides where I could, which, you know, I ran with Moretti a couple of times in ’81.

I, I ran with, uh, some fellows at Sebring in ’82, and 935 stuff. So it kind of worked out better, you know? To further support that, in 1981 when I was at the, uh, Nürburgring, that was a year that Herbert Muhler went off track, hit Bob Aitken’s car. Both cars were totally destroyed. I mean, it was horrific. It was just absolutely horrific.

That’s when I realized I didn’t need to be owning cars.

Crew Chief Eric: So with that in mind, and, and not to talk about regrets, but if you could go back to that time [00:27:00] period, knowing what you know now, is there a decision, whether that’s strategic, mechanical, or even personal, something that you would do different?

Charles Mendez: If I could go back again with my car, I would do one car only.

I would be much more focused on the preparation, pre-shipping, and post-shipping. I think after the fact, guys were sh- flying their cars over rather than putting them on a ship. You know, it took so much time out of the race schedule. I think I’d focus more on the car preparation side and just having, you know, fewer drivers to deal with.

Crew Chief Eric: Charles, knowing what you know now, if you were talking to a younger driver that’s coming through the system, I’m sure you’ve mentored many, and you relate your Le Mans experiences to them, what did Le Mans teach you and what would you pass on to those new drivers? Beyond the result sheets, beyond all these other things, what would piece of advice would you give an up-and-coming sports car and endurance racer that wants to go to Le Mans?

Charles Mendez: The world is so different today than when we were doing it, but I, I think what [00:28:00] I would tell any young driver is that because there’s so much competition for seats, if any of them were fortunate enough to get a ride that would take them to Le Mans, they’re always competing, and, and if they don’t perform, they’re, they’re gonna be replaced, you know?

So, uh, if they’re not self-funded, I would tell them is never give up, because there are gonna be periods when things do not go well, highly disappointing to them. Still doesn’t necessarily affect, you know, their quality or capabilities. They just have to take it in stride. So my advice is never give up and don’t get too cocky.

Crew Chief Eric: And don’t try to run your own team, right?

Charles Mendez: Don’t, don’t run your own team.

Crew Chief Eric: So let’s talk about the evolution of Le Mans. Obviously, you’ve stayed connected to it in some ways, obviously through friends that had drove there, keeping up with the race every year, watching it on TV, et cetera, et cetera. But again, you were there during the [00:29:00] pre-Mulsanne chicane era, and you’ve seen a lot of change in the track, especially in the ’90s and then later, you know, as the cars evolved and that.

When you look at it holistically, what do you think of endurance racing today, and what do you think about all the changes that have come to Le

Charles Mendez: Mans? Le Mans, many other important sports car endurance tracks have changed, some out of necessity, some out of concern for the speeds, i.e. the double chicanes on, uh, on the Mulsanne.

They put a chicane in at Daytona, which I didn’t think was necessary, but I’ll give you a side story on that one. But, you know, the quality of the tracks today has improved so dramatically from back then in terms of the road surfaces, the curbing, the runoff areas, you know, all the spectator safety, driver safety issues.

Just very, very impressive. Couple that with the quality of the cars today in every class, the LMP cars and the prototypes, the, uh, the GT cars, the GT4 cars. It’s just the [00:30:00] whole package is so, so far developed from that period of time, and especially since the ’90s. I forgot, I don’t know when they put the chicanes in at Le Mans, but-

Crew Chief Eric: 1990

Charles Mendez: 1990, okay So the, uh, the flying Mercedes in ’99 was already with the chi- chicanes in there.

Crew Chief Eric: That’s correct, yeah.

Charles Mendez: They did the same thing at Daytona. They, they, uh, rationalized that the, uh, tires were blowing because of a variety of reasons, so they decided to put a chicane in and I spoke with Leo Mehl about that after the chicane and I said, “Leo,” I said, “you know, I’ve thought about this for a long, long time and I have no say in the matter, but I personally felt that the tire failures were a result that the tire was, could not take the downforce and the, the speeds of the 935s.”

He laughs and he says, “Well, you know, we couldn’t say that.”

Crew Chief Eric: Mark Rafalk did when he was here, so he, he legitimizes what you’re saying.

Charles Mendez: Yeah. So anyway, I, I figured that Goodyear didn’t [00:31:00] wanna go through a whole development cycle on tires for 935s, figuring that, you know, they weren’t, they weren’t gonna last too long, and NASCAR was the g- name of the game, and the NASCAR tire should work, and blah, blah, blah.

I, this is my personal aside. Nothing to do with anybody or anything they’ve said. But I, I, I thought they just didn’t see the, the, uh, return on investment for that, which was a shame because I think running the full oval at Daytona was really pretty cool.

Crew Chief Eric: Daytona didn’t have the luxury of blaming Jody Scheckter, like Watkins Glen did for their chicane nonsense that they, that they put in.

But that’s okay.

Charles Mendez: Was it Jody’s deal? I, I thought it was this other fella, Kendall, Tommy Kendall, you know?

Crew Chief Eric: Tommy Kendall had a bad wreck there too, yes. But they called it the Scheckter Chicane because Jody complained they needed to bring the speeds down, and this predates Tommy’s big wreck in the ’90s. Oh.

That was like 1994-ish timeframe. But I bring that up just as an aside there. But I did wanna talk about something else. From your perspective looking back and talking about the changes at Le Mans, for a long time fans of both [00:32:00] sports car and endurance racing and Formula 1 kinda go head-to-head as who’s really the most technologically advanced, you know?

Who is the pinnacle of motorsport? And obviously this year’s Formula 1, we won’t make any comments about that. But from your perspective, having lived the sports car and endurance life, do you think there’s parity now, or do you think sports car and endurance racing, especially at races like Le Mans, Spa 24, Nürburgring, things like that, they’ve kinda edged out the technology curve that Formula 1 was holding?

Charles Mendez: I don’t know. I mean, obviously, uh, this year they’re having a, a bit of a struggle with whatever the technology development is or for I think it’s more of the quality of cars that you see in endurance racing today is so advanced from where it was years ago, a long time ago. And, you know, where, where you thought of Formula 1 as being the epitome of development, and ne- never in the sports car world.

But in the sports car world today, uh, you see some pretty advanced stuff there. [00:33:00] I hope they don’t get too far ahead of themselves, because the racing is very good, and I think the fact that the racing is good, you get a full 24-hour race today as a spectator, that I think that has appealed to the crowds and has helped support the growth in the crowds.

I see it at Sebring. Uh, you know, they, they had a record year this year. I’m sure Le Mans had a record year. But, uh, I don’t know. I, I never got lost in those battles. You know, I’m from the USA, you know. The US, it’s like NASCAR’s trying to be better than somebody else, and, you know, it’s like, “Oh, come on. Give us a break.”

Crew Chief Eric: Well, there is a new development outside of all the facilities changes and things that have happened at Le Mans. The last year was the first official year that kicks off Le Mans Classic being an annual event instead of the whenever it can happen type of event. Having been there to see it myself, it’s an, an amazing event.

What do you think about Le Mans Classic becoming an [00:34:00] annual, and could you see yourself going back? And if so, what would you drive? It doesn’t have to be your car. It could be anybody’s car. Would you participate in a Le Mans Classic?

Charles Mendez: First of all, I think it’s fabulous idea. I really do, because there are so many good race cars that are out there in some fairly competent hands.

Those people, you know, I think they want places to run those cars, and what greater place than to take it back to Le Mans? So I think it’s a great idea. I don’t think about things like that anymore because, uh, I don’t like to think about things that I th- don’t think will ever come true, but been involved at times with situations where things I didn’t think about finally came true, you know?

So I guess if I went back, I’d wanna go back in something that I’m familiar with. You know, that’s kinda my default mentality. I don’t wanna suggest that I’d go back and get in a, you know, a modern-day prototype, but I think it’d be fun to go back and drive a 935 again. You know, I was at, uh, Monterey Rinsport a couple of years ago, and I, I was watching the 935s and, you know, I [00:35:00] noticed they looked like a 935 going in the turn, they looked like a 935 exiting the turn, but they didn’t look like a 935 in the turn.

Mentioned to a friend of mine who had one of the old Interscope cars there, and I told him that story l- about like that, and he starts laughing. And he says, “You know what you don’t realize is that all the guys that own these cars now have removed the locked rear ends and replaced them with limited slips, and they’re running radial tires, so you don’t have the handling characteristics in that car that, that you had when, when we drove, which you had to keep that back end slipping a little bit.”

You had to drive the car with passion, and you had to be gentle on it with love and care because it would shift it would shift from each. And, uh, that’s what made them so much fun to drive. You know, you had to horse them into a turn. You had to be on the power hard to get them turning, and then you had to manage that power out so the car would straighten up and not keep turning and go in a, in a circle, you know?

Crew Chief Eric: You mentioned not wanting to drive one of the modern cars. [00:36:00] When you watch Le Mans, w- who are you rooting for?

Charles Mendez: Well, uh, you know, I, my default team is Porsche, obviously. Are they running this year, or they’re not?

Crew Chief Eric: They are not.

Charles Mendez: That’s sad. I, I hate to see that. I think Ferrari has done an admirable job in the, uh, in the WEC, as the, uh, Toyota.

I don’t know if the Toyota’s running again this year. But without Porsche, I’d probably, I’d probably be cheering for the Ferrari guys.

Crew Chief Eric: You’re not gonna root for Peugeot? They’ve had an entry since ’23.

Charles Mendez: Oh, but yeah. Well, you know what? Didn’t they have an entry that, uh… Was it the, a diesel-powered car back in, uh-

Crew Chief Eric: Yeah, that was back during the Audi dynasty as well, yeah.

I’m trying to remember the name of- number. 908? No, not 908. It would’ve been something else.

Charles Mendez: But that was a pretty good car, wasn’t it?

Crew Chief Eric: Yep.

Charles Mendez: Uh, and then did they return again just prior to COVID? Was that Peugeot, or it was another French team?

Crew Chief Eric: They came back for the 100th with the 9X8, which is their new very slippery…

It was supposed to be the fastest car down the Mulsanne. It had very little aerodynamics, which was very, very cool, but it generated [00:37:00] downforce without all the wings. Then they ended up changing that later. Uh-huh. You know, we’re still rooting for them. They’re always there. They’ve been there the last four years now, or-

Charles Mendez: I guess I’ve lost touch a little bit on the-

Crew Chief Eric: It’s all good.

Charles Mendez: Is WM still running the car?

Crew Chief Eric: No, no. Peugeot factory team. So Charles, what’s next for you?

Charles Mendez: Well, uh, you know, I have a Cayman GT4 RS that’s a pretty fun car to drive out in Northern New Mexico and Colorado, where the, the roads are a little more open and the traffic is, uh, a little less intense than the East Coast.

So I like to drive that out there. I have no, no, uh, plans or aspirations to go racing again, to be honest with you. I’ll leave that to the younger guys, ’cause there are a lot of younger guys out there.

Crew Chief Eric: Do you find yourself doing any coaching or at, like HPDEs or anything like that with the Porsche Club?

Charles Mendez: I went to a driver’s ed deal for Porsche Club, and, uh, my weekend got short.

I had a family member that passed away, and I had to leave early. Yeah, that would be fun. I mean, I like mentoring younger people. Back in [00:38:00] ’75, we started a, uh, drug prevention education program, which we developed for delivery to s- school-aged children K through 12. We continue to do that. We’ve done that ever since then.

You know, I like the idea of, you know, helping kids stay on the right track to make good decisions about their lives. So, uh, the mentoring would be a fun part of that, you know, mentoring, coaching. I ran into a couple of kids that are doing some racing, uh, when I was at Sebring this past March. You know, they’re looking for money.

They’re looking for coaching. They’re looking for guidance, and, uh, that’s the kind of stuff that would be fun today. Yeah.

Crew Chief Eric: Well, with that, it’s been a pleasure. But before we sign off, I wanna pass the microphone to our ACO USA representative, David Lowe, for some parting thoughts.

Charles Mendez: All right.

David Lowe: Charles

Charles Mendez: Yes, sir

David Lowe: on behalf of the ACO and endurance racing fans everywhere, I just want to thank you for spending your evening with us. I know it was a, it was a hard fought battle to get you on, but but you are a legend, and, um, it was wonderful to hear your story. Thank [00:39:00] you so much.

Charles Mendez: Well, thank you, David. It’s great knowing all you guys, okay?

David Lowe: I appreciate it. Thank you for your time, and don’t be a stranger. We’re gonna get you back for a follow-on session.

Charles Mendez: Hey, I’m, I’m ready. I, you know, I can talk about all kinds of stuff, you know.

David Lowe: We look forward to it. Thank

Charles Mendez: you. All righty. Well, thank you very much.

Crew Chief Eric: As we wrap up tonight’s conversation, what lingers most about Charles Mendez’s experience isn’t just the laps he turned at Le Mans, it’s the spirit he carried there.

His story reminds us that the 24 Hours isn’t only defined by factory giants or headline victories, but by the privateers and the believers who show up with determination, ingenuity, and heart. Charles raced those long nights on the Mulsanne not for glory, but for the love of endurance racing itself, and that passion has echoed through everything he’s touched since.

In hearing his memories, we’re reminded that legends aren’t always the loudest figures in the paddock. Sometimes they’re the ones who quietly shape the culture, the events, and the people around them. Charles Mendez is one of those figures, an American racer whose Le Mans [00:40:00] chapters may be modest in number, but rich in meaning.

And with that, we hope you enjoyed this presentation and look forward to more Evening with a Legend throughout the season. And on behalf of everyone here and those listening at home, thank you again, Charles, for spending your evening with us.

Charles Mendez: Thank you, Eric. Appreciate you having me.

Crew Chief Eric: This episode has been brought to you by the Automobile Club of the West and the ACO USA. 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 of 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 ACO USA, look no further than [00:41:00] www.lemans.org. 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 ACO USA 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, Brake Fix, and many others. If you’d like to support Grand Touring Motorsports and the Motoring Podcast Network, sign up for one of our many sponsorship tiers at www.patreon.com/gtmotorsports.

Please note that the content, opinions, and materials presented and expressed in this episode are those of its creator, and this episode has [00:42:00] been published with their 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 Charles Mendez
  • 01:49 The Road to Le Mans 1980
  • 04:19 First Impressions of Le Mans
  • 07:14 Speed on the Mulsanne
  • 09:34 Privateer Life at Le Mans
  • 10:49 Lessons from 1980
  • 11:46 Switch to WM Peugeot
  • 14:26 Paul Ricard Test Culture Shock
  • 16:13 Driving the Peugeot P79/80
  • 21:07 1981 Race Challenges
  • 25:24 Why He Didn’t Return and What He’d Do Differently?
  • 27:31 Advice for Young Drivers
  • 28:43 How Le Mans Has Evolved
  • 33:36 Le Mans Classic and 935s
  • 35:56 Life After Racing
  • 38:33 Thanks and Farewell

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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.

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Photo courtesy Charles Mendez

His 1981 Le Mans run became a masterclass in privateer improvisation. He convinced the team to add a right‑front fender mirror because the interior view was blocked by the engine, and even used foam padding to fix dangerous slack in the seat belts. Brake hardware mismatches created severe fade, leaving him to “pump the pedal and even slide down in the seat to use his left foot for braking after the Mulsanne kink” . A broken steering arm at 1:30 a.m. cost an hour in the pits, but Mendez finished the race—an achievement he still considers meaningful.

  • Photo courtesy Charles Mendez
  • Photo courtesy Charles Mendez
  • Photo courtesy Charles Mendez
  • Photo courtesy Charles Mendez
  • Photo courtesy Charles Mendez
  • Photo courtesy Charles Mendez

Those experiences shaped his future. Witnessing catastrophic crashes and feeling the weight of team ownership convinced him to step back from running cars and instead focus on taking rides. His advice to young drivers is grounded in lived experience: never give up, avoid overconfidence, and remember that seats are fiercely contested. He also appreciates how far endurance racing has come—“track surfaces, runoff, curbing and car reliability have advanced since the pre‑Mulsanne‑chicane era” —and welcomes events like Le Mans Classic for keeping historic machinery alive.

Photo courtesy Charles Mendez

Today, Mendez remains connected to the sport through mentoring and community work. He enjoys spirited drives in his Cayman GT4 RS but has no plans to return to competition. His Le Mans chapters may be modest in number, but they embody the quiet influence of privateers who helped sustain endurance racing’s culture. They are the racers who showed up, adapted, and kept the spirit of Le Mans alive long after the checkered flag.



A Fine Artist Depicting Bizzarrinis Sings His Sad Song

In the beginning, growing up in Detroit in the ‘50s, I knew of foreign sports cars but rarely saw them. It was the weather, rain and snow in winter, too hot in summer, that dampened their popularity  and those who worked for Detroit’s Big Three were frowned on by management when they showed up in a European sports car (Oh, the horror!)

I dabbled in them myself—a 300SL gullwing for instance but Detroit wasn’t sports car friendly.

In college I was a poet (even won a national prize) and it was while I was in the library looking for a poetry magazine that I came across a Motorsport magazine that had a test of a sexy Italian made two seater called the Iso Grifo A3/C (later became the Bizzarrini). Upon seeing those pictures, I immediately forgot about poetry and became a car nut

Then only a couple years later, around ’67,  I came across a descendent of that car in person. Seeing one in person made me much more zealous in my pursuit.

My boss, Dick Wingerson,  at the ad agency where I wrote Chevy ads, had a side gig promoting a place called The Vette Shop. A customer had brought in a car for repair, a car my boss described as “some weird foreign car with a Corvette engine.” He said I should go look at it.

The car was a Bizzarrini.  (pronounced BITS-A-REEN-E”) ,which was built by Giotto Bizzarrini, a former Ferrari engineer . He was famous in the Ferrari community for designing and engineering the immortal 250GTO, a car that at last count was worth about $70- million plus. He that was part of the famous “palace revolt” when Enzo Ferrari fired an engineer named Carlo Chiti, and the other engineers ,in sympathy,  walked out.

Giotto tied in with an upstart rival to Ferrari—ATS—but that failed. Then he was hired as chief engineer by Iso, the company whose first car was the tiny Isetta “bubble car” and after that they moved into grand touring cars using the dirt cheap Chevrolet V8 engine.  They wanted to do four seaters but Bizzarrini talked them into also making two seater coupes with designs by Bertone’s Giorgetto Giugiaro, then the wunderkind of the car industry (he started designing cars as a teenager!) . Giotto wasn’t content with luxury four seaters, he even talked them into making a race car and it briefly threatened Ferraris at Le Mans.

Then there was the inevitable parting of the ways. Iso did not want to make aluminum-bodied cars so Bizzarrini said “I’m leaving” and he left with the design for the Iso Grifo A3/C (for competition) and A3/L (lusso for luxury touring),  a svelte 170 mph car that he had talked them into producing.

He was able to keep the design because he had copyrighted the name “Grifo” under his name and Iso had already introduced at auto shows a tamer steel bodied Iso Grifo to use it on a redesigned tamer street car, so it was too late to change the name. They reluctantly let him take the race car design.

Bizzarrini Builds a Factory

He began producing it his native Livorno under the Bizzarrini name. Among the cars he made were three open models, with a targa roof, and it was one of those I saw in Detroit. I tried to buy it then but the owner was a true believer in Bizzarrini and as far as I know owns it to this day, over 50 years later!

A Move to the Coast

Flash forward, to California. In 1970 I moved permanently to California. Sports cars galore. In succession, I  owned a Porsche 356 Convertible D,  a Mercedes 450SL, a Karmann Ghia convertible, a gullwing again and a Ferrari 365GTC/4. Though I always wanted a Bizzarrini—at about $11000 in 1970 , they were always a little out of my reach.

But I diligently searched for them. In the 1980s I was writing and publishing car books (one a success, at 50,000 copies, a bio of Carroll Shelby) and came across a group of car collecting investors in NYC that would send out barn finders to find them cars.

At the time, I had a wife that worked for the airlines so that solved the traveling problem (remember their slogan “Marry me. Fly free”)      so I went around the US looking for exotic cars.

My technique was to run ads in Auto Trader all across the country,  showing a picture of a trashed example and saying “WANTED: Bizzarrini. Any condition, etc.” and then ,when I got a bite, I would show up at their house with a cashier’s check. I wouldn’t even ask if it was still for sale . My opening line was “Let’s go to the bank and see if they will cash this check.”

Along the way I bought Bentleys, Rolls Royce’s, Ferraris, Iso Grifos, Ghia 450SS’s, Bizzarrinis, etc.

The Stunt Man’s Ride

The Bizzarrinis were the most memorable cars I bought. One I bought from a legendary movie stunt man Carey Loftin who had snuck his own Bizzarrini (he eventually is recorded owning five in a row) ino every movie he could. A fleeting glimpse but often more interesting than the movie,. He got long racing scenes in the Disney Herbie movies about a VW beetle with a mind of its own,

How my purchase of the stunt man’s Bitz happened  was he had invited the Iso Bizzarrini Club to his house in Huntington Beach for lunch. All during the lunch, I thought the piece de resistance would be him unveiling his last Bizzarrini. But no mention of it. Finally the guests left except for me and I said “I thought we were going to see your cars.”

He said’ “sure” and led me out to the garage and began opening doors. The first door revealed a DeTomaso Pantera but as I had written three books on DeTomaso I was bored with them. And they made too many for it to be really rare (At least 7000…) The next door he opened revealed the prize– a faded Bizzarrini, laid low by an uncompleted self upholstery job. I asked how much he wanted for it and he said $60,000. I called my sometime employers in New York and they said “We’ll send the check.”

A week later I was back with the cashier’s check and a tow truck. His wife was crying as I towed it out. He kept trying to reassure her. “I’m over 80 years old,” he said patiently. “nobody’s writing checks like this to me anymore.”

That one I shipped without trying to get it running. But another –a clean white one I bought out in Lancaster from a member of the club–I think it was about the same price–I got the keys to a perfect running car. I got to drive it until the shipping truck was scheduled to arrive. I drove the bejeesuz out of it. Even made a video of me driving it with music stolen from a Spaghetti Western movie. Never have I driven a car that looked so good that was so cheap to maintain!

Another one I bought was in Ohio or some other Midwest state. You know the Midwest, where cars rust like crazy. Now how could it rust with an alloy body? Easy. Everything underneath rusts. The guy wanted $30,000. We went to the bank and the bank manager couldn’t believe his town’s biggest loser could ever own anything worth $30,000. But he did. The check cleared.  One more for my New York buyers.

Career Switch to Fine Art

Now I am a fine arts painter. Goodbye to books (well, to car histories, I do have a novel I am promoting, Ferrari Hunters, in case you out there  know any movie producers…)

Though probably 80% of the 100 car paintings I have completed since 2009  are of Ferraris , there are ten of Bizzarrinis (including Iso Grifo A3/C_) paintings, and I’ve sold a couple. But of course there are damn few owners. Not even enough to fill a Starbucks!. I figure out of the original under-150 plus cars there are only sixty cars still out and about and some have suspicious historical backgrounds (for instance, one was torn in half in a race crash so there’s probably two rebuilds that could claim that SN,one from the front half’s wreck and the other from the rear half’s wreck) It’s hard to check on a car’s history when the original automaker closed their doors decades ago (I do actually have a roster, published in 2014, which is as close as I can get to authenticating a Bizzarrini if I am ever lucky enough to find another).

I was surprised as anyone when I discovered at least ten videos on Iso Grifo A3/C and A3/L models and Bizzarrini on You Tube. Apparently the videographers are not so restrained as the magazine writers ( I guiltily remember personally being at Motor Trend in ’65 and sending the Iso representative packing as far as him hoping we would do a road test of the Rivolta, the firm’s first model , If they weren’t going to buy ads…they could forget about coverage,.,,

Amazingly as beautiful as the Bizzarrinis were, as convincing a sports car as they were, as ingenious as they were in using an American-made V8 as power, there are millions of sports car fans who have been Ferrari fans for decades but never heard of that obscure Italian marque created by one of Ferrari’s former engineers (the one with the 250GTO on his resume….). It takes an educated aficionado to buy the painting. A true cognoscenti. But I’ll keep painting them… after all, they were the car that started me down this long, winding automotive historian road.

EDITORS NOTE: Author/Artist: Wallace Wyss, an octogenarian, would like to hear from a brick and mortar gallery interested in consigning his Bizzarrini art. He can be reached at malibucarart@gmail.com

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Inside Classic Auto Mall

Classic Auto Mall isn’t just a consignment showroom — it’s a 336,000‑square‑foot automotive time capsule where barn finds, restorations, and high‑end exotics coexist under one roof. Under the leadership of Stewart Howden, the Mall has grown into one of the most extraordinary car destinations in the country, attracting enthusiasts, families, collectors, and curious travelers from all over. “A mall full of 400 barn finds behind pipe and drape convinced him to move his family in September 2017 and launch Classic Auto Mall in January 2018.”

Photo courtesy Collector Car Guide (CCG)

Howden’s path to Classic Auto Mall wasn’t linear. It began with a childhood love of cars and a formative listen to The Sounds of Sebring, a record that sparked a lifelong fascination with motorsports. His career took him through auctions in Auburn, Indiana and museum work in Branson, Missouri before a phone call led him to Morgantown, Pennsylvania — and to a mall filled with 400 barn finds hidden behind pipe and drape.

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The building itself, a 1985 Kemmons Wilson–designed outlet mall, was perfect: oversized doors, wide corridors, and even a connected hotel. By 2018, Classic Auto Mall officially opened, and the inventory exploded — at one point reaching roughly 1,100 cars.

Spotlight

Synopsis

Break/Fix Podcast welcomes Stewart Howden, president of Classic Auto Mall, a consignment-based classic and collector car destination in Morgantown, Pennsylvania housing 1,000+ vehicles in a 336,000-square-foot former outlet mall. Howden recounts his path from a childhood love of cars and “The Sounds of Sebring” to auctions, a museum, and ultimately launching the mall in 2018 with a partner who had amassed 400 barn finds. He explains how the business survived and grew through COVID via remote sales and transport, discusses organizing inventory to encourage discovery, and shares notable oddities like a 1923 Chevrolet Weedman motorhome. The conversation covers market softening for “generic” classics versus continued strength at the high end, generational collectibility, restoration vs preservation, and the mall’s focus on helping collections and estates, plus hosting major events and community outreach.

  • Classic Auto Mall is such a unique operation in the automotive world. What’s the story behind your path to the Mall, and what moment made you realize this was the place you wanted to lead?
  • Walking through Classic Auto Mall feels like stepping into a living encyclopedia of American car culture. How do you personally describe the scale and spirit of the place to someone who’s never been? 
  • Classic Auto Mall is famous for its barn‑find inventory. What’s one discovery story that still gives you goosebumps when you tell it? 
  • With more than a thousand vehicles under one roof, what guides your approach to deciding what belongs on the floor, what gets highlighted, and how the collection evolves?
  • Managing a facility of this size must come with some wild logistical challenges. What’s something people would never guess goes on behind the scenes?
  • From your vantage point, what trends are you seeing in the collector‑car market right now — what’s rising, what’s cooling, and what’s surprising you? 
  • You’ve seen countless people walk in and reconnect with a car from their past. What’s a moment where you witnessed a buyer form an emotional bond that stuck with you?
  • With so many survivor‑grade cars coming through the Mall, how do you think about the balance between keeping a car original and restoring it for the next generation? 
  • As you look ahead, what’s your vision for Classic Auto Mall over the next decade — new programs, new experiences, or new ways to connect people with the cars they love?
  • If someone wanted to sell their car through CAM, what’s the process? Any rules? Etc?
  • Classic Auto Mall has become a destination for enthusiasts, clubs, and families. How do you see its role in the broader car community?

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: BreakFix has always been about capturing the living history of the automotive world, the builders, the storytellers, the caretakers, and the people who keep this hobby alive one machine at a time. And tonight, we’re welcoming someone who sits right at the crossroads of preservation, passion, and pure automotive spectacle.

Stewart Howden is the president of Classic Auto Mall, one of the most extraordinary automotive destinations in the country, a place where 1,000-plus classic and collector cars live under one roof, where barn finds sit steps away from concours-level restorations, and where [00:01:00] every aisle feels like walking through a living museum of American car culture.

Stewart isn’t just the guy who runs the place, he’s the steward of thousands of stories, each one with its own history, its own quirks, and its own path to the mall’s massive showroom.

Don Weberg: From his early days in the automotive world to overseeing one of the largest indoor classic car facilities on the planet, Stewart has built a reputation for connecting people with the cars they’ve dreamed about for decades.

Whether it’s a survivor-grade muscle car, a chrome-soaked cruiser, or a forgotten gem pulled from long-term storage, he’s seen it all, and he’s here to share with us what it’s like to manage a collection that never stops growing, changing, and surprising even the experts. Tonight, we dive into the stories behind the mall, the market, the machines, and the man who keeps the automotive time capsule running.

Crew Chief Eric: That’s right. And joining me tonight is returning co-host Don Wieberg from Garage Style Magazine, [00:02:00] one of the many personalities on the Motoring Podcast Network. Welcome back, Don.

Don Weberg: Thank you, Eric. Good to be back.

Crew Chief Eric: Well, with that, let’s welcome Stewart officially to BreakFix.

Don Weberg: Welcome, Stewart.

Stewart Howden: Thank you so much for having me on the show today.

I’ve been looking forward to this. I got my notes, and I’m ready to go and talk cars and go down rabbit holes that we didn’t even expect.

Crew Chief Eric: I like to hear that. Well, Stewart, like all good BreakFix stories, there’s a superhero origin story out there. So tell us about the genesis of Classic Auto Mall and how you got into the collector car space.

And this is such a unique operation in the automotive world. There’s gotta be a big story behind the path to the mall. Take us on that journey.

Stewart Howden: Sure. So I started out like anybody. I loved cars as a kid, Hot Wheels and all the different iterations of cars and classic cars and sports cars and just any kind of cars I was into.

What really got me over the hump was The Sounds of Sebring, a record album that a neighbor kid had, and we went to their house one night, and he played it for me, and it was just nirvana. I thought, “Oh, this is the greatest thing I’ve ever heard.” So I [00:03:00] always wanted to be involved in classic cars, but- Never really knew how to do it.

Had a career path of, in music and different things and, you know, just wasn’t really sure what I was gonna do and how I was ever gonna get into classic cars. And long story short, met a guy who had an auction. It was interesting, he was working with, uh, eBay Crews at the time, and eBay Crews offered me a job to go to Auburn, Indiana and run this big auction facility out of the blue, and I had no experience in anything automotive, collector car world other than I just loved cars.

But that kind of started my path, and then I met so many wonderful people and, uh, ended up, I had a museum in Branson, Missouri that was a tourist attraction. I ended up in North Carolina for a couple years. My wife and I finally ended up in Lock Haven, Pennsylvania, in the center of the state, working with a guy, Grant Miller, one of the finest people you’ve ever met in your life, who did a dealer auction every week, and once a year did a classic car sale and said, “Hey, I want you to come run this.”

And it was good timing for us, and kids were in college and needed a little extra income and a steady paycheck instead of being an [00:04:00] entrepreneur and all that. So we’re doing that, and I get a call from a guy in Morgantown, Pennsylvania, which I have never even heard of, and he says, “Hey, I hear you’re the guy who knows consignment classic cars.”

And I said, “Well, I’ve, I’ve had some experience in it,” and so on and so forth. And he said, “Well, I, I need a business plan because I’m gonna do a consignment-based classic car dealership.” And I happened to have a business plan already. My doodling days were not scratching on a napkin, they were writing out a business plan of this.

I wasn’t sure that it was this or a mall or a warehouse or something, but it was a big unlimited space building. So I had this business plan already done, so I just scratched out the name and put his name in and did Morgantown. “Where? Morgantown, Pennsylvania, not West Virginia?” And put that in and sent it to him and he bought it from me, and he bought the deal.

And I said, “Well, that’s great.” So I told my wife and I said, “We got an extra little money, let’s go take a vacation.” About two weeks later I get a phone call and the guy says, “The family has voted.” And I said, “Okay.” And he said, “We want the guy who wrote the [00:05:00] plan to come execute the plan.” And I’m like, “Eh, I don’t know.

I’m kind of happy where I’m at and not quite sure what the plan that you’re talking about is, but I’ll come visit you on a weekend.” So a Saturday came and, and I drove over to Morgantown, and it was about a two and a half hour drive, and I’m not knowing what to expect. I’ve talked to this guy on the phone a couple of times.

He sent me money, the check didn’t bounce, so, you know, there’s a good start of the relationship there. And I pull into the parking lot of this outlet mall that was built in the early ’80s. There’s the worst beat up Expedition Ford you’ve ever seen in your entire life, brown with not a, with scratches and chips and all kinds of stuff on it, and this guy sitting in the, in this Expedition has got a long white ponytail and a long white beard.

And he’s older gentleman, maybe 10 years older than I am at the time, 15 years older. Not what I expected at all. I get in his car and I’m thinking, “This has got to be a prank. I mean, I don’t, who is this guy? What is this? I don’t understand. How can this possibly be my dream thing in this weird scenario?” Uh, long story [00:06:00] short, we came into the mall and he had bought, over the years, 400 barn finds for his collection, all different types, and he had lined them up in all the storefronts of the whole entire mall with pipe and drape behind them.

So it looked like each room was full, even though each room was only maybe a 10th or one 15th full. But when we went in, none of the hallways had anything in them, but there was these 400 barn finds. They were all in these rooms, and it was just, like, overwhelmingly intriguing, number one. I think if the building had have been empty, I would have never agreed to come here and do it.

I think I would’ve just said, “This is too surreal. I, I, I d- I…” Be careful what you wish for, you know? A chocolate sundae every day for 365 days is no fun. And I’m thinking, “This is gonna be just something, I don’t know.” But he said, “We want you to come do it. We w- partner up on this deal. It’s a great facility, 336,000 square feet on 27 acres, right on the Pennsylvania Turnpike, great car country area.”

So I said, “Okay,” and then I better check with my wife, and I checked with her, and she kind of reluctantly said, “Well, it [00:07:00] sounds like something worth trying.” And, uh, we moved here in September of 2017 and officially launched the business in January of 2018. It’s been a rollercoaster, unbelievable ride, and I don’t mean ups and downs, I just mean a wild ride.

It’s just been crazy the way this thing has grown and built, and we got to about 1,100 cars at one point in time, and it was … It wasn’t overwhelming. It was actually pretty cool. We actually had a good system that actually made it work for us. And, you know, the, the building was designed for us in 1985 by Kemmons Wilson, the founder of Holiday Inn, but he didn’t know it at the time, but- Yeah, no stairs, all the doors are big enough for cars to get through, couldn’t have been

And it has a Holiday Inn connected to it, so we can have events and have a place for people to stay, and it, it was just one of those things that it was divine intervention.

Crew Chief Eric: You know, Stewart, what’s interesting about this part of your story is that unlike a lot of other automotive businesses, whether they’re motorsport or otherwise, you survived COVID.

You started [00:08:00] just before and have made it out the other side successfully and continue to grow, whereas a lot of other places have unfortunately closed their doors. So I have to right away say congratulations, bravo. I mean, that’s commendable.

Stewart Howden: COVID happened, basically we were shut down the day before my birthday, March 18th of 2020.

We laid everybody off, including our son, who worked for us. My wife is our office manager. My wife and I locked the front doors of the building, and we’re walking past the reception area where the receptionist would normally sit, and the phone rang. And I said, “Oh, hold on. Let’s see what this is. Somebody forgot something or whatever.”

“Classic Automotive. Why, yes, we do have a ’67 Mustang for sale. Yeah?” Yeah, you’re gonna buy it? Okay, all right. Then all of a sudden the other line’s ringing. I was like, “Kathy, get back over here.” She answered the phone, “Yeah, we do have a ’71 Camaro for sale.” All of a sudden the phone’s ringing and it’s not stopping.

And we’re like, “What’s going on? Nobody’s gonna be buying cars during COVID.” It was the exact opposite. Everybody wanted to buy cars. They just couldn’t figure out how to do [00:09:00] it. The good news is, is that we had at the time about 900 cars in inventory, and we had the wherewithal and the f- facilities and business plan in place to make it work Without ever seeing a person or touching a person or being in their space.

And recall, hauling truck drivers were exempt from any of that. So even though a classic car was pushing the boundaries of what they were talking about when they allowed essential trucks to travel, here we are, we’re doing business. We’re literally sliding titles and checks in between the glass doors of our front of our building to the consignor, and truckers are coming up and we’re leaving the keys in a box outside, and they’re grabbing the key.

I mean, we were business as usual. We called our sons, said, “Come back to work.” Now, the downside, or good side of downside, 900 cars to 400 cars in about six months. All of a sudden we were down on inventory drastically, but we survived. We made it. And of course, we learned so much of our business during COVID, of things that we could do and do better and more [00:10:00] efficiently.

And we brought everybody back, you know, whenever we came back. I can’t remember the exact date it was, J- July or August. Everybody came back and we went back to full staff, and we started turning again, and then events started happening, and we were back in business. And, uh, it was, uh, one of those things that I would have

I, I just knew when COVID hit, I was like, “Well, you’d think something like this would ruin it,” you know? Something just so beyond your control. And, uh, it turns out it couldn’t have been better. It worked out really well.

Crew Chief Eric: And that’s a really important point you make, because we saw a shift in the collector market from that time forward, and we s- we’re still riding that bubble.

And I know this is something you talk about on your show all the time, but there’s another thing I wanted to pull on. There’s a thread. There’s something you said. You said that album, The Sounds of Sebring. Right. And what I find interesting, for those that are watching this behind the scenes on Patreon, your office is full of racing memorabilia, and you’re a classic car guy.

Explain that to me.

Stewart Howden: Well, first of all, my office is a five-year-old me [00:11:00] with an unlimited budget, so … And I’ve always been into race cars and European sports cars, believe it or not, so I’m into Porsches and BMWs and Mercedes, and that’s what I drive. But I have just a fond af- affection for classic cars, whether it’s a ’57 Thunderbird or a, or a 1960s whatever.

I mean, I’m, I’ve got a passion for all things automotive, cars, trucks, vans, motorcycles, sports cars, race cars. But for some reason, my office leans heavily on race cars, and I don’t know why. It wasn’t by design or a plan, it just kind of happened somehow, some way. I just ended up with a lot of race car stuff.

Crew Chief Eric: He says with the most subtle sarcasm. First of all, he’s a Porsche guy. He’s sitting in a 911 GT3 seat. That’s not, like, some bargain basement, bought it off Amazon. I could recognize that right away. I’m gonna go out on a limb. You’re a Tifoso. That’s, uh, Ferrari Formula 1 stuff behind you, is that right?

Stewart Howden: Jacket and some Formula 1 pictures there, and the 3.0 BMW CSL, which is in the background up there, which is one of my favorite [00:12:00] race cars of all time.

Crew Chief Eric: I knew you were a true Ferrari fan, Stewart, when I saw the 499P at Le Mans up on your wall there. So you know, we’re kindred spirits. It’s all good

Stewart Howden: Funny how you lean towards certain things and then your respite is something completely different.

Like, I worked in country music, and I’d have to literally, when I left our live performance theater at night in Branson, Missouri, I’d have to get in my car, and on my way home, I’d have to listen to Iron Maiden to kind of equal myself out from the country music. So you listen to country music all day and all night, and then you turn some Iron Maiden on, and then eventually you kind of just balance.

So that was my thing. And, uh, you know. I tell you, the other thing that got me into cars a little bit later on, but it kind of solidified it, there’s a great picture. I was talking to our guest yesterday about this. There’s a great picture. There’s an advertisement for Lotus. It’s a picture of Colin Chapman sitting on the hood of a Lotus Esprit in gold, and his 414 Cessna twin engine plane in black and gold livery is parked right behind him, and he’s in a three-piece suit.

And I thought, “Oh my God, that is it.” If you [00:13:00] could ever get to that, that’s nirvana. That’s game over, mic drop, whatever we used to call it back then.

Don Weberg: You know, Stewart, I have that ad framed in my garage.

Stewart Howden: No kidding. I love that.

Don Weberg: I do. Yeah.

Crew Chief Eric: It’s also in Cromback’s biography of Chapman and his machines, so it’s a very, very famous picture.

Stewart Howden: Yeah.

Crew Chief Eric: Before we move on to talk a little bit more about the mall itself, I have one question I have to ask, because, you know, as a tifoso, as a Porsche fan, we’re gonna ask you a classic Pit Stop question from Brake Fix, and the only one we’re probably gonna ask on this episode. You are at the head of the boardroom when two designs are presented in front of you, and you have to decide which one to build.

And that is the space age Porsche 959- Or the passionate Ferrari F40, which one do you choose?

Stewart Howden: You know, it’s funny, we had a conversation about the 959 on my show yesterday because my guest has a 959. It was, uh, interesting, and it was, it was one of those ones that was done by Canepa, so they added more horsepower and all the different things, [00:14:00] ’cause they’re a little crude from the era of when they came in.

But I wrote a paper on the 959 and the F40 when I was on my third version of trying to go to college. And, and, uh, that’s a whole long story in itself. I got three and a half years done and then waited too long to go back, and they said, “Well, you have to start over because you waited too long.” So I wrote a paper on the 959 and the F40.

I have to say, as much as I love both cars, from a value standpoint, you’d say the F40 because look at the value that it’s become. But we didn’t know that back in the day when we were sitting at, in the boardroom making a decision. So I would’ve picked the 959 at the time, just because it was so, you know, 444 horsepower, twin turbo, all-wheel drive.

Looked like a Porsche, but, and most people wouldn’t know the difference between it and a 911. It would look the same to them and, and that’s no different than a 288 GTO and a 308 Ferrari. But I love 935 Porsches. And I don’t even think I have a 935 on my wall, which is kind of surprising. It’s funny, now I’m thinking about this.

I love the 935, and purists will [00:15:00] say, “Oh, that’s not a purpose-built car. You gotta love the 962 or the 956 or, you know, the 917.” I don’t know, the 935 was my era. I went to Riverside in 1982 and watched John Paul and the Whittington brothers and all the guys racing back in the day, and Riverside was just like, I couldn’t be a, in a f- cooler place if I dreamt of it, you know?

I couldn’t have made it up to be any coolers. So the, the, uh, 959 would get the nod back in the day. Today, eh, I might err towards the F40.

Crew Chief Eric: So you are in a very small group of people that have picked the 959. The F40, like hands down, usually gets picked because it’s so raw and raucous and as close as to a, you know, a street-going race car as you can get.

You know, that’s not a bad thing, but it’s really interesting the people that choose and then how they articulate and justify their choice of the 959. So good job. That was really well done.

Stewart Howden: You know, I think the sophistication of the 959 is what got me. I love raw horsepower and raw, raw power, but there’s something about a well-balanced vehicle that did it for me, [00:16:00] and especially the 95-

And I’ve never gotten to drive one. One of these days, hopefully, uh, I’ll get to drive one if I become friends with somebody who’s got one close to us.

Crew Chief Eric: All right. Let’s switch gears. Let’s talk a little bit more about the mall itself. Let’s put ourselves in the shoes of a first-time visitor to Classic Auto Mall.

Some might say it’s like stepping through an encyclopedia of American car culture, but how would you describe a trip through the mall? What do you see? How did you guys organize 27 acres of space?

Stewart Howden: So what we did is, as we started the consignment business in 2018, as I said- We were taking cars. We were just, we were advertising that, “Hey, this is what we do.

We’ll sell your car for you. This is our program. This is how it works. This is…” And of course, everything that we did, we started out on the lower scale, the quality of cars, the amount of commitment that you had to make, all of that. So we don’t charge admission for you to attend and come to the mall. We don’t charge any upfront fees for you to consign your car.

That was the only fight that my partner and I ever had, by the way, was not [00:17:00] charging admission. He wanted to charge some kind of admission because he had it in his head, you have to charge admission to these things, and my theory was, no, I want more bodies through the building because even if it’s a, you know, a, a group of senior citizens, they all have kids and uncles and nephews and different people that are into cars, and it’ll be a way to spread the word.

But anyway, back to your question, we tell people all the time, we’re at these shows and events talking about Classic Auto Mall, we’ll say to a guy, “336,000 square feet.” Well, you might as well say, “I jumped over the moon.” They have no idea what the reference point of that is. It doesn’t mean anything. We have 1,000 cars in the building.

Okay, if you say so. You know, it just, it doesn’t have any kind of bearing on reality to people, but the greatest is when they walk in the door and they go, “Oh, wow, I knew that there was cars in here, but I didn’t real-” I mean, it’s just, it’s cars everywhere you go. It’s like a mall for cars, literally. And when they get to the very center and you can do a 360 and pivot and look down each of the hallways, and each one is full of 70, 80, [00:18:00] 90 cars in each hallway in addition to what’s in the rooms, it’s overwhelming.

It’s one of those things that you see the guys and they look at their watch and they go, “Oh, I didn’t plan enough time for this. This is, I’ve got way less time than I thought to go ahead and see all these cars.”

Don Weberg: You have, like, a little golf cart to get you around?

Stewart Howden: I have a personal golf cart because I don’t have time to be walking this daggone mall, and I’m lazy.

Uh We actually have all the guys, we probably have seven or eight electric golf carts, and we have three electric John Deere Gators, and then we have a, a little electric trolley tram type thing that, uh, we’ve kind of outgrown because we, I mean, we can’t fit it around the corners like we could before. But it’s a spread out space and, and if the guys were walking all day to doing this, they’d get half of what they get done in a day on a regular basis because they just, there’s only so much…

Uh, steps matter, you know? We all know that in any kind of business, how many steps you take is- Mm-hmm … in a relation to how much money you can make.

Don Weberg: And a big part of your business is barn find cars, isn’t [00:19:00] it?

Stewart Howden: Yep.

Don Weberg: You’re not just dealing with late model collectibles, you’re dealing with pretty much everything, but barn finds are a big part, aren’t they?

Stewart Howden: Obviously, the most cars we had in the building was the 400 barn finds of my partner’s. We’ve sold off a couple of hundred of those since we started, and there’s about 100 that he’s decided to keep that, you know, no amount of money will buy it from him, even if it doesn’t have any value, it’s just, it has sentimental value.

Don Weberg: Okay.

Stewart Howden: So we’ve done well with barn finds, and we actually still sell quite a few, but the ratio is not as strong as it was when we first started in ’18 and ’19 and ’20, just because we’ve sold a lot of these collections. We have a few more that are coming up. We have an auction coming up in a week that will be about half barn finds, and that’s mostly how we sell those.

They’re tougher to sell. In the old days, you could put a barn find on eBay, no title, no keys, no battery, no reserve, and the guy would sell it, and you’d do pretty well on it. Nowadays it’s a little tougher. It’s harder to get titles for cars. It’s not the same world as it used to be if there’s a missing title.

So our focus has been always barn finds, but we take a [00:20:00] $5,000 El Camino just as seriously as we take a million five Ferrari, and everything in between. We give everything the same program, take the same set of pictures. We do the same detailing of it. We promote it the same way. We’re equal opportunity here, and we don’t look down our nose at anybody’s dream car because, you know, everybody starts somewhere.

Don Weberg: Right.

Stewart Howden: And a $5,000 El Camino guy could be a $50,000 Corvette guy who could be a $150,000 Jaguar guy. You know, blessing of this place was is that when we first started, we had no idea- How many classic cars were in this part of the world within 100 miles of us? There was nobody who was saying, “Oh, Southeast Pennsylvania, there, that’s the car world.

Forget California, forget Florida, forget Scottsdale.” Nobody was saying that

Don Weberg: It’s interesting to me, I’m constantly looking at cars for sale. I can’t afford any of them, but I look, and it’s amazing to me the percentage of them that come from Pennsylvania. That is one amazing, amazing car state. It really is.

Stewart Howden: Yeah. We waited five years in our business before we did a, a, a deep [00:21:00] dive into where our consignments were coming from. We, we advertise, you know, we promote where our sales go to. We’ll do on the r- on the podcast show, we’ll say, “Ah, this week we sold a car to Houston, Texas, and San Jose, California, and Denmark, and so on and so on.”

But we never really deep dove into where the cars were coming from, and we should have done it, but I didn’t really wanna know the answer, I think. I, I ultimately just didn’t wanna know where our cars were coming from, how far of a distance they were coming from. And what we found was after five years, 80% of our cars were coming from within 75 miles of where we sit, which was encouraging and both frightening at the same time because it’s like, oh, wow, I would’ve thought it would’ve been 150 miles on average, and it was really not.

It was 75 miles where 80% of our cars came from, and we didn’t know that starting out. So, you know, God bless whoever was looking after us for that deal.

Don Weberg: Are there any barn find stories that really kinda turn you on? The, the ones that you can’t forget, they just give you goosebumps when you think about them?[00:22:00]

Stewart Howden: My partner found a 1923 Chevrolet Weedman Motorhome And there was a tree growing through the middle of it. It’s a wooden back. It’s got a, it’s a Chevrolet, which is surprising it’s not a Ford in 1923. Yeah. It’s a center seat for driving the vehicle, so it’s literally in the dead center of the- Mm-hmm … the windshield, like a McLaren F1, only different.

It has an armoire in it, and it has a bed in it, and it has these cool flaps that open up to allow a breeze to come through the top of it, and it has a slide out. Unlike- What? Not unlike a Prevost of modern era buses that have these big electric slide outs. It’s got a fold down kind of tent piece that folds out, and you’ve got, like, a canvas top on it.

And you would sleep there, and then you had your armoire and all this. And this was something that you never see these things. It’s still in our building. It’s still probably the most popular vehicle of all the types that we have in the building. People gravitate to this thing more than just about anything, and I love it, and it’s great to see kids and [00:23:00] grandpa, grandma, and mom and dad, and the kids all just equally flock to this thing and go, “Whoa.”

Where do you see something like that? And you could put the prettiest, shiniest whatever right next to it, and nobody would care.

Don Weberg: Absolutely. Very cool.

Crew Chief Eric: You said something interesting there. You put the prettiest, shiniest whatever next to it. So how do you guys organize the cars? So you have a thousand cars.

Are they just hither to and everywhere, or are they broken down by year or genre or by country? Like, how did you guys organize the collections?

Stewart Howden: My guys will ultimately, for some odd reason, try to put all the Corvettes together, try to put all the Mustangs together. Right now, we have, I think, 57 Corvettes in inventory, and probably 45 Mustangs.

What my goal has always been is to have everything spread out in kind of a hodgepodge, $5,000 car, a $15,000 car, a $50,000 car. No rhyme or reason to it, because I was always taught in business is that you didn’t want to pigeonhole yourself into having a person that came into your grocery store and only go to one area, and then [00:24:00] they leave and they never see the rest of it.

Because we have guys who come in looking for a Corvette, and then they see a Fiat Spider that their wife has always wanted, and if they, every car was in its own little area, they may have just gone to the Corvette room and that was it. But now they’re walking through, seeing the rest of the cars, there’s a Fiat Spider, “My wife’s always wanted one of those.

I hadn’t thought about one of those in 25 years, but here it is right here. I can buy it today,” and they’ll buy that. And all of a sudden you’ll have a sale that you never anticipated. The guy was coming to look at a Z06 Corvette. So we kind of gave up on trying to put them in any sense of order because it just, it’s one of those things, you know, like herding cats, it just make you crazy.

You just would never… I have so many anal retentive qualities about myself that if I let them start doing that, I would get on the bandwagon very quickly, and then I would just go nuts about anything that was out of place or anything like that. I’m a Disney clean and green guy in an old, dusty building that really, I mean, not many people would buy a building like we’re in because [00:25:00] they’re afraid of the maintenance and the upkeep and all that, because it’s an older building.

But my partner loves these older buildings, and it doesn’t cost nearly as much to maintain them as you would think, although the electric bill is quite steep here, but

Crew Chief Eric: So for the cars that are staying permanently, that are not for sale, have you set them up in such a way that maybe they’re, like, in a diorama, or you, they’re surrounded by their own type of memorabilia, like, like a Buick room, or you have an Oakland room or something like that?

Stewart Howden: No, we really, we only have a handful of vehicles that aren’t going anywhere. Uh, we’ve got the, the aforementioned, uh, Weidman camper. We’ve got a Volkswagen replica of a Volkswagen bus that was at Woodstock, that sat up on the hill at Woodstock, and they completely did a replica of that, and it’s really cool.

Not for sale. But 99.999% of our vehicles are for sale in the building, and mostly American-made Mustang, Camaro, Chevelle, Thunderbirds, uh, is, is our bread and butter. Would I love it to be filled with a Riva boat like I have over here, or a, or an [00:26:00] F40, or a 959, or a Testarossa for- Of course I would. But the practicality of it is, is that to do something in this scale, you got to have your bread and butter stuff.

You got to be like Walmart. You got to sell a ton of widgets at a nickel profit and, uh, you know, you’ll do good in the, in the long run.

Don Weberg: You sell more Fords than Ferraris

Crew Chief Eric: You mentioned the electric bill being high. Is that because of all the battery tenders you have to run for 1,000 cars?

Stewart Howden: It’s that and the heat and the air, and we don’t keep it

It, it ain’t cool in the summer and warm in the winter. Trust me. You wear your jacket in the winter, you’ll probably leave it on, but you gotta keep it somewhat climate controlled. We have 157 HVAC units on our roof. Yeah, so it, it’s a big old place to … A- and just the lighting bill, you know, and just, just for the lights, forget the heat and air, is expensive.

Crew Chief Eric: So let’s sort of switch gears and talk about the collector space from your vantage point. Sitting on top of an inventory of 1,000 cars, you saw everything go up, up, up, up, up, and used car market went crazy. Even, you know, your off [00:27:00] rental car Nissan Altima- Right … is three times more expensive than it should be right now.

Hopefully, that bubble maybe will correct itself in the future, but what are you seeing? What are you thinking? What do you think is cooling? Where do you think things are going?

Stewart Howden: Well, I can tell you that the one thing we’ve felt from COVID just happened within the past six to eight months, and that is the cyclical nature of people collecting one or two cars at a time is about a five-year window.

So everybody that bought their car in COVID, post-COVID area within, you know, four to five, six years ago, is now at that crossroads where they’re ready to sell the car. They wanna step up to something else, and this is a huge part of our market. But guess what? In 2020, when they bought that Chevelle, the market was $50,000 for that car, and guess what it is now?

Not 50. It’s 40, or maybe it’s 35. So now, all these guys that bought at the top of the market, which was, uh, inevitable it was gonna happen, [00:28:00] are now thinking, “Oh, I’d like to get rid of this car. Now I’m upside down in it. I got, you know, more money in it than it’s worth.” The old a- you know, I promised my wife we’d make a profit on every car we bought.

Uh, I knew we were gonna hit it on run, the market was never gonna shift. Didn’t really happen. The market’s still a little bit soft and just, dare I say, generic classic cars being a, a ’70 Chevelle with a 350 in it, not the original motor, not the original transmission. Nice car, number two-and-a-half, three condition, nice paint job, has flaws, great driver car.

You know, the market on those is just not gonna be very good now. And will it come back? I don’t know, it’s hard to say. I mean, we don’t see the ’55, ‘6, and ‘7 Thunderbirds ever coming back to the prices they were at. We don’t see the ’39 Ford Deluxes convertibles that were, you know, 80, $90,000. We don’t see them coming back.

But the Duesenberg market ain’t suffering. The Ferrari market ain’t suffering, you know?

Crew Chief Eric: Let’s talk about that, because I’m sure you’ve been keeping track like everybody [00:29:00] else. Kissimmee was a big move forward in the Ferrari space. Yeah. There, there’s been obviously incremental rise in investment in the Ferrari space for years.

It’s never a bad bet, you know? It’s sort of like nobody got fired for selling IBM, but, you know, you never really lose money buying a Ferrari, but that Bachman collection sort of reset everybody’s focus on Ferrari for this year. What are your thoughts?

Stewart Howden: Well, when you see an Enzo go for $12 million that, you know, was going for 3 and 4 million not that long ago, and I mean, I know not that long ago, in my mind, is usually a lot shorter time than it actually is, ’cause yesterday to me is five years ago, or five years ago is yesterday, you know?

The thing that surprises me most about the Ferrari market, I get the hypercar stuff. I get the whatever five is, FECTA, uh, where you got the 288 GTO, the La Ferrari, the F40, the F50, and the Enzo. Every guy who collects Ferraris who’s got any money, that, you have to have those five. You know, it has to be part of your collection.

I get those going up in [00:30:00] value. I get that they’re gonna continue to increase in value, uh, just because, you know, they’re amazing cars and limited production, and not everybody that wanted one could get one, and so that leaves a lot of room for marketability out there. What I don’t understand is a 400i that brings $150,000, or a 308, which are, pardon me, are not very nice cars to drive.

They’re not very fast. They’re not very reliable. They’re not very much of anything. And for them to bring $100,000-plus, I remember when a 308 Ferrari, you’d buy for 20, and then you’d go put 20 in it, and you’d have a car that was worth 15, so- I don’t understand that segment of the market. I get the upper end of the market.

There, you know, listen, the wealth in this country, and the world for that matter, is immeasurable in, in, compared to what it was even 25 or 30 years ago. And the amount of money that people can go and spend, I mean, standing next to a guy at an, at an RM auction and all of a sudden a $12 million bid, and it’s the guy next to you you’ve been chatting with, [00:31:00] who you thought was just some guy, and here’s this guy, you know, buying a $12 million car.

And it happens on a regular basis because of all the cars that we know about that sell at all the high-end auction houses, and sell with us, and sell with, you know, some of the other classic car dealers, uh, in the world, there are probably double that in private transactions, ’cause most rich guys are very protective of their identity and what they are and who they are.

You remember when the Forbes list first came out, they had a hard time getting anybody to admit that they had a million dollars. People didn’t wanna even talk about it. People, when I was growing up, the rich people drove Buicks and Oldsmobiles and the middle class guys were the ones who drove the Cadillacs and the Lincolns.

Uh, we didn’t have any idea that our neighbors were as wealthy as they were because they didn’t show it. They didn’t flaunt it. They didn’t wanna be on some list telling me how much money I got. It’d be funny to go back to the Forbes 400 list on the very first year that it came out and see what the top level was.

It was probably, you know, like 30 million or something.

Don Weberg: Stewart, the guy you’re talking about, the neighbor you don’t know how rich he is, that’s Eric. That’s Eric [00:32:00] Hit him up for a loan, he’ll do it to you.

Crew Chief Eric: Only if it’s a hot hatchback, Don. Only if it’s a hot hatch.

Stewart Howden: You know, that’s the problem. You know, when we talk about this hobby, we want to get the kids involved, we wanna keep the involvement of people who may have not been collector car people, but it’s difficult if you wanna send somebody to go, let’s say, Amelia Island.

And I’m not picking on Amelia Island, I love that concourse, it’s a great event. But the Ritz Carlton, if you wanna stay at the host hotel, it’s 2,700 a night, and it’s a three-night minimum. I don’t care how much money you have, at some point in time, you know, we may have to say, “Enough is enough.” We’re go- not, you know, we’re not we’re mad as hell and we’re not gonna take it anymore, like Network the movie, but we’re gonna say, “I’m not gonna pay $2,700 a night, even if I can.”

Don’t get me in a grocery store, ’cause I’m just, I don’t even understand this. What happened to the good old days?

Crew Chief Eric: Well, let’s not solve that problem tonight. Let’s, let’s talk about something else. We had this discussion, Don, on several What Should I Buy episodes that we’ve done in the [00:33:00] past, and that is thinking about grandpa’s car.

And that is a generational shift, and the shift is occurring now, right in front of our eyes, where when we were growing up, grandpa’s car was from the ’50s, maybe, that he drove every day. You kind of looked at what grandpa drove every day versus what grandpa aspired to. To your point, Stewart, from earlier, those Duesenbergs and the Packards and the cars of the ’20s that they grew up with, you know, things like that.

So when we keep shifting down the line, kids today, my girls as an example, what did my dad drive? Well, cars from the ’90s. Right. Cars from the ’90s are really popular right now, which is really interesting, because they have not yet bubbled into this escalation curve that we’re talking about. But I don’t want to sit here and debate the end of the Middle Ages- Sure.

with ’90s cars. What I wanna talk about is the cars that are coming out right now. In your opinion, with your wise eyes and all this experience, what is collectible today? What’s gonna be grandpa’s car 20, 30 years in the future when I’m a [00:34:00] grandpa?

Stewart Howden: The short answer is I don’t know, and my reason for not knowing is, is not understanding exactly how the technology of the side is going to work in the future.

Not because technology, because cars will be so technologically advanced, it’s because the electronics will be technologically advanced, and for a 1990 Lexus, they’re not gonna make any of that crap. They’re not gonna make any of the parts for that. So maybe that begets that to become collectible because it’s gonna become to the point where you can’t buy the little computer box that went on a 1991 Infiniti Q45 because they don’t make them anymore, and nobody wants to make them because there’s no value in it.

Crew Chief Eric: And my answer to that, I said it on another episode, there’s an LS swap ready every where you turn.

Stewart Howden: Right. Exactly. There will always be crate Chevy motors. That’s the beauty of, of what that is. But you know what? The cars that I gravitate towards still are ’90s cars, ’93 through ’95 928 Porsche GTS, a BMW 850CSi, Supra twin turbo.

I [00:35:00] love those cars because the ’90s for me were the interim years. I had cool cars when I was a kid, you know, 16 through 20-something. Then I couldn’t afford anything during that era when they had those cool twin turbos, and the good news is, is it gave me hope that if I ever did figure out a way to make any money, that they were still building cool cars, ’cause we thought in the late ’70s, w- if you drove a ’77 Plymouth Volare, you would realize that the death of the automobile was near, and it was coming- There was no way there was gonna be anything cool made anymore

Crew Chief Eric: But Corinthian leather, Stu.

Corinthian leather

Stewart Howden: You know what’s funny about that? Let’s say, let’s take a 1978 Corvette. Those of us who are car people go, “Well, you know, that’s a ’78 Corvette, underpowered, the malaise era. There wasn’t much to it. 180 horsepower in the L48, 220 in the L82. It just was not… But if you stop and back up about 25 feet and look at a ’78 Corvette, take every preconceived notion about how well it performs and does and doesn’t do [00:36:00] this, that’s a good-looking car.

Crew Chief Eric: It is. When you dress ’em up, yeah.

Stewart Howden: We forgot that because we were, “Oh, well, those, you know, that old ’78 Corvette’s nothing.”

Crew Chief Eric: You know, the solution to the ’78 Corvette problem is still the same, Stu. LS swap. Yeah.

Stewart Howden: Done. The LS swap solves everything, right?

Crew Chief Eric: That’s right. I would love to say,

Don Weberg: what I wanted to talk about is actually a few steps back from what Stewart was saying about the electronics of these cars.

And, you know, I was a believer in that, too. I thought, “Yeah, all these cars with their whiz bang stuff going on, they’re gonna just basically become extinct because nobody’ll be able to fix them.” You know, one car I really like, and a lot of people, you know, i- i- it’s one of those polar cars. People either really like it or they really hate it.

No, don’t worry, I’m not going after that one.

Crew Chief Eric: Okay, good.

Don Weberg: It, uh, it’s actually the Aston Martin Lagonda.

Crew Chief Eric: Oh.

Don Weberg: Yeah, it’s a big wedge of a brick of a sedan. And the early ones, as you know, they were hugely technological for the ’70s. Hugely. They had stuff going on in there that was ready for NASA.

Crew Chief Eric: It had [00:37:00] two fuses, Don.

Two fuses.

Don Weberg: Two. And, you know, really, they only needed three, but Lucas said, “Let’s save some money.”

Crew Chief Eric: But it came with that smoke in a jar, remember?

Don Weberg: Yeah. It’s good stuff. That’s good stuff, yeah. But I’ll tell you, though, it was, it was one of those English magazines, and I was reading an article, and I bought the magazine because it had this article about this guy who also likes these Lagondas.

And he was younger, he was in his 30s, so he buys, uh, I forget what year, ’77, ’75 Lagonda, filled with electrical problems. It just had electrical problems all over the place. He’s younger. He’s like Eric. He grew up techy nerd, and so he understands wiring and all this stuff. The next thing you know, he’s pulling this car apart to figure out, what can I do to fix this?

He finds out that in the ’90s, Nissan was using a whole bunch of products and components that were very similar to what the Aston Martin was using back in the ’70s. So he started Mickey [00:38:00] Mousing it together. It became one of the most reliable Aston Martins. It’s still running around in England right now.

He became a member of the club. The car became almost his daily driver. This thing is solid as a rock. It’s incredible. While I was reading this, I’m saying to myself, “Okay, great, there’s hope for this car. Not that I’ll ever be able to afford one, but there’s hope.” The younger people who are used to computer controls, they might be the ones who fix this stuff.

I mean, look at the World War II birds. Mm-hmm. They were, what? Exposed to the airplanes, exposed to the Jeeps. And what did they have to do when they were over there? Keep ’em running. ‘Cause guess what? There’s not a repair shop around the corner. You have to keep this thing going, okay? So based on that, what’d they do?

They became little engineers. They knew how to keep the Jeeps going, the airplanes go, God forbid the airplane breaks down, but you see what I’m saying. It’s the same thing, it’s just advanced. Now it’s computer stuff, and there is, again, a young person who was exposed to computers his whole life, and now he’s not afraid of going after this Aston Martin.

And not only that, because he had experience with Nissan cars, he’s looking [00:39:00] at the Aston Martin stuff saying, “God, this is so familiar. This looks just like what was used on the 200SX.” Mm-hmm. “This looks like this, this looks like that.” So they were able to put it back together, and I think that’s what kinda gives me hope for some of these cars that are coming down the line that I look at, and I’m sure you guys, too.

I look at ’em, I think, “Holy cow, I don’t want anything to do with that.” Well, yeah, because I was raised by World War II people. The difference in thinking is there, but these kids aren’t intimidated by him, not by a long shot.

Stewart Howden: I like the 200 SX reference, too.

Crew Chief Eric: I know, right?

Don Weberg: Great car.

Crew Chief Eric: Since we’re in the middle of car show season-

Stewart Howden: Yes

Crew Chief Eric: and car week is turning into car month, as we all know, and we get to bask in its glory every year, there is often a debate that percolates to the surface all the time, and that’s restoration versus preservation. And I wanna get your thoughts, especially with 1,000 cars at your disposal, where you guys find yourselves in that argument.

Stewart Howden: I love the preservation side of it, if it’s within practical and within [00:40:00] reason. There’s impractical restoration and preservation, unfortunately. A four-door 1940 Plymouth Sedan is not practical to restore. It’s a shame that it won’t be preserved in any way, shape, or form. And it shouldn’t always be about value.

But we always tell people, “Buy what you love, restore what you love, spend whatever you feel comfortable spending. If you get some of it back, you’ve hit a home run. If you don’t get any of it back, you were okay with it to begin with.” But I love original cars. I love low mileage cars that, you know, have been preserved and are mothballed, if you will.

’78 Corvette pace car comes to mind, just, uh, out of the blue, when p- people were saving those, or the last year for the Cadillac Eldorado Convertibles that weren’t particularly collectible when things turned around and people started saying, “Oh, I’ve got a ’78 Corvette with 20 miles on it.” And it didn’t have the impact that everybody thought it was gonna have.

And then you have others, remember the Ford GT when it came out in 2005? It tanked. I had one with 80 miles on it that I was begging to get rid of, and got, finally got it sold. It had all four options, in that midnight blue, and got it sold for 90 grand and was thankful for it to be gone. And [00:41:00] of course, you know, we all know where those went.

But- You know, the right car, I think a ZL1 aluminum block 1969 Corvette four-speed, blah, blah, blah, blah, blah, I think that should be preserved to the nth degree because it is such a important part of the history of the automobile and where we were able to go. Most of us didn’t even realize back in the ’60s you could check a box that would get aluminum 427 in a car.

No, we didn’t know any of that. We just go, “Oh, that looks cool. That’s what I’d like to have.” I bought a ’75 Trans Am. It was the worst year to possibly buy it. ’76 would’ve been better. This was in ’78. ’74 would’ve been better. I could’ve gotten an SD455 probably for the same price. I didn’t know anything. I just thought, “Hmm, that looks cool.

That’s what I’d like to own.” I mean, it leads from preservation to restoration to restomods too, so you got that element of it as well too. And my position is, is that there’s room for all of it, A, and B, it depends on the subject. I mean, you could put two cars side by side of each [00:42:00] other that were restored, and they’re not the same car even though they have the same specs.

You can put two SS 396 Chevelles with four-speed Muncie M20s, and they’re both red, and they both have Kroger wheels, and they both have this, and they both have that. But the level that one was done and the level that this one was done, it’s, there’s so many different variations. So I would say that it has to be almost done on a case-by-case basis.

Obviously, there’s no committee that rules who gets to… You know, you don’t have to come before me to determine whether you restore it, keep it at original, or restomod it. But it’s gotta be almost on an individual basis because there’s reasons that, you know, obviously, you don’t chuck a DZ302 out of a ’69 Z28.

I know crate motors are the answer, but at some point in time, that needs to be restored. You don’t wanna let that engine go by the wayside.

Crew Chief Eric: Well, since you went there again- … what’s your number one car you’d be like, if ever that came across, you’re like, “That needs a restomod. That needs an engine swap.

Don’t care what condition it’s in. There’s no preservation of that”? Right. You talked about the Volare. Is, is that your restomod car? Like-

Stewart Howden: Yeah. I think [00:43:00] somehow, deep down in, in the nether world of my body, somehow Volare is… I, I keep talking about it, so there must be something about it, right? There must be a reason I’m talking about it.

I’ve always wanted to have a Pro-Touring second gen Camaro.

Don Weberg: Oh.

Stewart Howden: I love that body style of the second gen, ’71, ’70 or ’71 through, 70 and a half through ’77 or whatever year that they kinda changed them a little bit from there, ’80, I guess, or so. I always loved those second generation Camaros. I always thought it would be fun to have a, a canyon-carving restomod to run Mulholland Drive in, with a great stereo, with Corbeau seats, Alpine cassette deck that, you know, slid it out of your hand and dropped it easily into the thing.

There was so many cool things that you wanted to do to make a restomod out of it. Just it’s so modern but yet so retro-looking. I think that would be my, my one guilty pleasure of that. But I, I see cars all the time that I think, “That might make a cool restomod.” And I don’t even like restomods per se. I don’t have any fault with them.

They’re just not my thing normally.

Don Weberg: Do you think there’s a point, Stewart, where- [00:44:00] You can’t keep the car original anymore. You’ve got to restore it. Maybe even if just for the next generation, you have to restore this thing

Stewart Howden: You don’t want a car to, to just disintegrate, A, and B, at what point do you realize that you’d rather have radial tires than bias-ply tires?

What point is it where you’d rather have four-wheel disc brakes on the car to make it stop? What point is you’d like to be a little more comfortable and add vintage air, if you could do it in a way that wouldn’t disrupt the dash or the firewall or all that? There’s all those questions. Th- they’re all hard to answer because knowing what I

I, I mean, I have a friend of mine who buys, he has a dual Ghia.

Don Weberg: Mm.

Stewart Howden: And he put vintage air in it. I mean, who does that? Nobody does that. I had a friend of mine who’s got a V16 Cadillac, put vintage air in it. He wanted to drive it. He wanted to use it. He wanted to enjoy it, but, you know, his wife wouldn’t go because she’s just miserable.

You know, it’s black interior, black exterior. You know, most car shows are on warm days, and she said, “You know what? I, I’m just not enjoying this,” and so he put air in it, and everybody’s happy. Is that harmful to a V16 Cadillac? [00:45:00] Uh, I don’t know. Probably. Does it matter to him? No. He doesn’t care. At the end of the day, we hope that we’re all just stewards of these cars, but we also get to enjoy them and use them, and if, God forbid, we take one out and run it into a tree, that’s our prerogative, even though, you know, we didn’t do it on purpose.

I mean, you can’t mothball these things. I mean, you can, but we all know that engines and not running, and suspensions and not being driven, modern electronics and not being used spell disaster.

Crew Chief Eric: Very true Well, as we look ahead to the future, and as we’re on the precipice of celebrating Classic Auto Mall’s 10-year anniversary, we’re getting very close to that initial, a meeting with that preservation class Ford Excursion that you described earlier.

Let’s talk about the next decade, new programs, new experiences, new things on the horizon for Classic Auto Mall. What’s your business plan for 2027 through ’37?

Stewart Howden: Our business plan is to become the, the one place you go when it’s time to sell the collection or to sell [00:46:00] Dad’s estate or Mom’s estate or whoever’s it is that’s collected the cars, because it’s such a slippery slope in the collecting side of it.

There’s, like, three schools of thought for collectors. There’s the collector who says, “I mapped out the whole thing. This is where this car goes. This is where this car goes. Every year, I update the value based on the trends in markets. This is the insurance policy. This is what’s done to it. This is the history of the car.

This is where the hardtop is up in the attic. This is the build sheet that goes with it.” There’s those guys. Then there’s guys who are like, “Uh, well, I don’t really care. Whatever ha- you know, let them deal with it. They’ll have to deal with it.” And we see that more often than we see the earlier version. And then there’s the guy who’s kind of the, the hybrid, the in-between guy of that.

But the guy who says, “You know what? Let’s leave it to them,” is also the guy on his deathbed who grabs his wife, pulls her down close to him, and then says, “Honey, whatever you do, don’t sell the Corvette for less than 60.” And it happens all the [00:47:00] time. Here’s the problem with it, Mom and the kids or whoever the, I’m not profiling here, just, I’m just using that as an example.

Mom and the kids now are left with Dad’s 10 or 12 cars. Nobody knows anything about them. There may be one in a restoration shop down the street and nobody knows about. There may be one that was at a museum on loan. There may be parts to a car that are, you know, a tri-power set up for a 427 that the guy took just to put a, a four-barrel on because he didn’t want to deal with the tri-power, but you don’t want to get rid of it ’cause the original intake and, and carburetors, and that’s valuable, hugely valuable, maybe $10,000.

And they have no idea where any of this stuff exists. It’s an emotional time. Part of the, most of these cars were part of the family. They need somebody who can step in and say, “We’re gonna take over. We’ve got you. We’re gonna take every car you got, whether it’s a $500 rust bucket in the backyard that Dad was slapping parts off of, or whether it’s a $5 million whatever, and everything in between, and we’re gonna take it and we’re gonna handle it, and you’re gonna wait for us to give you a call, and then you’re gonna bring us [00:48:00] the title, and we’re gonna hand you a check from Classic Automotive, not some stranger, not people coming to your house.

We’re gonna make this so simple for you.” So that’s our focus is really right now, is really marketing to the, that clientele because we’re coming upon a time, you know, in the old days, guys collected, a guy had a, one Ferrari, or he had a Camaro and a Harley, or he had a Chevelle, or he had a Thunderbird. So many people have so many multitudes of 20, 30, 40 cars.

It’s commonplace now, and it requires a whole lot of thought and process to get to that. So our goal in the next 10 to 15 years is, there should be some retirement in there somewhere, I’m certain, but probably not, is to really cater to the collections and estates, whether you’re pre-planning and thinning the herd, or whether it’s been left to you and you don’t know what to do and there’s no plan or whatever.

We want to be able to come in and say, “We got this. We got transportation. We got the insurance. We got the parts. We got this. We know where that is. This needs to fix. This you shouldn’t fix. This you should sell it just like it is. This should go to this auction. This should go to Classic Automobile. This should [00:49:00] go to the junkyard.”

The option may not always be us, but we want to be that go-to who guides you in the right direction, even if it sends a car to Bring a Trailer or, or RM Auctions. I mean, there’s certain cars that we do better with here, and there are certain cars that might do better at another venue, and we’re not afraid to say that because ultimately what we want to become is the thing that people think about when they think, “Oh, it’s time to do this, this dastardly task that we have to do.”

That’s where I see what we’re heading towards. Collectibility of cars, I don’t know. It’s hard to say. I, uh, I’ve given up on trying to predict what’s next ’cause I thought Duesenbergs were never gonna come back from the early 2000s, and boy was I wrong about that.

Don Weberg: Based on this, Stewart, uh, if somebody wanted to sell a, a collection through, uh, Classic Automotive, what’s the process?

What, what are the steps they gotta take? Are there any rules involved? What, what, what do they do?

Crew Chief Eric: Yeah. Let’s assume they’re not in their hospital bed, you know, their dying breath.

Stewart Howden: Right Basically, it’s just a phone call. Pick up the phone and call me directly. [00:50:00] I’ll take any phone call. You know, if you wanna yell at me or if you wanna give me praise or if you wanna be somewhere in the middle, I’m okay with it.

Pretty thick-skinned. I’ve pretty much been doing this so long that nothing really trips me up usually. I’ve pretty much got it down to a science that guys walk into my office and they go, “What about this?” And I go, “Well, you just do that, that, and this.” And they go, “How do you know that?” I go, “It’s not that I’m smart, it’s just that I’ve thought through every part of this that I possibly could.”

So what I tell people is, look, if you’re g- having a, a collection of cars and you’re thinking that it’s time to thin the herd, to get rid, to downsize, to go from 20 to two or four, pick up the phone and call me. Let’s talk about it. We’ve got a program, involves lots of different elements of the process, but a lot of it we will do on the cuff if we get a collection of cars.

If somebody’s gonna bring us 10 or 15 or 20 cars for sale, we’ll work with them. We’ll work with them on transportation. We’ll work with them on helping, uh, make some minor repairs. And, and what we do, we evaluate cars, but we don’t tell you to spend $500 to gain $100. We tell you that if you spend $500 to fix this car, it’s gonna get you another [00:51:00] 2,500, then we’re gonna guide you in that direction.

If it’s not gonna mean anything to fix something, then we don’t tell you to fix it. We’re not in this to try to nickel and dime you to, you know, replace every little fuse and this and that, and the particulars of this and that. There’s so many things that are better off to be left unfixed, A, and B, believe it or not, it’s easier to sell a car that you can tell people some problems of than to sell a car that you say is perfect because there is no such thing as a perfect car, and I can prove that.

Any car you wanna sh- well, even cars that come off the showroom floor. I got a new Bronco, and it’s got orange peel on the roof. It’s like-

Crew Chief Eric: Well, as you said earlier, Stewart, Classic Auto Mall has become a destination for enthusiasts, for clubs, for families, and so when we think of Classic Auto Mall as more than just a destination, how are you guys sort of flipping the script and reaching out to the broader car communities in the resounding areas?

What are you doing to sort of give back?

Stewart Howden: Well, we have probably 15 to 18 pretty large car shows at our facility every year. We have the [00:52:00] Camaro Nationals here, which brings 700 cars, 700 Camaros to our building, in addition to the however many we have in inventory at that particular time, 800, 900, 1,000, 1,100.

There’s no charge for any of these events to use our facility. Obviously, it’s good marketing for us. You bring a bunch of car guys to your parking lot, darn, what could go wrong? Nothing. It’s, they see your facility. The thing I’m most proud of in that what we do is the fact that I’ll see a group of four or five guys come in.

There’s one who’s kind of the leader, and he’s showing everybody around and telling them the lay of the land, and, “Hey, you gotta check out that room, and this is that. And oh, there’s that Chevrolet camper that we saw before.” And then the following week, I see a splinter group of that group. One of the guys that was in that group has now got five of his buddies, and they’re coming in, and they’re walking through and talking and telling and going.

And sometimes I literally will be standing in the mall way, and I’ll hear a guy talking, and he’ll be explaining Classic Auto Mall- To his buddy. And I turn around, and I don’t know this guy. I’ve never met him before. I’ve never even seen him before in my building, and he knows our program as [00:53:00] well as anybody could know it And I’m like, “Wow, that’s making an impact.”

That you know that you’ve made an impact when you can do that. And last, but certainly not least, is seeing the father and the son, the f- grandfather, the father, and the son, the grandfather and the grandson, the daughters, and all coming in and, and falling in love with cars and, and getting the nickel tour with Grandpa or Dad, and learning about this, and hearing Dad explain to him.

And Dad may get it wrong on a couple of points about a ’71 Camaro or a ’77 Volare or You know, he might get it wrong, but it’s okay because he’s sharing the hobby and the passion, and ultimately, that’s what we wanna do, is we wanna share and perpetuate. I know to call it a hobby is a little, uh, obviously it’s not a hobby.

It’s gotten a little bit bigger than that. It, it still is a camaraderie. Uh, as I was saying, when you’re at an auction and you’re standing next to a couple of guys, and the guy on your left turns out to be the janitor, and the guy on the right is a CEO, and you’re just the in-between middle manager guy, and, and everybody’s [00:54:00] talking and getting along, and nobody cares who has more money or less money or has this job or has this title or none of that.

None of that matters. We’re all talking cars. How fun is that, you know? I, I think that, uh, the hobby feels like it’s still doing well. The next 10 years will be interesting. It’ll, I, I, I don’t really know what to think it will happen. God forbid, petroleum could be outlawed. Who knows?

Crew Chief Eric: California has their way, you won’t be bu- able to buy tires for the cars anymore.

Right. But we’ll leave that where it is.

Stewart Howden: Thank you.

Crew Chief Eric: But with that, Stewart, 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 that we haven’t covered thus far.

Stewart Howden: Well, I gotta say a great shout-out to all my buddies at the Radnor Hunt Concours de Elegance, which is right here in our backyard, and was an event that I’ve known about long before I was in this part of the world.

And they’ve graciously put me on their board of directors, which is, you know, a pinch me kind of moment. And it’s one of those things that, uh, unless you’re a car guy, you probably wouldn’t understand, “Oh, oh, they put you on a board of [00:55:00] directors, how…” No, it’s, it’s this prestigious event that I’ve been following for all these years, and now I’m a part of it.

We knew that when we came to this market that we wanted to target the church parking lot car shows, we wanted to target the Concours de Elegances and all the events in between, the Philly Auto Show that we did for years. We wanted to focus on all of those events because our best marketing for what we do is not a full-page ad in Sports Car Market magazine or Auto Trader or any of that.

It’s one-on-one at an event. It’s setting up our little dog and pony with our truck and trailer, opening up the canvas, turning on the video, showing the drone fly-through footage of our building, and talking to people about how our process works. You know, you don’t have to know cars to be a car specialist for Classic Automotive.

You have to know our process, because the guy you’re talking to probably knows more about cars than you’ll ever know, or about the particular car he’s looking for, than you’ll ever know, and that’s okay. And my son, who’s 33 years old, uh, wanted to be a car specialist about three years ago, and, uh, I wanna give a shout-out to him because he said- “I can do it.”

And I said, “No, you’re too young. These old guys are [00:56:00] gonna not listen to you, and it won’t happen.” But what I didn’t realize is for years, and years, and years, he sat at dinner with us every night, and hears me and my wife talk about the day, and what happened, and the process, and the procedure. And I see him walk up to a client, and at first they’ve got their arms crossed like, “Who is this young kid?”

And within 30 seconds, their arms are wide open, and they’re just absorbing what he’s telling them, ’cause he’s telling them the process. How do you get your car shipped? How do you pay for it? Where do you take it to get it fixed? Where do you do this? Not about what the timing needs to be set at, and, you know, what the contents of this are, and how to set the valves, and he doesn’t have to know any of that.

He has to know the process of it, because, like I said, the guy standing in front of him knows all that, so. And our staff is amazing. I mean, we have a spec writer, and a photographer, and a description writer, and transportation guys, and, you know, the car specialist, and my wife is the office manager, and, uh, administrative assistants that are all just, you know, they’re mostly car people, and they enjoy it, and they love it.

And, uh, most of them came from a different background than cars. It wasn’t their path, but it’s worked out [00:57:00] to be great here for them.

Crew Chief Eric: And I think before we close out, Stu, we probably owe a shout-out to our mutual friend, Rob Parr, over at Collector Car Guide, for connecting us all these years ago. So, I know he listens to the show, so Rob, if you’re listening, thank you for connecting us.

Stewart Howden: We’ve been a supporter of Rob since I think the first edition came out in 2020, or whenever it was, I don’t remember. You know, I’m amazed at these race car drivers who say stuff like, “In 1969, I was passing Jackie Stewart, and it was an off-camber curve, and there was a little bit of oil on it.” I was like, “How do you, how do you remember that stuff?

I can’t remember that stuff.”

Don Weberg: Every guest on Brake Fix brings a different lens to the automotive world, but few offer a view as wide, as varied, or as surprising as the one you get when you walk through Classic Auto Mall. Stewart reminds us that behind every car, whether it’s a concours restoration or a dusty barn find, there’s a story waiting for the right person to hear, and places like the mall keep those stories alive.

Crew Chief Eric: That’s [00:58:00] right, and if today’s conversation sparked your curiosity, you can dive deeper into the world Stewart oversees by following Classic Auto Mall online. They share new arrivals, behind-the-scenes finds, and some truly wild automotive time capsules across their channels on Instagram, Facebook, YouTube, and TikTok, all found under @classicautomall.

So, with that, Stewart, I can’t thank you enough for coming on Brake Fix and sharing your story with us. And again, it’s great to reconnect with all of our friends in the auto sphere. And even though I haven’t personally made it out to Classic Auto Mall yet, it is definitely on my list of places to visit, so I look forward to reconnecting with you in person again outside of a car show, and maybe getting a behind-the-scenes tour of the facility.

Stewart Howden: Absolutely. We’ll be glad to give you the nickel tour, and I might even let you ride in the golf cart, so.

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 [00:59:00] 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 @garagestylemagazine or log on to 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 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 @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 [01:00:00] $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, gummy bears, and Monster.

So, consider signing up for Patreon today at www.patreon.com/gtmotorsports. 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 Stewart Howden
  • 02:19 Origin Story Begins
  • 05:24 The Mall Takes Shape
  • 08:12 COVID Survival Playbook
  • 10:43 Stewart’s Racing Roots and Memorabilia
  • 16:08 First Time at the Mall
  • 23:13 How the Cars Are Organized
  • 26:47 Market Trends and Ferrari Boom
  • 32:55 Grandpas Car Generations & Future Collectibles
  • 39:32 Restoration Vs Preservation
  • 45:27 Classic Auto Mall: The Next Decade
  • 45:52 Estate Collections Made Simple
  • 49:38 How To Sell With Classic Auto Mall
  • 51:33 Car Shows And Community
  • 54:27 Shout Outs And Thank You’s!

Learn More

To explore the incredible inventory at Classic Auto Mall — from barn finds to high‑end collectibles — visit their official website at ClassicAutoMall.com.

You can also follow along on social media for new arrivals, behind‑the‑scenes stories, and event updates: @ClassicAutoMall on Facebook, Instagram, YouTube, and TikTok. Whether you’re hunting for your next classic or just love automotive history, their channels offer a daily dose of car culture worth checking out.

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.

When COVID hit in March 2020, the Mall closed its doors and briefly laid off staff. But something unexpected happened: buyers kept calling, trucks kept arriving, and the Mall’s massive indoor space allowed contact‑free operations. “The mall’s ability to operate contact‑free and its large inventory… kept business alive even as inventory fell to roughly 400 cars in six months.”

Photo courtesy Collector Car Guide (CCG)

That period forced the team to streamline processes, and many of those efficiencies remain part of the Mall’s workflow today.


A Consignment Model Built on Accessibility

One of Classic Auto Mall’s defining traits is its egalitarian approach. There’s no admission fee, no upfront consignment charge, and every car — whether a $5,000 El Camino or a multi‑million‑dollar Ferrari — gets the same attention.

Photo courtesy Collector Car Guide (CCG)

Visitors wander through hallways where drivers, restorations, and exotics sit side‑by‑side. The Mall hosts 15–18 major events each year, including the Camaro Nationals, which bring around 700 Camaros to the property.

Howden loves seeing multi‑generational families explore the space together, discovering cars they didn’t expect to find.


The Barn Find Legacy

Barn finds are part of Classic Auto Mall’s DNA. The original 400 barn finds brought into the mall created a mythology that still draws visitors today.

Photo courtesy Collector Car Guide (CCG)

One standout story “… like the 1923 Chevrolet Weedman motorhome—complete with a tree growing through it—capture the public imagination.” — that became a viral curiosity. While titles and shifting market tastes have made some barn finds harder to sell, they remain a beloved part of the Mall’s identity.


The Future: Collections, Estates, and Full‑Service Support

Howden sees a post‑COVID correction in the collector‑car market. Many buyers who purchased during the pandemic are now selling, sometimes at a loss. High‑end Ferraris and hyper-cars continue to appreciate, while more generic classics have softened.

He also notes that future collectability may hinge on electronics and parts availability — a challenge for late‑model cars with complex systems.

Photo courtesy Collector Car Guide (CCG)

Still, he’s optimistic about younger enthusiasts who blend tech savvy with mechanical curiosity, keeping the hobby alive in new ways.

Looking ahead, Classic Auto Mall aims to become the go‑to resource for families managing collections and estates. The Mall already handles transportation, photography, descriptions, and sales logistics, but Howden wants to expand into full‑suite services that simplify downsizing or dispersing multi‑car collections. “Our vision is to guide families through valuation, transport, repair decisions, and sale venue selection so that emotional and logistical burdens are minimized.”

Photo courtesy Collector Car Guide (CCG)

Stewart also remains active in the local car community, serving on the Radnor Hunt Concours d’Elegance board and encouraging collectors to reach out for guidance.

In the end, Classic Auto Mall is more than a showroom — it’s a living museum, a community hub, and a place where automotive history is preserved, discovered, and passed down. Under Stewart Howden’s leadership, it has become a destination where every car has a story, and every visitor finds something unexpected.


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 #70

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Break/Fix’s Drive Thru News #70 recaps a Midwest trip to Wisconsin and South Bend for Automotive History Live!, plus a highly recommended stop at the Volo Museum featuring movie/TV cars, props, and the “world’s fastest outhouse.” The team updates their Lemons Ford Focus revival: a new wiring harness and ECU restore starting and smooth idle, but emissions-related faults keep it in limp mode, likely requiring EVAP sensor work and a fuel-tank drop; a mid-run code clear briefly restores full power. They discuss rumored Volkswagen lineup cuts, VW’s steep operating-profit decline, and disappointing Jetta rental interior quality, along with AI/CGI car renderings, potential Toyota Celica/MR2 returns, a BMW hybrid recall, and assorted oddities including a new “Plybertruck,” Elon’s SpaceX/Tesla merger hint, and Florida Man stories. Motorsports notes include a Days of Thunder sequel, a new Voices of Endurance episode, sim-racing hardware upgrades, and a scary Goodwood crash clip.

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News from Our Network Partners!

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.

Automotive History Live!

#ICYMI - All the livestreams are now available on our YouTube Channel! ... [READ MORE]

A Family Day at the Volo Museum: Dinosaurs, Movie Cars & Memories in the Making

Four years since our virtual podcast tour with Jim Wojdyla we finally made it to the Volo Museum ... [READ MORE]

Ferrari Hunters: A Novel

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Inherited a Classic Car? Do These 7 Things Before You Sell It

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Buyers Don’t Just Bid on the Car. They Bid on You.

Three live Porsche and Jaguar auctions and a reader poll at The Daily Vroom just proved the most expensive truth in this hobby – buyers don’t just bid on the car; they bid on you. Here’s how one seller built confidence, two sellers burned it, and the three rules the whole experiment confirms. ... [READ MORE]

EP59: EV Fires: a Storm in a Teacup

Motoring Historian Jon Summers examines claims that electric vehicles frequently catch fire, drawing on a Society of Automotive Engineers talk in Palo Alto by Dr. Abid Kemal of Exponent, a firm known for major failure investigations. ... [READ MORE]

Kissimmee in January (2027)

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Voices of Endurance - Saving Sebring (Charles Mendez & David Cowart)

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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.

EVs & Concepts

Formula One

Aston Martin in talks with Christian Horner (again!)

Japanese & JDM

Lost & Found

Lower Saxony

Lowered Expectations

Motorsports

Days of Thunder SEQUEL Confirmed!

Stellantis

Tesla

VAG & Porsche

Track Side Report

After months of chasing gremlins, the Break/Fix Lemons team finally coaxed their Ford Focus back to life — sort of. A new wiring harness and ECU brought the car from “found on road dead” to “idles beautifully,” but acceleration remains a cruel joke. Limp‑mode launches and emissions‑sensor mysteries have turned every test drive into a slow‑motion thriller. Still, the crew’s persistence paid off: the Focus now starts, runs, and occasionally revs like it remembers its glory days.

CHECK OUT THE BUILD UPDATE ON THE GTM CLUBHOUSE SITE.

With Summit Point looming in October, the team’s mantra is “two steps forward, four steps back.” Between battery swaps, sensor hunts, and Mountain Man Dan’s cameo repair, the Focus saga has become a masterclass in Lemons‑grade resilience. If the next fix sticks, this blue‑oval underdog might just make it to the grid — duct tape, optimism, and all.

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: What’s up, Bradley?

Crew Chief Brad: Oh, you know, just dealing with pink eye, having my kids having pink eye.

Crew Chief Eric: Wait, your eye is pink?

Crew Chief Brad: Yes. One of them.

Crew Chief Eric: I can’t tell. It must be the quality of our cameras. They’re just not that good.

Crew Chief Brad: Hm.

Crew Chief Eric: Just don’t look too deeply.

Crew Chief Brad: I’m a good, I’m a good, like, foot and a half, two feet from my camera, so it works out that way.

Crew Chief Eric: There you go. What, uh,

Crew Chief Brad: what, what do [00:01:00] they say about a ba- uh, like some paint jobs are like a five-foot paint job?

Crew Chief Eric: The paint job on my station wagon is like a 25-yard paint job at this point.

Crew Chief Brad: Hm.

Crew Chief Eric: That’s okay.

Crew Chief Brad: The paint job on the Beetle is a doggy style paint job. It only looks good from behind.

Crew Chief Eric: Have you seen those products on Instagram where you can pour some Mervin’s magical mystery oil on there, and suddenly all your clear coat problems will go away?

Executive Producer Tania: The one where you’re just wiping something on it, and suddenly all the scratches are gone?

Crew Chief Eric: Yeah, yeah. There’s that one. You know, that’s sort of like the … What was that stuff in the ’80s, New Finish? Remember the guy would go to the junkyard and he would just start buffing a car? I’m like, “Come on, man.” Like, really?

Crew Chief Brad: I don’t think I’ve seen that.

Executive Producer Tania: They still sell that, I thought.

Crew Chief Eric: Oh, yeah, yeah. I saw one today where a guy was like, I don’t know what he was doing. He wasn’t really sanding the car, but he had that same clear coat peel that you had. It was on a Mercedes, one of those, like, cinnamon colored Mercedes. He does all this rubbed up scrub thing, and then he pours on two bottles of, [00:02:00] I don’t know what it was.

It was magic in a, in a vial, one on one side, one on the other. Maybe it was some J-B Weld or UV sealant or something. Anyway, next thing you know, they must have driven in another car, ’cause you’re like, “Wow, that is not the same paint that I saw five minutes ago as we accelerated that five-month process that it took you to get that car repainted.”

Crew Chief Brad: It sounds to me like that spray that they used to sell late at night for bald men. And you basically just painted your bald spot whatever your hair color was, and poof, it’s gone. No more bald spot.

Crew Chief Eric: That’s the same thing that, um, Trade and Paints guy, John Travolta got hair out of a can, remember?

Crew Chief Brad: It was literally just spray paint.

Crew Chief Eric: Well, we should probably get serious and start talking about drive-through news kind of stuff. You know, we talked about it the last bunch of episodes that we were gonna go to the Midwest. We were gonna be in South Bend, Indiana for Automotive History Live. Well, we went a little bit further than that. We went to the great state of Wisconsin.

We put over [00:03:00] 2,000 miles on my wife’s space shuttle.

Crew Chief Brad: That’s why it’s throwing an engine code.

Crew Chief Eric: Uh, yeah, right? It did not like that at all.

Crew Chief Brad: You surpassed its, uh, useful life.

Crew Chief Eric: I mean, it’s a Chrysler product, so what can you say? Yeah. I’d never been to Wisconsin. It was one of the few states I have not visited in the United States.

And I have to say I was left going, “Huh, looks exactly like everything I’ve ever seen on TV or on the postcards.” It’s like, here’s a farm, barn and a silo. Here’s a whole bunch of green for a bunch of miles, and here’s another barn and a silo and a bunch of green, and a barn and a silo and a bunch of green.

It’s very flat. It’s very much dairy land. I mean, obviously until you get up to, like, the northwest corner- You get closer to Minnesota or whatever, and you start to get into the Canadian shelf and all that kind of stuff. It’s really flat. It’s very green. It put into perspective what Road America must be like.

I haven’t been yet. It’s on my bucket list.

Crew Chief Brad: That’s, that’s what I was gonna ask, like, did you get a chance to [00:04:00] stop by Road America? I wanted to. And then the last turn and then the, the straight, the start and finish-

Crew Chief Eric: It’s uphill …

Crew Chief Brad: that giant hill.

Crew Chief Eric: Exactly. I was like, “There is some elevation in Wisconsin.”

Crew Chief Brad: It’s all at Road America.

Crew Chief Eric: Yeah. We made it all the way to Madison, so the capital of Wisconsin, so that was cool. Their capitol building is beautiful. It’s sort of like a miniature version of the Capitol Building in DC, but you can go inside. You can go all the way up in the cupola and all this kind of thing. It’s very, very cool.

Neat little city. I mean, most of the city is the University of Wisconsin, so, you know, neither here nor there. We didn’t get to Milwaukee. We didn’t get to Green Bay, you know, some of the other bigger cities. We had a bigger loop that we were doing Chicago and… Have you been to Wisconsin, Tanya?

Executive Producer Tania: No. We’ve not

Crew Chief Eric: had any interest in going to Wisconsin.

Executive Producer Tania: Sure, why not? We’ll get some cheese.

Crew Chief Eric: We went to the place that apparently is rated the original best place to get Wisconsin cheese curds. They live up to the hype. It is the cheesiest. And then I sort of got burnt out on cheese curds, ’cause everybody has them. I’m

Executive Producer Tania: sure they [00:05:00] do.

Crew Chief Eric: So then you’re sort of like, do you compare them? Like, do you keep eating cheese curds until you’re saturated and you can’t… I don’t wanna see another cheese curd. ‘

Executive Producer Tania: Til your intestines clog.

Crew Chief Brad: I’ve really only had cheese curds at Buffalo Wild Wings. Are they really that much better in Wisconsin?

Crew Chief Eric: Yeah, they are, they are the cheesiest, just like the commercials say.

They

Crew Chief Brad: are the cheesiest.

Crew Chief Eric: So continuing on our way back, we closed the loop on an episode that we had recorded four years ago, season two of BreakFix. We hooked up with Jim Woidilla from Volo, and he gave us a virtual tour of the museum because it was during COVID and they were under construction and a bunch of other stuff.

Crew Chief Brad: Next time I’m out that way I’ll do it. How far is it from Chicago? 45

Crew Chief Eric: minutes to an hour, depending on how you drive. It’s not really out of the way. For us it was just a slight detour, ’cause it’s the way we were, we were headed anyway, so it didn’t really matter.

Crew Chief Brad: Oh, it’s north of Chicago.

Crew Chief Eric: It’s like northwest.

Okay, northwest.

Crew Chief Brad: Okay.

Crew Chief Eric: Yeah. Because it wasn’t that big of a detour [00:06:00] as we were, you know, on our way through Chicago both ways, we were like, “Let’s stop off at Volo and go check it out.” And the weather wasn’t too great. It was kinda rainy anyway, so we’re like, “What’s a day at a car museum, right?” My kids are dragging their heels.

They’re like, “Ugh, ugh.” Of course. “We’re bored.” Ugh. Yeah. Whatever. I wrote an article about it. It’s on the club website. But I wanted to share some pictures with you guys if you hadn’t had a chance to see it yet. This is why I say all of a sudden we walk in the door and their attitudes changed completely.

Crew Chief Brad: Wow.

Crew Chief Eric: Huge Batman diorama as soon as you come in. ’89 Keaton Batmobile and the Batcycle and the sidecar, and you keep going around and there’s more stuff, and the life-size Joker, and the Joker mo- it, like, is absolutely bonkers awesome. This place is unlike any other museum I have ever been to. So check this out.

This is as soon as you come in you see Batman. So you can see down here you’ve got the Transformers Camaro in the [00:07:00] back. That’s Eleanor. Here’s the Falcon XB GT from Mad Max with a wax recreation of Mel Gibson. It doesn’t really look like Mel Gibson.

Crew Chief Brad: I think it’s too tall. Isn’t he, like, four feet tall?

Crew Chief Eric: But the Falcon is so, that is a mean looking car.

I love that thing. I fell in love with that as a kid. I think it’s absolutely amazing. So check this out. So we got the Interceptor from Mad Max. You can also see the Michael Andretti Indy car over there, which my daughter sat in. You can actually, the kids can climb inside that and take pictures and stuff like that.

Crew Chief Brad: Whoa.

Crew Chief Eric: Here’s one of the Ferraris from Ford versus Ferrari with the sister car to Max Kaiserman’s GT40 that was at Simeone back for the Le Mans event. So they, it has its own room. It’s all Ford versus Ferrari stuff. I thought this was super cool, although the cutouts are a little weird. Check this out.

’66 Lincoln Futura Batmobile signed by George Barris. This is a legit Batmobile, and it is a, it’s monstrously [00:08:00] big. It is absolutely huge, but it’s also awesome. And the bat computer in the background, that William Shakespeare head thing that they would pop open to go into the bat cave, that’s legitimate.

That’s from the show. There’s like all these props and stuff like all over the place with all these dioramas. Look at this. Look at this. Hot Pursuit Jump Mode Kit. Knight Industries 2000 from Knight Rider. Wow. Yeah, th- I mean, this stuff, this stuff is awesome, right? One of the coolest things, we’re at Volo, and they don’t do this all the time.

I don’t know if you guys heard about this. They have the world’s fastest outhouse. You seen the videos of this thing? It’s posted in the article about the Volo Museum trip. My wife took a video of it. I’m not gonna play it here. I’m just gonna show you picture of this rocket powered toilet. Look at this thing.

Crew Chief Brad: I feel like I’ve seen something like that on the mountain.

Executive Producer Tania: Too many ques- too many questions here.

Crew Chief Eric: Yeah, but it’s a square body on fire at the mountain. You know what I’m saying?

Executive Producer Tania: And that’s a square body practically on fire, too.

Crew Chief Eric: You like that?

Crew Chief Brad: Yeah. [00:09:00] In s- instead of emptying the tank when it’s full, they just burn it.

Crew Chief Eric: It’s an incinerator toilet. That’s what this

Crew Chief Brad: is. Yep, exactly.

Crew Chief Eric: Hilarious part is Jess took the video in like three pieces, and the third part, unfortunately, I, I couldn’t stitch it back in. It wasn’t that great, ’cause she kind of almost dropped her camera as she was doing it. She was trying to get closer, ’cause there was a guy at the fence.

I don’t know where he got it or where he was hiding it. He literally busted out this telescoping forked marshmallow thing, and he’s, he was holding marshmallows out trying to roast them in, as the flame was going. But I mean, this thing shot flames well beyond the edge of the picture. It was bonkers.

Absolutely nuts. Absolutely.

Crew Chief Brad: It seems unnecessary.

Crew Chief Eric: But awesome at the same time. Like, come on.

Crew Chief Brad: Is it, though?

Crew Chief Eric: I think it is. I think it is. I thought overall the experience was pretty cool. Now, they have buildings full of cars, like muscle cars and classic cars that are for sale. They’ve got three different antique malls.

They’ve got a [00:10:00] dinosaur park. They’ve got a Titanic exhibit full of cars from like 1912 that were on the ship or cousins of the ones that were on the ship, you know, the same era, same model, all that kind of thing. They’ve got the train from Inception. They’ve got the train from Wild Wild West with Will Smith and Kevin Kline.

They’ve got an RV museum in there going back to like 1920s, like campers. They’ve got a tractor museum. They’ve got a Coney Island- carousel inside of a building and it still works, with, like, all the penny arcades and all that ki- it’s super cool. So it’s very eclectic, it’s very different, it’s very interactive, like, and it’s very family-friendly.

So highly recommend if you happen to be in that neck of the woods or if you’re listening to this and you’re in the Chicago area and you’ve never been to Volo, I mean, it’s, like, 45 minutes outside of downtown Chicago. It’s like why not go, check it out, see some of the superstars from TV and movies and all that kind of thing.

I think it’s super cool. It’s, uh, well worth the trip.

Crew Chief Brad: Good to know.

Crew Chief Eric: Yeah, very much so. All right. Let’s [00:11:00] talk about South Bend, Indiana, another place I’ve never been. It’s a cute little town, also a college town. Notre Dame is right there. There’s a lot of history, especially in the automotive industry. It’s like a mini Detroit, right?

You had Studebaker there and you had other companies, that some of them still survive to this day, that augment and supplement Detroit’s automotive industry. And it’s not that far from Michigan, to be honest with you. It’s in that upper, upper, upper part of Indiana. So cute little town, very welcoming.

Everybody’s super nice. The weather was good. The concours was beautiful. You know, they did the Concours of Lemons and they also did the big fancy concours as well. But I wanted to point out, Concours of Lemons, you know, we have a lemons car. We’re gonna talk about that as we go along. Yeah, we

Crew Chief Brad: do.

Crew Chief Eric: This must be a lemons thing with Ford Focuses.

Check this out. Does this look familiar to anybody?

Executive Producer Tania: They didn’t put a bandaid on there

Crew Chief Eric: They didn’t put a bandaid on it. We put a bandaid on ours. It’s much cuter. But so holding the car together, we have the same thing on our Focus that we had to do to hold the rear bumper onto the fender. Well, I was like, man, if this car [00:12:00] was at Concours d’Lemons, we could have certainly taken ours there.

I mean, it doesn’t run anyway, so might as well, you could just park it there. It’d be great. Perfect. So anyway, Automotive History Live, how can I sum it up? I think I’ll just sum it up by saying this, my favorite picture. Tanya, you watched some of it. What did you think?

Executive Producer Tania: I watched some of it. I watched, watched it on mute.

Ah, geez. Unfortunately, I had a busy day at work, but I was working from home, so in between meetings I tried to catch a couple minutes here and there, but it seemed like it was a nice event, a little differently organized.

Crew Chief Eric: Was this you? Was this you?

Executive Producer Tania: That was, uh, indicative of maybe how it really was.

Crew Chief Eric: Still my favorite.

Shout out to Bob Casey. It wasn’t boring at all. It was actually a lot of fun. I think the keynote speaker, if you haven’t heard of him before, we had Tom Cotter. He presented twice. He presented both days. Now got absorbed by Hagerty. He’s the Barne fine guy. He goes all over the country [00:13:00] looking for cars. He drove across the United States with Coleman, who lives outside of Summit Point.

Well, he, remember that Model T that would run around Summit Point, the yellow one? And you’re just like, “Oh, it’s all chitty chitty bang bang,” and whatever, and you c- you show up in the paddock one day, an older guy. They took that car cross country following the Lincoln Highway, and it took ’em like, I don’t know, 17 or 20 days or something like that, and he wrote a book about it.

So that was super cool, and he’s done some other cross-country trips and all this kind of stuff. So Tom Cotter was a super interesting guy. And then, you know, all the other speakers that were there talking about stuff. But then, as promised, we delivered. We were on stage, the whole Bianco Speciale thing. I think it went over really well.

Our slide deck was very visually appealing, we were told. Very picture heavy. The car’s gorgeous, too. But one of the other things William surprised us with when we were there, and now I am the proud owner of one of these, I, too, can say I own a Bianco Speciale because did you know Hot Wheels put them out in their vintage [00:14:00] racing series?

Look at that. Right. So I haven’t been able to find these anywhere. They were teased that they were gonna be made, and these are very specific to the car that we were talking about. What does William do? He buys up as many of these as he can. I think he found like 35 or 37 of them, and then gave ’em all away.

It was like the coolest thing. So people are like, “What?” I’m like, “Yeah, you’re not gonna see these anywhere bec- I don’t know how he got ahold of ’em. I don’t know who he called or what deal he made, but it was super cool. So I’m, I’m really excited to have one of these. So Brad, if you spot one, you better nab one of these.

Crew Chief Brad: Well, good, good, good luck, I guess.

Crew Chief Eric: And I will say, I posted a link in the show notes to all of the presentations, so if you didn’t get a chance to listen to it the first time around, or if you’re like Tanya and the signal dropped midway through some of the presentations, don’t know why, uh, you can watch the fully recorded versions up on our YouTube channel.

You can actually access it from our YouTube, the Society of Automotive Historians YouTube, or Studebaker National Museum. It’s been simulcast across all of them, so you can get access [00:15:00] to those files. All right. Let’s talk about the Focus a little bit, shall we? ‘Cause I … You know, we don’t ha- we don’t wanna wait till the end of the episode.

Everybody’s been waiting to, you know, what’s been going on with the car? Obviously, we know the car is dead. So before we went on our Midwest tour, the wiring harness that took weeks and weeks and weeks to find for the Focus actually showed up, like, right before we left. So a lot of people were bugging me, “Hey, did you get it done?

Did you get it done?” And I’m like, “No, because I haven’t been home, so I will work on it as soon as I get back.” That’s exactly what we did, right, Tanya?

Executive Producer Tania: Yes.

Crew Chief Eric: And how was the experience? Did it live up to the YouTube video that you found?

Executive Producer Tania: Yes, it did. It was as simple.

Crew Chief Eric: It’s amazing the amount of thought they put into making that part of it really, really easy.

Everything lays on top of the engine.

Executive Producer Tania: Yeah, I mean, unlike other manufacturers, where it would’ve been a spaghetti western mess or tied together and running behind really difficult places and you gotta disassemble half the front of the motor to fish it out, there really [00:16:00] was nothing other than taking the air box out, which is, like, two bolts.

Nothing in the way. It was very simple.

Crew Chief Eric: And the result was?

Executive Producer Tania: Car’s still not running, but-

Now, the result was that wiring harness coupled with our new ECU- ‘

Crew Chief Eric: Cause the old one doesn’t work …

Executive Producer Tania: because the old one definitely is dead and does not function. So we, we slowly started ticking off one issue at a time. So now we have an electrically functioning car.

Crew Chief Eric: It starts up, it idles. Although it idled

Executive Producer Tania: poorly at first.

Crew Chief Eric: Yes. Yes.

Executive Producer Tania: And then we had some weird battery gremlins that were making it flash and do weird things, but we fixed that.

Crew Chief Eric: Uh-huh. ‘

Executive Producer Tania: Cause you re-grounded it, but then then we were still having battery issues, and then we think we realized the battery actually had a internal issue, ’cause we put a different battery in.

It was basically brand [00:17:00] new, and everything was gold. Thank you,

Crew Chief Eric: Brad. Thank you, Brad. Pumpkin spice, the donor vibes.

Executive Producer Tania: But I took it for, quote, “the test drive” up and down the street, and you might have out-accelerated it on a bicycle. I mean, it goes, but it goes slowly.

Crew Chief Eric: And it doesn’t go past 5,000

Executive Producer Tania: RPM. At best. At best.

Because from your house to two houses down, completely floored, it took, like-

Crew Chief Eric: Forever …

Executive Producer Tania: those two, three houses to get to 4,000 RPM. Oh. In first gear.

Crew Chief Eric: Terrible. Terrible. Terrible.

Executive Producer Tania: Needless to say, hmm, I think there’s still a problem here. Y-

Crew Chief Eric: you think?

Executive Producer Tania: Let’s read some codes.

Crew Chief Eric: So we discovered it’s, what’s holding it back at the moment from learning the throttle

Crew Chief Brad: Is that it’s a Ford.

Crew Chief Eric: Well, there’s that. Found on Road Dead, right?

Executive Producer Tania: Well, we are [00:18:00] fixing and repairing it daily right now.

Crew Chief Eric: We, we are. It’s, yes, we 100% are. It’s all emissions stuff that’s getting in our way. If we could get rid of the emissions stuff, ’cause the car’s not road legal anymore anyway, it would run fine. But we can’t, because it’s completely integrated into the system.

And what Ford has done, unlike the German stuff that we’re accustomed to, if anything in that chain fails, it has no redundancy where it’ll continue to run. The car literally turns into a brick. I’m surprised we don’t drive down the road and just see shoals of Ford Focuses lining the shoulders and the medians.

No.

Executive Producer Tania: No. When was the last time you saw a Ford Focus on the road? ‘

Crew Chief Eric: Cause they’re all dead.

Executive Producer Tania: Exactly.

Crew Chief Eric: It’s unreal. These gen threes have… Like, and then every time we turn around, “Well, this is a known fail part on these models. Oh, this is a known fail part on… Oh, and this one had a recall.” Like, oh great, wonderful.

Like, everything’s wrong with [00:19:00] these gen threes. Needless to say, as we were going through the wiring, things got better, and we’re like, “Oh.” So suddenly the error became very much more clear what it was. It’s emissions-related. We thought it was this emissions purge solenoid thing at the engine, and we looked at it.

It had the original date of July of 2015 when the car was built, so we’re like, “Oh man, that’s got 237,000 miles on it and it’s just giving up the ghost.” So we order a new one on Amazon, because that’s where you order car parts these days, ’cause you can’t find them anywhere else. Put the part on. It was like a five-minute fix, and the car idles, like, beautifully.

All the problems it had with idle and stuff, gone, right Tanya?

Executive Producer Tania: Yes.

Crew Chief Brad: For how

Executive Producer Tania: long? Still not accelerating. It throw an engine code.

Crew Chief Eric: Goes into limp mode.

Executive Producer Tania: And if you try too hard, then the pedal just dies.

Crew Chief Eric: So here we are. We’re literally rewinding the clock to Memorial Day. We’re like, “Oh, shit, we’re back in the same boat we were in, like, two months ago, [00:20:00] and what do we do now?”

We’ve replaced the pedal cluster, the throttle body, the engine loom, this EVAP thing.

Executive Producer Tania: ECU. The ECU’s new. Like,

Crew Chief Eric: what is there left to change? Turns out, what, what is there left to change that we haven’t changed yet, Tanya, other than the mass airflow?

Crew Chief Brad: The car.

Executive Producer Tania: Two other emission sensors.

Crew Chief Eric: Uh-huh. And where’s the other one located that’s connected to the ECU?

Executive Producer Tania: Well, they both are, according to that-

Crew Chief Eric: Uh-huh …

Executive Producer Tania: that wiring diagram. Uh-huh, uh-huh. The one, I have no idea where it is, because I’ve yet to find out where this charcoal canister is.

Crew Chief Eric: Uh-huh.

Executive Producer Tania: The other one is on the fuel tank.

Crew Chief Eric: Uh, oh, yeah.

Executive Producer Tania: But there is, unlike German cars, or at least Volkswagens, or at least Volkswagens of certain eras, there’s no access panel from inside the car to the fuel tank, so we have to drop the fuel tank- Yep

to be able to find the sensor. But- According to a 54-second YouTube video, it’s three bolts and that’s it. Three screws.

Crew Chief Eric: This is the scary part about [00:21:00] this car. When you realize how it’s assembled, you’re like, “Wow, that’s super easy.” And then you take a breath, and you go, “Wow, it’s a piece of crap.” Like, it’s held together by nothing, like Scotch tape, and, like, push pins is what holds this car together.

Talk about penny-pinching auto manufacturers.

Executive Producer Tania: Hey, but it’s actually easy to work on.

Crew Chief Eric: It is. But the stuff that’s breaking shouldn’t break. I got 25-year-old emission stuff on VWs that still works, but you can also delete it after a certain point, so it’s like, who cares? The next step, to Tanya’s point, we have to drop the fuel tank.

Executive Producer Tania: It would be nice to read a part number off of it so we know what we’re ordering.

Crew Chief Eric: And why is that? Why is that exactly? Because no two Focuses are…

Executive Producer Tania: The same, apparently. I have no idea. ‘Cause some things say they have this charcoal canister, and other things say they don’t have the charcoal canister. I have yet to see it.

Maybe it’s hidden somewhere we haven’t seen. I don’t know.

Crew Chief Eric: Even that solenoid in the front, [00:22:00] Brad, I kid you not, there was, like, 12 different part numbers for it, and it was, like, different variations. S-

Crew Chief Brad: so we, thinking about the fuel tank stuff or whatever, and the, the, you need the part and everything, we ran into that with Pumpkin Spice, where it was like, does it have the plastic O-ring or does it have the metal- Yeah

O-ring? Like, which one do you get? You gotta take it apart to know. But at least you could get to it from inside the car.

Crew Chief Eric: Yes. And Volkswagen’s notorious for a midyear split. Like, we’re all- Yeah … sort of used to that. We’re like, “Well, were you built in the early part of 2001 or the late part of 2001? ‘Cause, you know, they decided to change this, that, and the other.”

This is just like, well, if it was built in Canada, they put it together this way, and if it was built in Mexico, it was built upside down and sideways, and half the stuff’s in the front and the other stuff’s in the back. And those Gen 3s, there’s, like, three different front ends. The motor can be oriented differently in the sense that the intake can be on the back and not on the front.

And the ones they built in the UK are completely different, even though it’s the same car. You’re like, “Oh, this is unreal.” So there’s [00:23:00] too many variations. And then you got the, the nuances between the automatic, and the manual, and the sedan, and the hatchback, and the turbo, and the non-tur- It’s like, oh, God, forget it, right?

And it’s like, ugh. So anyway, a little bit at a time. Two steps forward, four steps backwards, but, you know, it is what it is. We’ve got time. Summit Point is in October, you know? So.

Crew Chief Brad: And I, you all are aware, obviously, but I will not be driving for Lemons, unfortunately. Not with my arm being in a sling.

Crew Chief Eric: Yeah, that’s not gonna be good.

Crew Chief Brad: No.

Crew Chief Eric: I’ll have your suit and Simpson on backup just in case they have a, they have a conniption about anything, right?

Crew Chief Brad: I mean, I’ll bring it with me, yeah.

Crew Chief Eric: Just in case somebody’s like, “Ah, I, I, uh, my suit’s out of spec.” Or Dan just comes in Dickies. You know, that’s, ’cause that’s what he’s gonna… Tractor Supply.

Crew Chief Brad: Yeah, because my suit will definitely fit Dan.

Crew Chief Eric: You know, baggy is as baggy does.

Crew Chief Brad: S- I mean, y- yeah. It, it is, the, he’ll have a lot of extra material in the leg [00:24:00] department.

Crew Chief Eric: So by the way, we did have a groundbreaking moment. I was messing around with the car, and I did something that probably wasn’t supposed to do, but I’ve done it on VWs, so I figured why not do it on the Ford and see what happens.

We know that these emission systems, a lot of them, they do continuity checks when, like, the car first fires up and whatever, and so if it finds a fault, then you’re hosed. So what I did was I did an in-flight check engine code clear. Like, I went into modules and I started, like, just wiping stuff out while the car was running, and at that point it hadn’t recycled through checking, like, continuity of, like, sensors and stuff yet.

Dude, it suddenly woke up and ran like a scalded cat. And Tanya’s like, “What happened? Huh? Was that red line?” I’m like, “Yes, multiple times.” Zero to red line it was there, and then suddenly it caught up with itself, and it was like, “Ugh, I don’t like you.” It was over. It was done. Ugh.

Crew Chief Brad: I love how your voice, your voice is like the, the AI from Resident Evil.[00:25:00]

“You’re all going to die down here.” No,

Crew Chief Eric: no. It’s, remember Droopy Dog? “I don’t like you.”

Crew Chief Brad: Oh, yeah, yeah, yeah. I didn’t, I di- “Come on, Gripple.” I, I didn’t, I didn’t get that.

Crew Chief Eric: So that ruled out the pedal, the ECU, the throttle body, the master, because suddenly everything worked the way it was supposed to. So if we can solve this sensor problem, I think we’re gonna be golden, and then we can button up, like, three remaining things we need to do, like put the wiring back in for the radio and stuff like that, the radio headset for the paddock and stuff like that, for the helmets and whatnot.

But yeah, that’s all that’s left, so crossing our fingers we’ll have this thing figured out here shortly.

Crew Chief Brad: Just for my own education-

Crew Chief Eric: Uh-huh …

Crew Chief Brad: a standalone ECU would eliminate all of this bullshit, right?

Crew Chief Eric: It would.

Crew Chief Brad: I understand that it, it costs a lot of money and everything like that, but, but just, just if we had a standalone ECU, it would eliminate all of these issues.

Crew Chief Eric: It would, but it would also require us to stand in front of Walmart like the Salvation Army people and just, like, start ringing bells. Pocket [00:26:00] change, because it is a five-figure investment to put a standalone ECU on this motor, so.

Crew Chief Brad: Got it. Okay. Yeah, well, that’s stupid.

Crew Chief Eric: Yeah. We’re trying everything we can.

Plus, if we can pinpoint, hey, this is a known fail part, we can have extra known fail parts on the truck and then know the procedure of switching it out. But cross our fingers. Maybe these sensors haven’t been changed in 10 years, 237,000 miles. I have to keep reminding folks of that. Maybe it won’t happen again.

So be it. So we’ll figure it out. But luckily none of the stuff is super expensive, other than the fiasco we went through with the computer. But in the end, we needed a new computer, because something’s wrong with the old one. So to that end, we had a surprise visit. Mountain Man Dan showed up.

Crew Chief Brad: Ooh.

Crew Chief Eric: Yeah. So we gave the old engine loom to Mountain Man Dan with the computer and said, “Here, take it to your Amish magicians in Pennsylvania and see if they can figure out what’s wrong with it.”

So maybe we’ll have a spare engine loom just in case something goes wrong there. But he [00:27:00] did work on the car, Tanya. What is it that he did? So you could say he worked on it.

Executive Producer Tania: It was part of the, I think it was the cable, the pull cable for the hood latch. He put it back in the-

Crew Chief Eric: In the slot. And he says, “See, now I worked on it.”

And I was like, “Oh my God.” But Brad, you’ll be impressed. He showed up in a vehicle, not blue like yours, but blue, metallic blue. I’ve never seen Dan drive a car like this.

Executive Producer Tania: What do you think it was?

Crew Chief Eric: And he makes fun of me, ’cause I was a custodian, I was a caretaker for a Pontiac Aztek, as we know. See, I never took ownership of said Pontiac Aztek.

Would you venture a guess as to what Dan showed up at my house with? It

Executive Producer Tania: was not a truck.

Crew Chief Eric: It, it’s a truckette, you could argue.

Crew Chief Brad: He did not show up in an El Camino.

Crew Chief Eric: No. No, no, no, no. Cruck? No, he wouldn’t do a cruck.

Crew Chief Brad: Then what would be a

Crew Chief Eric: truckette? Like a bread van.

Crew Chief Brad: An HHR?

Crew Chief Eric: Worse. Worse than an HHR.

Executive Producer Tania: No, an HHR would be so good.

They’re so fast.

Crew Chief Brad: BT Cruiser.

Crew Chief Eric: Yes. He showed up in an electric blue BT Cruiser. Ah! [00:28:00] I threw up a little in my throat.

Crew Chief Brad: Was it the turbo one at least?

Crew Chief Eric: No. It’s the slug one

Executive Producer Tania: At first I didn’t, I was like, “Who’s in the…” I hadn’t seen your text message, but you were like, “Oh, come here. Move the tires.” And I was like, “Okay.”

But I hadn’t seen your message yet, and so I was looking out, I was like, “Who’s over there?”

Crew Chief Eric: Thought it was the Amazon guy. I mean, who drives a PT Cruiser anymore?

Crew Chief Brad: I can’t remember the last time I’ve actually seen one on the road.

Crew Chief Eric: Well, you could look at Dan’s, ’cause it does drive. Apparently it has some issues.

Crew Chief Brad: No surprise there.

Crew Chief Eric: Right? Again, I haven’t seen a PT Cruiser in the wild in forever, but to have one in my driveway is like-

Crew Chief Brad: Why did he get a PT Cruiser?

Crew Chief Eric: Apparently it’s his daughter’s, which I don’t believe it.

Crew Chief Brad: First of all, why doesn’t he just fix that Neon that’s up there and drive that if he needs all these cars?

Crew Chief Eric: Dude, there’s a whole story there about how he money shifted the diesel, and it’s now it’s making noises that it’s not supposed to, and this and that and the other thing.

Executive Producer Tania: Well, man. Well, he talked to me [00:29:00] about the diesel a while ago, and I told him to park it. He didn’t say it was… I didn’t understand that it was a money shift.

Crew Chief Eric: Yeah. I heard he over-revved it is what he did. ‘

Executive Producer Tania: Cause I was like, “If you’re going down the road I’m going and your cam’s going bad, you need to park it. It’s a ticking time bomb.”

Crew Chief Eric: 100%, yeah.

Executive Producer Tania: But if you did something else…

Crew Chief Brad: It sounds self-inflicted.

Crew Chief Eric: And then his trucks are down, and then this one’s rotted and that one’s falling apart, and blah, blah, blah, blah.

So he’s driving a PT Cruiser. Boom. Mountain Man Dan and the PT Cruiser.

Crew Chief Brad: I’ve never seen someone have so many vehicles and so few of them work. I think if you take all 30 of his vehicles, you may be able to put together three-

Crew Chief Eric: That actually

Crew Chief Brad: run … good vehicles. Yes, three actually running, driving vehicles.

Crew Chief Eric: I have to add to this, because you know Dan’s modus operandi is always spend as little as possible, try to get stuff for free, or get it negotiated down to where it’s, like, next to nothing.

So he’s got, like, 900 square bodies that he all paid $4 [00:30:00] for. He just picked up another square body, and he spent a substantial amount of money on it. It’s an, an amount of money that he said he would never spend on a vehicle like that. It’s actually really nice. I saw pictures of it. No offense, Dan, I don’t like the color.

I don’t like orange. It’s orange and black, and it has a 500 cubic inch built motor in it. So it’s five figures. But does it… It, it runs? When parked. Okay. So I’m coming off the five figure price tag now. No,

Executive Producer Tania: no, no.

Crew Chief Eric: Y-

no, no, you were right. You were right, 100%. Okay. 100%.

Crew Chief Brad: So what’d he pay, 15 for it?

Crew Chief Eric: Yeah, in that neighborhood. Yeah, yeah, yeah.

Crew Chief Brad: Yeah.

Crew Chief Eric: It’s nice. It looks very nice. I just, I- he said he’s gonna put it in his garage. You all have been there, so.

Executive Producer Tania: I mean, I guess if he empties his garage. But

Crew Chief Eric: where is that stuff gonna go?

‘Cause the garage is full.

Crew Chief Brad: I’m really, I really hate to say it’s gonna end up like that white truck that he had. Oh. That white truck was so nice. I mean, I’m not a square body fan, but that white square [00:31:00] body dually-

Crew Chief Eric: Yeah …

Crew Chief Brad: that he destroyed because it just sat and just collected moss and funk and mold and- It’s

Crew Chief Eric: green now, and it wasn’t repainted.

Crew Chief Brad: Yeah, exactly. Exactly.

Crew Chief Eric: We’re not hating on Dan. We all love Dan. He’s a great guy. He’ll give you the shirt off his back, literally, whether it has holes in it or not. But the whole thing, it’s… I was baffled. I was like, he’s driving a PT Cruiser and he bought a new square body. I mean, holy smokes. Wow. All right.

Good for you, man.

Crew Chief Brad: So basically what you’re saying is it’s just more of the same.

Crew Chief Eric: I feel like it’s Dan’s midlife crisis. It’s really the PT Cruiser that I’m taking issue with. The square body, it’s like it’s another square body is square body is a square body, right?

Crew Chief Brad: Yeah.

Crew Chief Eric: Oh, boy. Let’s get onto the meat and potatoes of this episode and talk about other people that have lost their mind. Let’s switch gears and talk about Volkswagen, shall we? First up on [00:32:00] the list, all the cars that Volkswagen is getting rid of. Some of these are European, like the Skoda Fabia, the Cupra, the Q6 e-tron Sportback.

Crew Chief Brad: I’ve never even seen a Q6.

Crew Chief Eric: Right? The Q5 Sportback. Oh, that must be a European one. They don’t sell that in America.

Crew Chief Brad: No.

Crew Chief Eric: Internal combustion engine Porsche Boxster?

Crew Chief Brad: They’ve been going back and forth with that.

Executive Producer Tania: So they’re getting rid of it before it even comes?

Crew Chief Eric: Yes. How about the Cayenne Coupe? Didn’t we just talk about this?

And this is from a reputable source. This is from Motor1, so I trust that what they’re posting is probably real. But we just talked about these Cayenne Coupes, like, either the last episode or the one before, how we thought they were funky looking and who would pay $200,000 for a low-roof Cayenne? The Taycan, well, we already knew the Taycan was going away.

The Taos? Really?

Executive Producer Tania: That’s shocking.

Crew Chief Brad: But this also says these are the cars that Volkswagen may kill. So this is, this is all [00:33:00] theorizing. ‘Cause they, they didn’t get any confirmation or denial from Volkswagen about this. We’ve just heard that Volkswagen wants to kill 50% of their lineup by 2030. Mm-hmm. But there’s nothing that actually says that these are the cars that they’re going to kill.

Crew Chief Eric: These might be the only cars in the lineup. Can you mention any other ones? I wanna focus on this Jetta here more in a minute, but the Jetta’s on the list according to Motor1.

Executive Producer Tania: Well, if that’s true, if they got rid of the Jetta and they got rid of the Taos, what’s left? The Golf?

Crew Chief Eric: My point.

Executive Producer Tania: What else is there?

Crew Chief Eric: ‘Cause the ID. Buzz is gone. The Passat’s been gone.

Executive Producer Tania: ID. Buzz allegedly coming back, but the Beetle’s gone. The Passat’s gone. The Taos is now the Tiguan Touareg, so there’s nothing else if they get rid of it.

Crew Chief Eric: Well, and the Touareg might come back as an EV, but it might not, because then you have the Atlas. And then the e-Golf isn’t due back for a bunch of years.

So there’s the GTI and allegedly that five-cylinder Golf R, which we’ll probably never see. So they’ve got two cars?

Executive Producer Tania: Are they just gonna leave the US [00:34:00] market? Nobody’s gonna… I mean, you have the group of people that will buy, quote, “the hot hatch,” but I’m sure the majority of their sales are the bigger cars, right?

Like, families aren’t gonna all crawl into hatchbacks. A

Crew Chief Eric: Golf. Yeah, exactly.

Crew Chief Brad: They’re still selling the Atlas, right?

Crew Chief Eric: Yes.

Executive Producer Tania: Oh, yeah, the Atlas.

Crew Chief Brad: And did the Taos replace the- The

Crew Chief Eric: Tiguan. The Tiguan took over the Touareg in terms of size.

Crew Chief Brad: Okay, so they have the Atlas and the Tiguan. So they’re going the way of Mitsubishi.

They’re just gonna sell-

Crew Chief Eric: Three cars at the end …

Crew Chief Brad: crossovers.

Crew Chief Eric: Yeah.

Crew Chief Brad: Yeah. That is still that nobody’s gonna wanna buy.

Crew Chief Eric: Exactly. And then they’ll have cut some of the Porsches, except for the 911 and the Panamera, and then you’ll be left with the Audis, the A4, the Allroad. And they were talking about getting rid of the A8 already, so that’s gone, so the big luxo boat’s out of the picture.

So you’ll have the A6- And then that’s kind of it. ‘Cause if they don’t bring any of their wagons over, then there’s gonna be a lot of cars. There’s maybe gonna be, like, 10 across the brands?

Crew Chief Brad: Why bother keeping the [00:35:00] A6?

Crew Chief Eric: I don’t know.

Crew Chief Brad: The A6 is like the Buick LeSabre of Audis. Tell me I’m wrong.

Crew Chief Eric: No, and I haven’t seen-

Crew Chief Brad: Yeah, I, I can’t remember the last time I’ve seen a new A6 and was like, “Man, that’s a nice car.”

No, it’s-

Crew Chief Eric: You know which A6 was cool? You remember the RS6 with the V8 back in the early 2000s? Yeah,

Crew Chief Brad: they haven’t made that in… They haven’t made that in, yeah, like 2002 or something like that.

Crew Chief Eric: Yeah, 20 years. It’s

Crew Chief Brad: ridiculous.

Crew Chief Eric: Yeah. Yeah. That was a nice car. You know what else is not a nice car? I mean, I… It could be a nice car.

Tanya, you just rented a Jetta, and that’s why, uh, you know, we got it up here on the screen. Tell us about your recent rental experience with a Jetta.

Executive Producer Tania: It left me- Disappointed. I mean, the car itself was fine, like in terms of, I mean, it went down the road. I felt like sitting in that, that a 20-year-old plus Volkswagen had nicer interior

Crew Chief Eric: I’ve been saying this

Executive Producer Tania: They went backwards and they made it chintzy, and coming off all of the [00:36:00] recent Japanese cars that I also got to test drive, let’s say already almost a year ago now.

But nonetheless, I went through the Altima and, and the, uh, Hyundai and the Elantra, the Kia, and all that, and it’s like, wow. I mean, there’s always been a notion in the past that like the Japanese cars were a little bit inferior in that department, and I’m like, “Well, now I- you guys have switched roles,” and- Yeah

like for the price… And I haven’t sat in a Golf, and this was a Sport, which I didn’t even realize till I saw the little word on the pillar on the outside of the door. That’s all

Crew Chief Eric: it was

Executive Producer Tania: That it was like, it was the Sport jet. I was like, “Oh, I had no idea.” So I’m like, “If this is also what a Golf is like, and you’re gonna charge somebody 50 plus thousand dollars by the time you’ve optioned it out, close to 60 if you got like the Autobahn Golf version, like this is what you’re giving me?”

That’s really disappointing in my opinion. Yes.

Crew Chief Eric: I’ll even take that icky, 20-year-old Plasti Dip [00:37:00] crap soft touch stuff. Well,

Executive Producer Tania: I know how to fix that now, so yeah.

Crew Chief Eric: You know, over the new stuff? Ugh.

Executive Producer Tania: Give me the soft touch back, I’ll deal with it in 20 years.

Crew Chief Brad: I still need to deal with it in my car.

Crew Chief Eric: So we’ll move on from that because Tanya, you said something last month.

We were talking about Volkswagen’s demise at this point, and you said something to the effect of like, “Well, it would be like a four-door Beetle.”

Executive Producer Tania: I don’t even remember saying that.

Crew Chief Eric: Yeah, yeah, yeah. I remember. It stuck in my head for some reason. I was like, “Four-door Beetle.” And then we sort of laughed about it and I said, “Oh, you know, call that the Panamera,” right?

‘Cause you smash the Bug and four door, and all that kind of thing. Uh, maybe it’s because Big Brother is always listening. China said, “Hold my Xingtao”

Executive Producer Tania: Xingtao …

Crew Chief Eric: because

Executive Producer Tania: Yes. That’s… What was that thing called? It was called the, uh-

Crew Chief Eric: The Punk Cat is the two-door one …

Executive Producer Tania: Punk Cat. And there was like the Doja something, something else.

Crew Chief Eric: Yes. And this is, this is the Ora Ballet Cat.

Executive Producer Tania: Ora. Oh my God, it’s ugly. And they made it a four door. Ugh.

Crew Chief Eric: Look at this [00:38:00] thing. It even has a little tail

Executive Producer Tania: on it. Look. It’s heinous. It’s like pieces of different cars just put together. Screams Doshavo to me.

Crew Chief Eric: A little bit, yes.

Crew Chief Brad: The first thing I thought was Doshavo.

I have to say, this is gonna be a very unpopular opinion.

Executive Producer Tania: You like it?

Crew Chief Brad: If it was a different color, if it was all one color with tinted windows, slammed.

Crew Chief Eric: Oh my God

Crew Chief Brad: I could see it being something somebody would want to buy.

Crew Chief Eric: You have

Crew Chief Brad: lost your mind. Actually, if it was all black, it would be like one of those British cabs.

Crew Chief Eric: The interior’s really nice, though. I’ll give it that.

Crew Chief Brad: I, yeah, I think the interior’s terrible.

Crew Chief Eric: I like the retro-y-ness of it. It’s very Fiat. But here’s the thing. How do we know, because Volkswagen does have factories in China, and they sell the Quantum from the ’80s. They still make it today over in China. How do we know that ORA isn’t like a Cupra or a Skoda, and VW is actually building these Beetles in China, and they’re not [00:39:00] just knockoffs like everybody says they are?

You don’t think Volkswagen would’ve gone after them by now?

Crew Chief Brad: No, Volkswagen does not own ORA. ORA is a dedicated electric vehicle brand owned by Great Wall Motor, a major Chinese automotive manufacturer.

Executive Producer Tania: They probably are going after them, we just don’t know it.

Crew Chief Eric: I mean, if they were, outside of losing money in Formula 1, this must be the other way they’re losing it, too.

But you would think that the Beetle’s one of those things, like a Mini Cooper or any of those iconic cars from that time period, like, you wouldn’t be able to make a clone of them. They’re so iconic. It’s like, why would you go there? Why would you try to copy it? And this doesn’t even try to hide the fact that it looks like a Beetle.

Either way, I think VW is missing out, and if they aren’t going after this, they should, and they should just say, “We’ll make it better,” and then start selling it, because a- as we’ve argued… And actually, speaking of argued about this, I saw an Instagram post, and I didn’t have time to go pull it up, but Richard Rawlins, the guy from Gas Monkey Garage, he did a post about [00:40:00] VW.

Normally, I kind of skip over that stuff, ’cause it’s always classic cars and muscle cars, and yeah, yeah, yeah, beat your chest, and motorcycles, and all that kind of thing. But it was specifically about VW, and they got his opinion on it. It was sort of like hot take. He’s on his soapbox, and he lays it out.

And he’s like, “You should’ve kept building the Beetle. If you didn’t build anything else, keep building the Beetle. You could’ve built the Beetle for 1,000 years, and people would’ve continued to buy it, but you took away the one car that everybody wanted.” And the point of his rant at the end was, “VW, you’re a bunch of dummies.

Start building cars that people want.” How long have we been saying that, right? So to hear it from a celebrity, he’s not wrong. But then, to follow that, I actually met MotoMan from MotoMan TV when I was at Revs back in January, and I got to talk to him, and this and that. So you know, I follow him on Instagram, and he posted something.

And again, people are talking about VW. It’s in the news because it’s too big to fail, as we’ve already mentioned. And he’s like, “VW’s solution to their financial [00:41:00] woes is the Tiguan R-Line.” What? “GTI power in an SUV at $45,000.” And I’m like, “What? Who, who’s gonna buy that?”

Executive Producer Tania: That’s so stupid.

Crew Chief Eric: In today’s market, your mom’s minivan makes the same power as a GTI.

Everything makes 300 horsepower these days. For the GTI to still make less than 300 horsepower, it’s actually kind of pathetic. For as heavy as it is, and the amount of power it makes, with an unreliable two liter engine, as we already know, who’s gonna step up and say, “Yeah, I want an even heavier vehicle with the same power as a GTI”?

Crew Chief Brad: Okay, I’m gonna throw, I’m gonna throw a scenario at you.

Crew Chief Eric: Please.

Crew Chief Brad: You know, one, one of the, the classic Brad’s would you rather this or X?

Crew Chief Eric: Yeah. Uh-huh.

Crew Chief Brad: So would you rather a brand new VW Tiguan R-Line-

Crew Chief Eric: No …

Crew Chief Brad: for 45 grand, knowing what you know about VW electronics and all the- Uh-huh … recalls and stuff that they’ve had on these cars and everything, or take that same 45 [00:42:00] grand-

Crew Chief Eric: And burn it

Crew Chief Brad: and buy a used BMW X3M-

Crew Chief Eric: Oof …

Crew Chief Brad: with the three liter twin turbo. Oof. They’re getting monster power out of them. You can have them for the 40, 45, 50K range.

Crew Chief Eric: Is walking an option?

Crew Chief Brad: That could be walking money. Your 50K walking money. No,

Crew Chief Eric: what I mean is I’m gonna be walking in either case because they’re both gonna be broken down.

Crew Chief Brad: So I’ve, I’ve heard that BMW’s reliability is better now than it was, than it has been in recent history or whatever. So that is the would you rather.

Crew Chief Eric: I wouldn’t touch a BMW with a 10-foot pole

Crew Chief Brad: No?

Crew Chief Eric: Mm-mm.

Crew Chief Brad: Tanya, would you get a Tiguan R or would you do a BMW X3 M?

Crew Chief Eric: I’d ride the bus.

Crew Chief Brad: For the same money.

Crew Chief Eric: I could get a lot of Ubers for $45,000.

Crew Chief Brad: You, you could get at least 10.

Executive Producer Tania: I can still probably afford to repair the Volkswagen.

Crew Chief Eric: Yeah, because anything with an M badge [00:43:00] is, like, bad news.

Crew Chief Brad: True that, true that, true that.

Crew Chief Eric: God, I cringe. All those X5 M owners. Like, I have a friend that has an X5 M with that inverted V8. Ugh, God, so … No, thank you.

Crew Chief Brad: Yeah, but the X3 M is just the standard three liter twin turbo that’s in all the other cars.

It’s just got more power and-

Crew Chief Eric: BMW should have never done turbos. That was not their thing.

Crew Chief Brad: Well-

Crew Chief Eric: So BMW plus turbo is bad.

Crew Chief Brad: What about the 2002 turbo?

Crew Chief Eric: That was not good either.

Crew Chief Brad: Okay.

Crew Chief Eric: The, all that to say Volkswagen’s earnings have dropped massively. There was a recent reporting down to 8.9. That is more than 50% decrease.

You’re the money guy, Brad. Is that the sign of a healthy company, they’ve lost over 50% of their earnings?

Executive Producer Tania: Wow. You know, I had not seen that number actually.

Crew Chief Brad: When you see it written out like that, it is actually very sad. I

Crew Chief Eric: mean, they’re in trouble. And $8.9 billion isn’t anything to [00:44:00] sneeze at. You’re like, “Oh, woe is them.”

It’s just shy of 10 billion. But we- if you think about all the operating costs and operating expenses that they have globally, to then suddenly lose half of your profitability-

Crew Chief Brad: Over what length of time? Like, is this a year over year comparison?

Crew Chief Eric: This is a year over year. I

Executive Producer Tania: mean, this, this just happened?

Crew Chief Eric: Yeah. Wow. This was just reported. I saw this, like, last week.

Crew Chief Brad: Wow.

Executive Producer Tania: Are we sure this is true? Volkswagen reported a Q2 2026 operating profit of 3.47 billion euros, down 9.5% year on year, leading the company to slash its full s- year sales revenue outlook by lowering expectations up to a 3% decline. So something’s not adding up.

Crew Chief Eric: It’s still a lot. How much of that is Formula 1? That’s what I wanna know.

Executive Producer Tania: Their net profit plunged 32.9% to 1.54 billion euros, impacted by a 500 million euro charge related to ending ID.4 production in Tennessee and negative mix effects. I mean, they’re on the decline. It’s not good, but I don’t know [00:45:00] that they just lost 50%.

Crew Chief Brad: According to Gemini, Volkswagen Group’s net income for fiscal year 2025 was 6.9 billion euros, approximately 7.55 billion US. This represented a 44% decline compared to their 2024 net profit of 12.4 billion. Sales revenue was 321.9 billion, remaining flat compared to 324.7 billion in 2024. Operating result, 8.9 billion, down 53% from the previous year.

Yep. There

Executive Producer Tania: it is. If you’re on their website, volkswagengroup.com, and you can read their s- profit numbers.

Crew Chief Eric: Everything is fine. It’s glorious.

Executive Producer Tania: They’re down 8.4% in sales. Their sales revenue is 158 billion euros in the first half so far, 2026. But the first half 2025 comparison, they were at the same number, actually.

So they were also at 158. They are down slightly, ’cause it was .4 versus .1.

Crew Chief Eric: Yeah, but how much of that is also jockeying around the [00:46:00] fact that they just sold Bugatti, they got rid of their controlling interest in Rimac. Obviously they’re hemorrhaging money in Formula 1. They’ve gotten rid of other things.

They’ve gotten rid of plants. They’ve shut things down. So-

Executive Producer Tania: I mean, they are down …

Crew Chief Eric: Brad, you work these profit and loss statements. They can maneuver this so it looks like everything’s fine even though it isn’t, right?

Crew Chief Brad: Well, yeah. I mean, you can… Accounting is an art I mean, you can make things look good by, like you’re saying, selling assets and things like that.

Yeah,

Executive Producer Tania: but they have to report their earnings to their stakeholders and yada, yada, yada. They can’t just bullshit numbers.

Crew Chief Brad: Well, of course.

Crew Chief Eric: Yeah, but if you sell Bugatti for $5 billion, isn’t that an earning?

Crew Chief Brad: It is.

Crew Chief Eric: So you can make up the difference of your sales. De-

Crew Chief Brad: depending on how the sale is structured, yeah.

Crew Chief Eric: Right, yeah. Exa- that’s so my point, right?

Executive Producer Tania: Yeah, but that’s not a decline then, so their operating profit should be higher, ’cause they have, you took out, if you took out the failing-

Crew Chief Brad: That would not be considered part of operating profit.

Executive Producer Tania: No, it wouldn’t.

Crew Chief Brad: That would be, like, not a retirement, but a, like a d- a sale of an [00:47:00] asset.

Crew Chief Eric: Correct.

Crew Chief Brad: Right. A sale of fixed asset or whatever. They, ’cause operating is strictly, operating should strictly be, like, sales and stuff.

Crew Chief Eric: This is all just rich people things, ’cause it’s well above our pay grade how this is working in a massive conglomerate at Volkswagen. But we can tell, even as innocent bystanders, that things are not good and things are unhealthy.

Sales are down. They’re getting rid of factories. They’re getting rid of brands.

Crew Chief Brad: They’re getting rid of people.

Crew Chief Eric: Yeah, uh, 100,000 people being laid off? Like, holy smokes.

Crew Chief Brad: Maybe now wasn’t the right time to get into F1.

Crew Chief Eric: I’ve been saying that. Hmm. Hmm. But they’re committed at least for the rest of the year. But let’s talk about happier things.

Let’s talk about, let’s talk about dreams. In a world where Volkswagen is king, we can build stuff like this. ‘Cause this is straight fantasy, folks. I know Tanya sent this to me. These are the recreation HSR Manufacture 851 Audi Sport Quattros, blah, blah, blah, blah, blah, blah, blah, blah, blah.

Executive Producer Tania: I mean, allegedly, they’re gonna sell [00:48:00] 84 of them for a mere $570,000.

Crew Chief Eric: You know, they haven’t built a single one of these. These are all renderings.

Executive Producer Tania: You know, when you go to the bottom and they’ve got the orange, purple, green, and red one together, man, that purple is nice.

Crew Chief Brad: That’s exactly… I was just thinking that. Ooh, that purple.

Crew Chief Eric: It’s all renderings.

Crew Chief Brad: Do I wanna buy a house or do I wanna buy one of these?

Executive Producer Tania: I mean-

Crew Chief Eric: It makes for a great screensaver. Like, I wanna put this as my desktop wallpaper, for sure.

Executive Producer Tania: I mean, if they actually make these, I mean, I wish I was a milli- multi-million billionaire. I’d have one.

Crew Chief Eric: So first of all, there’s not that many UR Quattros in existence to begin with. So unless we’re doing the roof thing, we’re making chassis from scratch, this means that they’re doing the singer thing, and they’re gonna be buying up chassis at a loss because they’ll be in any old condition.

They’ll-

Executive Producer Tania: That’s why it costs $570,000.

Crew Chief Eric: You know, they’re all 40-plus years old at this point, but here’s the deal. Everybody thinks this is new and revolutionary. Dialynx, a company in the [00:49:00] UK, was doing this in the ’90s where they were taking UR Quattros, at that point which were only 10 years old, and they were shortening them, and they were re-raking the windshield by cutting Audi 4000s and putting…

You know, all the stuff they had to do to build replica Sport Quattros. That whole company died off by the 2000s, right? Because obviously it wasn’t profitable. It took too long. It was super expensive and, you know, it, it was 30 years ago at this point. But here we are trying to reboot that whole idea of the Dialynx Sport Quattros.

I don’t ever see a single one of these ever coming to fruition. I’m sorry. It’s wishful thinking. They’re beautiful. I too, like you, Tanya, have hope. But even if they do make ’em, who’s gonna buy a $500,000 Audi that still handles like a 911 going backwards?

Crew Chief Brad: Yeah. But I, I digress. You just, just … Thinking about AI renderings kinda got me thinking about that.

Crew Chief Eric: Well, you know, I’m glad you brought that up because I found one too, and people are trying to pass this off as legitimate. And I knew this was bullshit from the [00:50:00] word go because it said Passat.

Executive Producer Tania: Never seen it.

Crew Chief Eric: It’s not real. It’s completely rendered. And there’s other pictures, like from the back and all. And people are like, “Nice Audi.

Better looking A5 than the A5. Oh, that’s really a BMW,” blah, blah, blah. Like, the comments were hilarious, but most people were like, “Guys, you know the Passat isn’t being made anymore, right? Like, you know this is fake, right?” And like, oh my God. Oh, yeah, 900,000 likes though, so, you know, good for you. What about this?

This… See, Brad, you said, “Where would I spend my money? What would I buy?” Obviously it’s not $45,000, but how about this? Yes. Find of the day, 31 miles, Audi RS6 Avant GT seeks a real enthusiast owner. Okay, great. Scrolling down, all these wonderful pictures. It’s basically brand new. This is the problem.

Executive Producer Tania: $200,000?

Crew Chief Eric: $202,000 was the original sticker price on this. So what’s it gonna sell for?

Crew Chief Brad: 250,000.

Crew Chief Eric: And then you’re still left with an Audi that has potential [00:51:00] V8 issues, ’cause I’ve heard these cars have had problems with the motors, even the models below these.

Crew Chief Brad: What Audi hasn’t had problems with the motors?

Crew Chief Eric: It is a Volkswagen.

Crew Chief Brad: What modern Audi hasn’t had problems with the motors?

Crew Chief Eric: But it’s, it’s pure awesomeness though. I do not like this interior though. It looks very, very cobbled together, right? Am I wrong? It’s clunky.

Executive Producer Tania: It’s blah. It’s not elegant. For the price that that costs, for $200,000, I wanna feel like I just walked into luxury.

Crew Chief Eric: I don’t want it to be a Bentley, but I agree with you. I think it needs to be better than this. I know what this feels like too, this hexagonal center cushion. This is not nice. This is like a step above those beads you put in a taxi cab, you know what I’m talking about? You know exactly what I’m talking about.

Let’s switch gears and talk about a car that we’re never gonna get, but this is way nicer than that RS6- Yeah, we’re good … and probably costs a lot less. This is the Alfa Romeo Brutale. That means brutal.

Crew Chief Brad: And it’s not real. [00:52:00]

Executive Producer Tania: I’m like, that’s AI, right?

Crew Chief Eric: Bullshit, that’s AI. This is at Goodwood. Look at this.

Crew Chief Brad: The Alfa Romeo Brutale is a striking retro modern concept car designed by digital creator Simolue.

Crew Chief Eric: No. No.

Executive Producer Tania: It looks fake. All of that looks fake. It looks like a video game.

Crew Chief Brad: You can tell, like, when he- that turn right there. Like, he’s taking the turn, he’s heading straight off into the wall, and all of a sudden he’s, he’s making the turn It is not an official production model. The viral digital design imagines a two plus two shooting brake coupe featuring the iconic 2.9 liter twin-turbo V6 Quadrifoglio engine, aggressive aerodynamics, and the classic Biscione Alfa grill.

Crew Chief Eric: Okay, AI’s gotten really good, but this is really good-looking. I mean, if they made something like this, would you not salivate over it? I mean, this is hot. This is hot.

Crew Chief Brad: The reason I went to look and see if this car was real is because it looks too good to be true.

Crew Chief Eric: Yes.

Crew Chief Brad: It, it is. It’s too hot. But the, the, the weird thing, the front end with those [00:53:00] two, like, like circular headlights, it’s str- it’s very, like, E30 to me.

Crew Chief Eric: It’s sexy. It’s amazing. Why can’t we make more cars that look good like this? What is wrong with people? They all gotta look like Subaru Foresters now. Bleh. Bleh. We talked about BMW earlier, Brad, and you’re ta- you asked me if I should buy an X3M or that, whatever it was, the Tiguan, or whatever it was. We don’t talk about BMW recalls very often.

We know BMWs have problems, but we don’t hear about recalls, but BMW recalls 29,000 hybrid sedans. First of all, I didn’t know they had a hybrid sedan. Like all other hybrid vehicles, they warn you to park outside because it might melt your house to the ground.

Crew Chief Brad: Awesome.

Crew Chief Eric: Good stuff. ICE cars had, like, I don’t know, 99 problems.

None of them were this. Do you ever have your starter melt your car and then light your house on fire?

Crew Chief Brad: Not on its own.

Crew Chief Eric: Okay. Just checking.

Crew Chief Brad: I’ve seen car fires of ICE engines, but usually not [00:54:00] when parked. Like, not when not running. I did see a square body try to burn down the forest once.

Crew Chief Eric: That’s true. That is very true.

Crew Chief Brad: Yes.

Crew Chief Eric: Well, let’s go across the ocean the other way this time. Let’s talk about Asian domestic cars, you know, Japanese, Koreans, and so on. This article from Motor1 actually got updated ’cause when I originally put it in our show notes, it was talking about Nissan killing off the Altima, and I said, “Man, this is clickbait.”

I said, “First you’re telling me the Jetta’s going away, now the Altima’s going away?” And then it says, “Wait, wait, the Altima is not dead yet.” Nissan is reshuffling their lineup. I was like, “How can you kill the cockroach of cars? Why would Nissan stop producing their best-selling vehicle?”

Executive Producer Tania: Did we decide it’s clickbait, or is this real?

Crew Chief Eric: I decided that it’s clickbait because you know what? Nissan would be stupid because, again, why would you kill off your best-selling car?

Executive Producer Tania: Yes, the Nissan Altima is officially scheduled to be discontinued after the 2026 model year, ending a 34-year run for the popular midsize sedan.

Crew Chief Eric: [00:55:00] 34? Hasn’t been around that long, has it?

Executive Producer Tania: The Nissan Altima’s been, like, forever. Since 1992.

Crew Chief Eric: That’s a long run. Why would you kill off this car?

Executive Producer Tania: Yeah, you don’t remember the early Nissan Altimas? They looked like the… You never could tell an Altima from a Maxima, but they were like the little round Sentra-looking ones.

Crew Chief Eric: Oh, yeah, this one. Like, that, the old Altima.

I know what you’re talking about. Yeah. You never see those on the road anymore, the really bulbous-looking ones.

Executive Producer Tania: Yeah, they finally all died.

Crew Chief Eric: Why am I looking for Altima pictures? Just go to Wikipedia.

Executive Producer Tania: Go to Wikipedia. I could.

Crew Chief Eric: I could, yes.

Crew Chief Brad: We’ve reached a new low on this show.

Executive Producer Tania: Searching for

Crew Chief Eric: Altimas. We’re, we’re researching Nissan Altimas?

Executive Producer Tania: Here we go. Here we go.

Crew Chief Eric: That takes me back. I forgot about these.

Executive Producer Tania: Why the 2026 model is your last chance to own this midsize icon. If you’ve heard the Nissan Altima is being discontinued, you’re not imagining things, but the story is more complicated than a simple yes or no. The key fact is this: the Altima is officially continuing into the 2026 model year, even after [00:56:00] earlier reports suggested it would end after 2025.

What’s confirmed? The Altima continues for 2026. Car and Driver reports, blah, blah, blah, “The ’26 Altima is reduced to the SV or, and SR trims with S and SL removed,” blah, blah, blah. Why the, quote, “Altima is ending” rumor started. The rumor had real fuel behind it. Major outlets reported that Nissan had indicated 2025 would be the Altima’s final year, then later coverage described Nissan reversing and bringing it back for ’26.

On top of that, Nissan has been actively trimming its sedan lineup in recent years, which makes the discontinuation narrative feel believable to shoppers. So is 2026 truly your, quote, “last chance”? Here’s the honest answer. Nissan has confirmed the Altima for 2026, but there’s no definitive official statement in the sources above that 2026 is the final model year.

What we can say confidently is that the Altima’s long-term future has been uncertain enough that reputable publications have covered potential end-of-line plans and reversals.

Crew Chief Eric: You said a lot of words and said nothing at the same time. I just wanna point that out.

Executive Producer Tania: I [00:57:00] am so frustrated as I was reading that, to be like, “Why are you contradicting?

Why is this even a headline, then?” Mm. Why would you say it’s your last chance, then you go on to say that Nissan has not officially said anything?

Crew Chief Eric: Yeah, that’s terrible.

Executive Producer Tania: And then you have Edmunds going, “No, the Nissan Altima isn’t dead for 2027.”

Crew Chief Brad: Did you see the link I just sent, I just put in the chat? Yeah,

Crew Chief Eric: I did.

Crew Chief Brad: That is the, I, the oldest Nissan Altima you can find online right now. That’s sort of- Is a- Let me see … well, this is the next one, a ’95 Nissan Altima.

Executive Producer Tania: Hey.

Crew Chief Eric: $29.99, look at that.

Executive Producer Tania: See, the problem is when you see these, it’s so confusing to know if you’re seeing a Sentra.

Crew Chief Eric: Yeah. ‘

Executive Producer Tania: Cause the Sentra looked just like that back then.

Crew Chief Eric: Fine quality machine right there.

Executive Producer Tania: $3,000. Wait, hold on, it says low mileage. Let’s investigate this. Holy crap, y’all. Y’all, this is a deal. This is a car that’s gonna live, outlive you. It only has 78,000 [00:58:00] miles on it.

Crew Chief Eric: God.

Executive Producer Tania: This is barely broken in for an Altima. This has so much life left in it. It has so much to give you.

Crew Chief Brad: I’ve got another would you rather.

Crew Chief Eric: Oh, boy, here we go.

Crew Chief Brad: A ’95 Nissan Altima or a ’95 Toyota Corolla. If they were the same price, which one do you think’s gonna last longer? I

Executive Producer Tania: gotta refresh myself what the ’95 Corolla looked like. Oh.

Crew Chief Eric: Oh, man, it’s this one. Oh.

Executive Producer Tania: The Altima’s got 50 horsepower on it. I think that Corolla will outlive the Altima.

Crew Chief Eric: I don’t think so. These were junk, and they looked terrible. They were cheap.

Executive Producer Tania: I swear to God I just passed one on the road the other day.

Crew Chief Eric: How many other Corollas was it made from to keep it going?

Executive Producer Tania: I don’t know. The air condition didn’t work ’cause his windows were down, so that’s for sure.

Crew Chief Eric: That’s terrible. So anyway, speaking of the kids and speaking of Japanese cars, my littlest one literally just yesterday, walking through a Walmart parking lot, she takes my hand.

She’s like, “Dad, [00:59:00] we need to go look at this other car over here.” And I’m like, it’s very rare that my littlest one wants to go see a car in person, right? So I walk up. It is a second gen metallic green Hyundai Veloster. And not just whatever Veloster, it’s the one with the three doors. I had forgotten that those second gens, they’re like a AMC Pacer.

It’s got a long driver door, and then it’s got like a short passenger door, and then a rear door. So it has three doors, not counting the hatchback. She walked around it. She was looking at it. She’s like, “Dad, I really like this.” I’m like, “I guess there’s a car for everybody out there.” I was like, “All right.”

Crew Chief Brad: She is the one that didn’t want you to unload the Aztec after all.

Crew Chief Eric: Mm. That is very true. She was upset by that. She thought that thing was really neat Oh There’s something to that

Crew Chief Brad: I feel like the perfect car for her is gonna be that new Honda Element

Crew Chief Eric: That might be true, or an old Honda Element for that

Crew Chief Brad: matter Or an old Honda Element, yeah.

Crew Chief Eric: She might like that. Not to get too far away from Nissan, [01:00:00] this partnership thing, uh, they’re still talking about it. I don’t know why.

Executive Producer Tania: They’re dead.

Crew Chief Eric: I don’t even know why The Drive is talking about this. And the way this is written, you know, Nissan got cold feet. I thought Honda did their due diligence, and they’re like, “Man, we’re not touching that.”

I thought the deal was, like, until Nissan could show that it was moving in the direction of profitability, that they weren’t gonna invest any money in it. And if you read this, it’s all like, “Ugh, Nissan is the one that backed out.” And I’m like, “I don’t think so,” ’cause they’re in trouble. Any rate, what else we got here?

Oh, I heard this. I was not listening to NPR, Brad, but I heard this on the radio. Japanese neuroscientists have said that manual transmissions are good for your brain.

Executive Producer Tania: I mean-

Crew Chief Brad: I mean, duh …

Crew Chief Eric: let’s let that sink in for a minute.

Executive Producer Tania: Anything where you’re stimulating your mind is good for your brain. The act of having a manual requires you to be able to do more than one thing at once.

Crew Chief Eric: It’s like being a drummer, yeah. I, I’m all for it.

Executive Producer Tania: Heard that handwriting stimulates your brain. It’s supposed to help its [01:01:00] development.

Crew Chief Eric: Even at our ripe, old age?

Executive Producer Tania: They say as you get older, playing mind games and sudoku and crossword puzzles and all that is all healthy things for your brain to keep it active.

Basically keeping it moving as opposed to just vegetating and doom scrolling through TikTok, Instagram, and whatever the heck.

Crew Chief Eric: It would make everybody safer, too.

Executive Producer Tania: It would help, because you definitely can’t be as distracted, though there are mofos who would still not pay attention, so it doesn’t really matter.

A mofo is gonna do what a mofo is gonna do.

Crew Chief Eric: That’s an official statement. I love it. And I know that this would normally be classified as Florida Man or Are You Faster Than An Interceptor? But since we’re talking about manual transmissions and we’re talking about Japanese cars, did you guys see this thing on Instagram?

I, I didn’t understand what was happening here. I kinda felt like this was that Jackie Chan movie that we reviewed with Steve and Izzy. The cop is literally gonna impound the car and he’s gonna drive it away, and this is in New York City. So I don’t know [01:02:00] if there was some street racing going on. But he’s, like, confused.

He doesn’t know what to do. Doesn’t know how to drive it. And then and then he finally kinda gets it going at one point, and then he just, if you listen to it with the audio, he makes it, like, 10 feet and then stalls out and then it just, like, blah, and that’s, like, the end of it, and it dies. It’s, then he’s done.

Executive Producer Tania: I would’ve been so pissed ’cause I’d been like, “Don’t grind my gears and burn my clutch.”

Crew Chief Eric: Well, that was one of the comments. He was like, “Car got impounded. Needs new clutch.” I was like, “Oh, Jesus.” I was like, “That’s terrible.”

Crew Chief Brad: Does it say why it was being impounded in the first place?

Executive Producer Tania: I think it was, it was illegal street racing, I think- Yeah

or something. The very beginning of the, the video you see, like, tons of cars out, so I think, I’m assuming it had something to do with that. Some Fast and

Crew Chief Eric: the Furious stuff going on. But it’s nice to see a, a wide-body first gen RX-7. That’s what I was excited about. But it wasn’t the illegal street racing. He was parked because that’s what a lot of those peop- they’re just all parked.

He didn’t have a hood on that car. That’s the problem. In New York, that’s probably illegal. It’s unsafe to drive around without a hood on.[01:03:00]

All right, let’s talk about Toyota. I’m really confused. Tanya, it was really funny. I posted something and then you posted something, like, right behind me. Is it the Celica or is it this Yaris MR2 thing? What are they doing? Are- do we have two mid-engine cars coming?

Executive Producer Tania: Yes, technically, but then there’s a whole other rendering that looks like something else completely.

Crew Chief Eric: Yes, the black one that was at Fuji, right?

Executive Producer Tania: Mm-hmm. So I don’t understand which one’s which because the one where they’re like, “MR2 development car spot,” I’m like, “I’m sorry, that’s a Corolla.”

Crew Chief Eric: That’s a Yaris right here, whatever this is.

Executive Producer Tania: Why we’re calling that, I have no idea. I’ve seen several different things.

But yes, to that end, they are supposed to be bringing back the Celica, which was something that was mentioned several drive-throughs ago, and then they’re also allegedly trying to bring back this MR2.

Crew Chief Eric: And they debuted something Celica-like during one of the WRC trial stages, too, that Toyota was messing around with this larger car and they were like, [01:04:00] “Oh, it, it might be the Celica, it might not.”

I’m really confused.

Executive Producer Tania: I have no idea.

Crew Chief Eric: I don’t know what Toyota’s doing. But why are they doing this? Because I thought all their enthusiast people at the head of the company had sort of checked out and left because they put the bean count. Why would they be doing this? Like, who is their target market? It seems foolish- No idea

unless they’re just trying to keep people’s attention. I

Crew Chief Brad: mean, I hope they make ’em.

Crew Chief Eric: I, I…

Crew Chief Brad: Like, ’cause Volkswagen’s not making cars anybody wants to buy anymore.

Crew Chief Eric: And the Boxster’s going away, so there’s another mid-engine runabout. You gotta shore that up. But then there was talk about that article from PCA where Porsche might get in bed with Toyota to make this mid-engine.

I’m like, what? Whatever. I, I’m sort of over it. But I do wanna talk about other mid-engine cars for a second. The new Lotus Emira 420 Sport was, I guess, leaked or released. I don’t know if these are real or renders. I don’t understand these scoops in the hood. I think they’re terrible looking.

Crew Chief Brad: It’s too McLaren and Ferrari.

Like, the-

Crew Chief Eric: Yes …

Crew Chief Brad: why do all the cars need to look all the same?

Crew Chief Eric: As Matt used to [01:05:00] say, there’s only one design that cheats the wind. I like a lot of Lotuses, and I don’t like this one. Like, I find myself just l- staring at the background in this picture and trying to ignore the car. Awful. I don’t know why this came to mind.

We’re talking about British cars, but really I wanna talk about Swedish cars. Last month we made a comment about Polestar going away because the Chinese ownership. Mercedes is still on the table. We’re not sure what’s going on there. Maybe they’re gonna exit stage right with Volkswagen and all that kind of stuff.

But we were kind of speculating as to why Volvo and not Polestar. It sort of didn’t add up, and it didn’t make sense, and it dawned on me after the episode why Volvo, why they would keep Volvo around. You know what it has to do with? It has nothing to do with the cars. It has 100% to do with the trucking industry.

I had this light bulb moment. Volvo semi trucks, that’s what it is. Because the trucking industry relies on Volvo, and Volvo heavy equipment, you know, big stuff like JCB-sized stuff or earth [01:06:00] movers and stuff like that. Polestar isn’t in that market. It’s easy to get rid of the cars and an EV that isn’t, uh, is underperforming and underselling.

Who cares? But it’s harder to get rid of Volvo because of where they’ve implanted themselves in our infrastructure. Getting rid of Volvo would have a huge impact. And I’m not saying that Freightliner or International or Mack couldn’t step up to the plate, but there’s a lot of Volvo semis. When you start paying attention, there’s a ton of them on the road.

Crew Chief Brad: Are you saying they’re too big to deport?

Crew Chief Eric: Uh, yeah.

Crew Chief Brad: Instead of too big to fail?

Crew Chief Eric: We’ll forgive some Chinese ownership to keep Volvo semi trucks on the road. And by the way, they’re extremely popular in the racing paddock. If you were to walk up and down an IMSA paddock, a lot of those race cars are towed by Volvo trucks.

It, it, it affects us deeply on the motorsport side of the house. All right. So Brad, I know your favorite section of the Drive Thru is always lost and found, and you found that Ultima for us. I mean, what a great deal that was. I found something for you this month.

Crew Chief Brad: Oh my [01:07:00] God.

Crew Chief Eric: How about a 1998 Cybertruck? And you might say to yourself, “1998?

Wait, wait, but, but Tesla wasn’t even around in 1998.” This is the Plybertruck- What? … and then some. Look at… This is- Oh, my God … like a Ford van at one point. What? Yeah.

Crew Chief Brad: Did Daniel build this?

Crew Chief Eric: This thing is awesome. What are you talking about? Look at that craftsmanship. I bet those windshield wipers even work. It looks like it might not leak.

Crew Chief Brad: Oh, my God. What is this built on?

Crew Chief Eric: I think it’s a Ford Econoline.

Crew Chief Brad: I don’t know. The front end is screaming Dodge Dakota to me, or Mazda B2000 or 200- whatever the truck was.

Crew Chief Eric: It’s gotta be beefier than that because these are six-bolt wheels, so those little trucks weren’t six-bolt.

Crew Chief Brad: That’s true.

Crew Chief Eric: This looks like a Ford ’cause it’s got a short nose, so it’s gotta be a van that they cut, and they took the roof of the van and slammed it down.

Crew Chief Brad: Where’s the- where’s the original post?

Crew Chief Eric: It was on Facebook. 1998 Cybertruck, McDonough, Georgia, [01:08:00] $5,800.

Crew Chief Brad: I have more, more details.

Crew Chief Eric: Oh, do you?

Crew Chief Brad: Yes. Again, thanks to Gemini. I’m, I’m just plugging Gemini here and there.

Crew Chief Eric: Uh-huh.

Crew Chief Brad: It is a 1998 Mitsubishi L200.

Crew Chief Eric: I didn’t even know that was a thing.

Crew Chief Brad: And it has 225,000 miles.

Crew Chief Eric: I love it.

Crew Chief Brad: I don’t know if I’ve ever seen one of these in the States.

Crew Chief Eric: Every time I try to click on one of these, it tells me it’s, like, a bad site. You know, “You’re gonna get a virus by clicking on this picture,” kind of thing.

Crew Chief Brad: Very ugly truck, but it is a truck.

Crew Chief Eric: Well, there you have it. It’s a funky, funky little truck.

Yeah, okay. It’s like these hard body Mitsubishis from back in the day.

Crew Chief Brad: I don’t know that I’ve ever seen one of these.

Crew Chief Eric: All right.

Crew Chief Brad: Well, there you go. The more you know.

Crew Chief Eric: Do-do-do-do. So would you buy this or a Nissan Altima? See, I think I’d take that $45,000 you, you lent me earlier to buy a Tiguan or a BMW. I’d buy this.

Tanya’s dying.

Executive Producer Tania: No, sorry. I’m watching something and I’m, I’m [01:09:00] trying to decide if, if I’m gonna share this later.

Crew Chief Eric: Please do.

Executive Producer Tania: This is NSFW.

Crew Chief Eric: Oh, boy. It’s gonna be a good one. Well, speaking of NSFW, how about this? I love this picture. I kept this only because of the picture. Look at this, Tanya.

Executive Producer Tania: Oh, God.

Crew Chief Eric: This is my favorite thing of AI. This is like the Spider-Man meme where they’re all pointing at each other. It’s just Elons hugging each other and handshaking. This is the best thing I’ve ever seen. This is so great. But in all seriousness, Elon hints at Tesla, SpaceX merger. Is that even really a merger?

I mean, to the point of the picture, when it’s all the same owner?

Crew Chief Brad: I know. I

Crew Chief Eric: mean, this is the sort of buffoonery when you have that kind of money that you can do. You know what I mean?

Crew Chief Brad: Yep.

Crew Chief Eric: All right. Well, my expectations are thoroughly lowered, but I also think at the same time I found the cause of global warming.

Just take a look at this [01:10:00] video. What is the fascination, what is the point of running your exhaust through your hood and then blowing smoke-

Executive Producer Tania: So that the rest of us can’t have nice things …

Crew Chief Eric: Is that what it is?

Executive Producer Tania: Yes.

Crew Chief Eric: Just wait, look at th- look at this. Look.

Executive Producer Tania: So the rest of us can’t have nice things.

Crew Chief Eric: It looks like a factory in Gary, Indiana.

Look at this.

Executive Producer Tania: So stupid.

Crew Chief Eric: And when you drive down the road with your exhaust in front of your windshield-

Executive Producer Tania: What the hell do you see? You’re smoke screening yourself …

Crew Chief Eric: and if you happen to open your sunroof or your passenger window, exhaust is meant to exhaust behind the driver, right?

Executive Producer Tania: Yeah, into somebody else’s mouth, not your own.

Crew Chief Eric: It would be funny, though, if it had one of those little flappers like a tractor, you know? I’m talking with the boop, boop, boop, boop, boop, boop, boop, boop, boop, boop, boop. That’s ridiculous. And that stack is, like, six inches easily. I don’t get it. Well, with that said, I guess it’s time for Florida Man.

Executive Producer Tania: Oh, no.

Are we there already?

Crew Chief Eric: We are there already.[01:11:00]

Executive Producer Tania: Here we go

Crew Chief Eric: Tanya, before you take us on a trip around the United States and maybe around the world Big is on the journey … around the world, I brought you one. Found this very interesting.

Executive Producer Tania: Where in the world is Florida man?

Crew Chief Eric: Montana is where we’re going. Ooh. To the most pulled over man in the United States.

He drives a giant banana.

Executive Producer Tania: Ooh.

Crew Chief Brad: Good Lord.

Crew Chief Eric: A 23-foot long banana with the license plate split. Oh. Come on. That’s dad jokes and then some. Look at this thing.

Crew Chief Brad: But why does he keep getting pulled over?

Crew Chief Eric: I mean, wouldn’t you wanna pull over a 23-foot long banana?

Crew Chief Brad: No.

Crew Chief Eric: Why not?

Crew Chief Brad: The last time he was pulled over was for an issue with his license plate.

Crew Chief Eric: Here’s a [01:12:00] quote from the police officer. “We’ve stopped speeders, distracted drivers, and even a few unusual vehicles, but this one definitely stands out. The big banana car was stopped cruising near Billings, Montana today. While it may be appealing,” “traffic laws still apply to fruit. Safe travels, Montana.”

Used to be a Ford F-150. That’s, that’s legit

Executive Producer Tania: But look at the joy that it brings.

Crew Chief Eric: The big banana.

Executive Producer Tania: B-A-N-A-N-A-S.

Crew Chief Eric: Oh my God. All right, what do you got for us?

Executive Producer Tania: Well, there’s been some weather down in, uh, in Texas.

Crew Chief Eric: This looks like your old neighborhood.

Executive Producer Tania: Well, every neighborhood looks like… No, it does not. But a Houston area driver gets creative to avoid the floodwaters.

Just wait for it.

I mean, ha. I don’t see a problem.

Crew Chief Eric: I mean, Mercedes can’t get wet. I

Executive Producer Tania: mean, good for him.

Crew Chief Eric: Wow. Wow, look [01:13:00] at that.

Executive Producer Tania: I mean, eventually he has to get down in it, but you know.

Crew Chief Eric: He avoided a good portion of it.

Executive Producer Tania: There’s enough news that tells you to turn around, don’t drown. But, you know?

Crew Chief Eric: Look at that Altima coming through, or was that a Passat?

Executive Producer Tania: That’s a Volkswagen.

Crew Chief Eric: Oh yeah, it’s a Jetta. Can’t tell the difference, they’re all the same.

Executive Producer Tania: I mean, these people should not be driving through that, but hey.

Crew Chief Eric: Where’s the Tesla dead in the middle of this water? That’s what I wanna see.

Executive Producer Tania: Oh, God.

Crew Chief Eric: And she’s just standing there like it’s nothing happening.

Executive Producer Tania: Oh, it’s another Tuesday in a storm.

Crew Chief Eric: Texas, where are we going next?

Executive Producer Tania: Now we’re going to Missouri.

Crew Chief Eric: Oh, boy.

Executive Producer Tania: And this one, this is, like you gotta get to the video. Boy. You gotta get to the video. Car’s rolling, he’s getting pulled over. He jumps out, the car’s still rolling. Whoop, yes. Yes.

Crew Chief Eric: Oh, man. That guy gets a 10. That’s like an Olympic dive. Holy crap.

Wow.

Executive Producer Tania: And his name is Gavin Thor Lundgren.

Crew Chief Eric: And look at [01:14:00] this. Boom. Whoop. He doesn’t even know if there’s water down there. He just- Would you jump off a bridge? Obviously this guy does.

Crew Chief Brad: If everybody else is doing it.

Executive Producer Tania: I’m sure he was on something.

Crew Chief Eric: Boom.

Executive Producer Tania: Bloop, bloop, bloop, like I’m pretending I’m a dolphin. Bloop.

Crew Chief Eric: That’s awesome.

Executive Producer Tania: But they did find him.

Crew Chief Eric: So obviously he survived, ’cause they caught him, right?

Executive Producer Tania: They did catch him. Of course. They did apprehend him. Because they

Crew Chief Brad: always do.

Crew Chief Eric: The French judge only gave him seven points. I gave him an 11 to make up the difference. That was a great dive. That was amazing.

Executive Producer Tania: So this next one is also in, all the rest of these are in Florida.

Quite frankly, it’s been a busy month. So this was 4th of July, and this MFer was going down 95. Yes. And watch, look. Watch. Do woop, woop, boop.

Crew Chief Eric: Looks like a video game.

Executive Producer Tania: I mean, it’s not funny Boom. It’s not funny, actually Wow. Can you imagine if you got hit by a firework? Talk [01:15:00] about vehicles catching on fire.

Crew Chief Eric: What is he towing behind him? Is that, like, hay?

Executive Producer Tania: I don’t fucking know.

Crew Chief Eric: Is that a boat? It’s a boat.

Executive Producer Tania: Well, it’s Florida. Of course it’s a boat.

Crew Chief Brad: Could’ve been a lawnmower.

Crew Chief Eric: Wow.

Executive Producer Tania: And they were in the helicopter following him for 10 miles. He got arrested and charged, so the passenger in the vehicle was arrested and charged with shooting a deadly missile from a moving v- vehicle.

Crew Chief Eric: A deadly missile

Executive Producer Tania: So when you shoot a firework out of your car, it is now a deadly missile.

Crew Chief Eric: That’s a bit extreme. I mean, it’s not a Tomahawk or a Scud or something like … I mean, come on, deadly missile.

Executive Producer Tania: Hey, people get seriously injured every 4th of July setting off firework.

Crew Chief Eric: Wow.

Executive Producer Tania: They lose body parts. They get third degree burns.

Crew Chief Eric: Do they lose brain cells too?

Crew Chief Brad: They didn’t have many to begin with.

Executive Producer Tania: I mean, this is actually a serious thing. I mean, if that hits somebody’s car, can you imagine? You just set something [01:16:00] that’s fire into, like, if it hit somebody’s car, you could, you could explode it.

Crew Chief Eric: Imagine if it hit an EV. Again, a Tesla.

Executive Producer Tania: That’s what I’m saying. Like, bad things could have happened. Okay. Yeah, so this one’s great too. So Florida Man, they pull him over ’cause he’s crashed into the side of a building. Of course, he’s not wearing a shirt because why would you be wearing a shirt?

Crew Chief Eric: Hold, hold on, hold on a sec. Hold on. Wait, wait, wait.

Brad, you gotta be th- why do these two look like they’re posing for a dating app? Like, what is happening in this picture?

Crew Chief Brad: It’s the, it’s the SNL skit, the ambiguously gay duo.

Crew Chief Eric: All right, keep going. ”

Executive Producer Tania: Nah, I, I wasn’t driving. Not my car.”

Crew Chief Brad: That’s, “The, the drugs aren’t mine, officer.” “I’m

Crew Chief Eric: not with them, Superman.”

Executive Producer Tania: And then it’s, “It was the car’s alignment’s fault.”

Crew Chief Eric: What? ”

Executive Producer Tania: The alignment was off, and-” Oh, okay … “and I hit the building.”

Crew Chief Brad: Yep.

Executive Producer Tania: And then it was, “Well, I had two shots that night.” And then, “Well, see, I’m not great at math, so counting drinks isn’t [01:17:00] really my strong suit.”

So it was the car’s alignment and his poor math skills.

Crew Chief Eric: This reminds me of the lady, did you see that article of the lady in New Mexico that drove into the side of a building because it was the mural of, like, a tunnel? Like, kind of like Looney Tunes. So she turned and drove into the building and just, like, crashed into it.

It was pretty hilarious, actually. Maybe her alignment was off too, or maybe her math skills weren’t that great. Good God. This last one. What do we got? Another Fl- man, you’re racking up Florida Man this month.

Executive Producer Tania: This last one, however, I recommend not to sh- please watch it first by yourself. It, there is explicit shit in it.

You kinda gotta watch it the whole way through. It’s gonna, like, catch you off guard the first thing, but if you watch the whole thing through and then he circles back to it at the end, then you’re like, “Oh, my God.”

Crew Chief Eric: So he’s in the cop car.

Executive Producer Tania: You have to be listening to the cop.

Crew Chief Eric: What is he doing? Did he just…

What was that?[01:18:00]

What?

Executive Producer Tania: Apparently, this guy was apprehended for driving on a suspended license, and he was on his way to his court-ordered drug class- Oh, no … um, because of that. Apparently he had something called a Whizzinator.

Which is a fake bladder-

Crew Chief Eric: Oh

Executive Producer Tania: my goodness … with I don’t know what liquid in it, and then it’s wired to a heating pad with a faux pizzle connected to it-

Crew Chief Eric: Wow. Okay … to

Executive Producer Tania: make it convincing.

Crew Chief Eric: Did Snoop Dogg come up with this? The, the, the Wizzle, the Whizzinator and the Wizzle? The

Crew Chief Brad: Wizzle.

Executive Producer Tania: This is this news recording’s polite way of-

Crew Chief Eric: Uh-huh,

Executive Producer Tania: uh-huh

of saying it.

Crew Chief Eric: Uh-huh. Uh-huh.

Executive Producer Tania: I saw another one where they were more blunt. Wow. Yeah. Yeah. So needless to say, the guy’s in the back of the cop car. He pulls something out of his pants discreetly, he’s being videoed by the onboard footage the whole time. [01:19:00] Chucks it across the seat, it falls in between the door and, like, the seat.

The cop comes around, opens the door. He’s like, “What the hell is this?” “I don’t know.” “What do you mean? What’s what?” “I don’t know what that is. I don’t know where it came from.” He’s like, “Bull-fucking-shit.”

Crew Chief Eric: It’s the Whizzinator.

Executive Producer Tania: He’s like, “Bullshit, I clean this car every day. I know what’s in this car. You just threw a pee bag.”

Crew Chief Eric: Wow. Ah. Wow. Florida. Florida. God.

Executive Producer Tania: I hope that person gets the help they need.

Crew Chief Eric: You know, ugh. Well, with that, it’s time we go behind the pit wall to check out your sports

Executive Producer Tania: news. Ooh. I didn’t post about this, but you found it yourself.

Crew Chief Eric: I did. Tom Cruise officially says Days of Thunder sequel moving forward.

Executive Producer Tania: Paramount has- Well- … apparently green-lit it.

Crew Chief Eric: Tom Cruise will reprise the role of Cole Trickle, blah, blah, blah, blah, blah, and you know, all this kind of stuff. Jerry Bruckheimer’s coming back. I mean, they’re gonna try to bring back, I guess, as much of the original cast as [01:20:00] possible.

Executive Producer Tania: Well, okay, hold on. We’re gonna bring back as much of the original cast as possible.

May he rest in peace-

Crew Chief Eric: Yes …

Executive Producer Tania: will not be there. Do we really think Nicole Kidman’s coming back?

Crew Chief Eric: They said as much as possible, you see.

Executive Producer Tania: Because then I wanna be like, “Who’s left of the cast?”

Crew Chief Eric: John C. Reilly, he’ll come back.

Executive Producer Tania: He will, but he wasn’t really huge, so other than if they don’t get Mike Rooker back.

Crew Chief Eric: But wasn’t John C.

Reilly Duval’s son or something like that? So he would take- No … over for the fact that Du- or he was, he was Duval’s, like, second in command, so he would take over for Duval since Duval’s gone.

Executive Producer Tania: I guess he could. They could bring back Carl You- Use, I guess.

Crew Chief Eric: Yeah, yeah,

Executive Producer Tania: yeah. I don’t know. We’ll see. Anyway, continue.

Crew Chief Eric: Basically, the long and the short is the sequel is in development, reported to include research on the modern NASCAR world, bringing it into t- you know, 2026 and beyond. And Jeff Gordon has expressed interest in being part of the movie, so there you go. Boom. Good.

Executive Producer Tania: I’ll [01:21:00] watch it.

Crew Chief Eric: Moving on from NASCAR- Our, I just wanna point out, we had our first Voices of Endurance episode.

We called it Saving Sebring. It was with Charles Mendez and Dave Cowart, and if you haven’t watched it, check it out. It’s available on Patreon right now. The remastered version will not be out for a while, but it’s super cool. Charles came on and did his Le Mans story when we were still running Evening with a Legend, and Dave Cowart is the guy who won the GTO Championship in the famous red lobster BMW M1 back in the s- late ’70s, early ’80s.

So really cool to hear their take, their part in keeping Sebring alive during one of its darkest times, basically setting it onto the path that it is on today, which is very, very cool. So interesting story there. I do wanna talk about virtual stuff for just a moment, because I bellyached for a long time.

It was Assetto Corsa’s fault. It was Assetto Corsa’s fault. Transmission in the F40 is fragile and blah, blah, blah, all this stuff, remember? I’ve been bellyaching about it for a while, right? Well, it turns out this hunk of junk is the [01:22:00] real problem with my setup My Moza HGP shifter finally gave up the goat.

Once it started to rear its ugly head with the same issues in other software where it had never had the problem before, I decided to put it to the side. I gave David Middleton a call at MIE Racing and said, “What do I do next?” And he said, “You go get yourself a Simagic.” And I was like, “Ooh,” and I did exactly that, which I can buy off the shelf at Micro Center, and Micro Center price-matched with the manufacturer, so shout-out to them.

I saved a bunch of money because the manufacturer was running a promotion. They matched the price. You still had to pay tax, but I didn’t have to worry about the shipping, ’cause the new shifter’s super heavy. But it’s very, very nice. Adjustable feedback as well, and it can be an H pattern or a sequential, so very, very happy with it.

D- different build, because the old one was basically little micro switches, so every time the shifter would hit a micro switch, it would tell it what to do. The new one uses a Hall sensor, so it’s all magnetic, and it’s very, very precise. It’s really, really nice. I’m very [01:23:00] happy with doing that. I should’ve probably switched to it a long time ago.

But I will say, been using the sim more to practice and, you know, sit down for a couple hours at a time, just racing Road Atlanta or Mid-Ohio, whatever it is, kind of getting ready. I mean, it’s not the same as endurance racing, but you gotta get yourself in the mindset of staying focused for a couple hours at a time when you’re behind the wheel.

So I’ve had zero issues, been able to run the sim for hours on end, and it’s been absolutely fantastic, so can’t say enough good things about the Simagic there.

Crew Chief Brad: Your initial complaint was about the programming for the actual F40 race car.

Crew Chief Eric: Yes.

Crew Chief Brad: Do you still have the same problems?

Crew Chief Eric: The F40 is still a little fragile, but can make it to the end of a race without it blowing up.

I haven’t tried to drive the F40 for an hour. I’ve actually been driving the Hyundai i30, which is… it’s not necessarily a Veloster. It’s, like, the one that they didn’t sell here, because I wanted something that was a hot hatch, similar power to a Focus, kind of, you know, to just be more realistic, even though a Focus isn’t [01:24:00] available.

So I haven’t gone back. I’ve done some sprints with the F40, and it’s been fine. You can still hear it every now and again, where it’s like, and you’re like, “Oh, come on,” you know? So there’s a little bit of calibration there that you can still do and can tweak all that stuff, but six of one. So here’s something I found interesting.

The Goodwood Road Racing Club of America. Just feels like an oxymoron saying it. Say it again. The Goodwood Road Racing Club of America. You can become a member starting in January, and it’s based out of California. It’s all about road racing in the style of Goodwood. I get it, but I don’t get it. Pose a que- become a member of the Goodwood Road Racing Club or become a member of Enduroverse?

What do you think?

Crew Chief Brad: I guess it would come down to cost for me, cost and benefits.

Crew Chief Eric: Enduroverse is one of our sponsors, so it’d be, uh, ideal.

Crew Chief Brad: I choose Enduroverse. I

Crew Chief Eric: think that would be a great option. You know, vintage racing isn’t always what it’s cracked up to be. I will say this is NSFW, sort of like Tanya’s thing.

I [01:25:00] don’t know if you guys watch this, but check this out. There are some vintage cars I just will not find myself ever in.

Executive Producer Tania: Ooh, did he die?

Crew Chief Eric: I don’t know how he survived.

Executive Producer Tania: I guess he did survive.

Crew Chief Eric: This isn’t a video game. This is Goodwood. This

Crew Chief Brad: is not

Crew Chief Eric: AI. So white helmet, l- it’s this car right here, whatever this Alfa Romeo is or Formula Junior or something like that.

So here he is, white helmet guy. Goes off backwards, hits the wall, and gets flung out of the car like a rag doll. Oh,

Executive Producer Tania: man. Yeah.

Crew Chief Eric: Brutal.

Crew Chief Brad: And sent back almost completely across the track.

Crew Chief Eric: There he is, white helmet, walking around.

Executive Producer Tania: He’s, he’s concussed. He’s dazed. He doesn’t know anything. He’s running off pure adrenaline right there.

Crew Chief Eric: I’m amazed he didn’t snap his neck. Absolutely unreal. But I don’t know about you guys, there are no cars that scare me, but these cars scare me. I don’t think I could run and operate these kinds of cars at speed. I’m sorry. Like, there’s risk and then there’s that. Those are just foolish.

Executive Producer Tania: No, I, I’m good.

Crew Chief Eric: Oof.

No, thank you. [01:26:00] That being said, our motorsports news is brought to you in part by Enduroverse, powered by Hyperdev, America’s premier endurance racing community. So check it out online and become a member at Enduroverse.com.

Crew Chief Brad: So 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 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 catalog and check out other programs we offer, like The Ferrari Marketplace, The Motoring Historian, Voices of Endurance, Automotive History Live, The Racers Roundtable, Formula Fanatics, BreakFix, 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 BreakFix VIP [01:27:00] by visiting patreon.com/gtmotorsports.

As always, we would like to thank our co-host and executive producer, Tanya, and 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: No outro?

Crew Chief Brad: Outro.

Crew Chief Eric: There it is. Brad, w- you missed an opportunity last month because you no longer announce the episode numbers.

Crew Chief Brad: I don’t? You,

Crew Chief Eric: no, you, you don’t, you haven’t done that since, for a while.

Crew Chief Brad: Oh.

Crew Chief Eric: Do you even know what episode this one is?

Crew Chief Brad: I thought, I thought I did last month, though. But

Crew Chief Eric: you didn’t.

Crew Chief Brad: I thought I said, “Welcome to Drive Thru Number 69.”

Crew Chief Eric: No, you missed every opportunity to take a crack.

Crew Chief Brad: I’m pretty sure I actually said that.

Nah, nah, nah, nah. I’m pretty sure you cut it out. You, you, you cut it out.

Crew Chief Eric: Oh, wow, we went Dave Coulier on this, wow.

Crew Chief Brad: Yes, we did. Cut it [01:28:00] out. Everywhere you go.

Crew Chief Eric: Number 70. Can you believe we have 70 news episodes? It would actually be 72 if we hadn’t missed two months out of the last six years, but that’s more than some podcasts have by themselves.

We have 70 news

Crew Chief Brad: episodes. This is certainly longer than I thought we would be going.

Crew Chief Eric: Hey. Hey, now. Hey, now. Hey. It’s only up from here, my man. It’s only up from here. If

Executive Producer Tania: only we had 70 listeners.

Crew Chief Eric: We have, we, we actually have a lot more than 70 Arbitron-rated listeners. We’re doing better than- It

Crew Chief Brad: does not count if you listen to it 70 times during editing.

Crew Chief Eric: I gotta do something when I’m on my walks.

Executive Producer Tania: The Drive Thru is our monthly news episode and is sponsored in part by organizations like [01:29:00] 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 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 News Intro Banter
  • 00:02:45 Midwest Road Trip and Wisconsin Cheese Curds
  • 00:05:20 Volo Museum Movie Cars and Rocket Outhouse Madness
  • 00:10:59 Automotive History Live!
  • 00:15:02 24 Hours of Lemons Focus Revival Attempt
  • 00:26:39 Mountain Man Dan has a PT Cruiser?
  • 00:31:56 VW Lineup” What’s on the Chopping Block
  • 00:37:10 China Beetle Clone Debate
  • 00:43:30 VW Profits Drop Explained
  • 00:47:41 Audi Sport Quattro Restomods
  • 00:50:26 RS6 Avant GT Price Shock
  • 00:51:47 The Alfa Brutale Viral Concept
  • 00:53:18 BMW Hybrid Fire Recall
  • 00:54:07 Altima Discontinued? Clickbait!
  • 00:59:56 More Nissan/Honda Partnership Rumors?
  • 01:00:28 Manual Transmissions are good for your Brain
  • 01:01:33 Cop who can’t Drive Stick Impounds an RX-7
  • 01:03:04 New Toyota Celica and MR2 Confusion
  • 01:04:38 Lotus Emira Design Rant
  • 01:05:12 Why Volvo Stays Not Polestar
  • 01:06:49 Lost and Found
  • 01:09:09 Elon Merger Talk and Exhaust Stacks
  • 01:10:50 Florida Man Stories!
  • 01:19:31 Days of Thunder Sequel Confirmed
  • 01:21:41 Sim Racing Shifter Upgrade
  • 01:24:15 Goodwood Club and Vintage Crash
  • 01:25:59 Sponsors and Episode Wrap

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