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From Sidecars to Superstars: The Flying Tiger Motorcycles Story

In the heart of St. Louis, Missouri, a small motorcycle shop is rewriting the rules of vintage bike culture. Flying Tiger Motorcycles isn’t just a repair shop – it’s a living, breathing hub for two-wheeled passion, creative builds, and community storytelling. On this episode of the Brake/Fix podcast, we sat down with Adam Reed and Ryan Harrison, two longtime contributors to Flying Tiger’s evolution, to explore how a humble garage became a nationally recognized name in custom motorcycles.

Photo courtesy Flying Tiger Motorcycles

Flying Tiger Motorcycles began with Eric and Teresa, Midwest natives who escaped the LA grind to pursue their dream of opening a motorcycle shop. The name? Inspired by a drive-thru sushi menu item – “Crying Tiger” – and a moment of serendipity. What started as a one-bay garage has grown into a multi-bay operation with a reputation for servicing vintage Honda, Kawasaki, Triumph, BSA, and Norton bikes, plus scooters of all makes and models.

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Adam Reed joined the team after bartering website work for bike repairs. A former customer turned media guru, Adam helped build Flying Tiger’s digital presence and eventually became a key part of the sales and marketing engine. Ryan Harrison, meanwhile, transitioned from driving Ferraris at an exotic car dealership to freelancing in photography and marketing. He found a home at Flying Tiger during a custom build project with Rebel Yell Bourbon – and never looked back.

Both Adam and Ryan came to motorcycles through cars, but their love for bikes runs deep. Adam’s first ride was a roached-out CB550 Supersport with no brakes and a slipping clutch – sold to him for $100 and later repossessed by its original owner. Ryan’s gateway drug was a Ducati 996 spotted on Speed Channel, leading to a GSX-R750 and eventually a Moto Guzzi Scrambler. Their stories reflect the shop’s ethos: every bike has a soul, and every rider has a journey.

Photo courtesy Flying Tiger Motorcycles

Spotlight

Synopsis

This Break/Fix episode explores the diverse and intriguing journey of Flying Tiger Motorcycles, a St. Louis-based shop specializing in vintage motorcycle repair and custom builds. The episode features an in-depth discussion with Adam Reed and Ryan Harrison from Flying Tiger, detailing the shop’s origin, founded by Eric and Teresa. They delve into unique custom projects, their partnership with Rebel Yell Bourbon, and the company’s intriguing ventures, including candles that smell like motorcycle oils developed in collaboration with Motul. Additionally, the conversation covers the challenges and joys of working on vintage motorcycles, market trends, and the experiential differences between old and new bikes. The episode wraps up with insights into the shop’s future projects and events.

  • What’s in a name? Is there significance around “Flying Tiger”
  • Flying Tiger is more than just a repair shop, you also offer Restoration, Custom Build and Auction services? (let’s unpack these)
  • Old bikes vs New bikes – they mentioned it before, but why buy vintage?
  • EV Bikes! 
  • Is there a Bring-a-Trailer equivalent for Bikes?
  • At the top of the conversation, Dan mentioned the “Candlestick maker” – MOTUL candles? How – Why? This is probably one of the most unique items we’ve seen. 

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 petrolheads 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: Taking your late model bike or scooter to the dealership for repair can be costly, and some dealers are not equipped for models that are no longer on the showroom floor. Specializing in vintage Honda, Kawasaki, Triumph, BSA, and Norton platforms, St. Louis based Flying Tiger Motorcycles excels in servicing all major makes and models of motorcycles and scooters, regardless of the model year.

Mountain Man Dan: But do you remember the old nursery rhyme about the butcher, the baker, and the candlestick maker? Adam Reed and Ryan Harrison from Flying Tiger are here to tell us all about [00:01:00] motorcycles. But also how they’ve created some unique products partnering with names like Motul.

Crew Chief Eric: And with that, let’s welcome Adam and Ryan to BrakeFix.

Adam Reed: Yay! We got like an applause button or something. New fanfare.

Crew Chief Eric: And joining me tonight is one of our regular co hosts on BrakeFix, the one and only Mountain Man Dan, who heads up our Mountain View division, all things dirt, off road, trucks, and bikes. So welcome back, Dan. Good to be here. Well, like all good break fix stories, there’s a superhero origin story, and tonight we have hero and sidekick, Adam and Ryan.

So why don’t you tell us about the who, what, when, and where of flying tiger motorcycles?

Adam Reed: Ryan, I distinctly remember you sending me a picture of a dude with a gnarly beard riding, and some guy just hanging out for dear life in the side car helping him balance, and I’m pretty sure I was in the side car and you were the one riding, so that makes me the sidekick and you the hero.

Ryan Harrison: Oh, I’m the hero. Okay. Yeah. So Flying Tiger was started by Eric and Teresa.

Adam Reed: Eric and Teresa, you know, they’re the owners and the founders.

Ryan Harrison: We’re not here.

Adam Reed: Eric got his start in [00:02:00] Kawasaki R& D. And I believe he was doing some test writing. He was testing factory models and then implementing changes based on feedback from his writing and test group and then actually making changes himself.

And they lived in. Somewhere near LA to do that job. And I think they were both from the Midwest, you know, like Ryan and myself from Missouri and Teresa’s from Iowa, you know, they got tired of that LA rat race and he was getting more into custom builds and wrenching. And I guess getting sick of the grind, you know, the circuit grind of going to trade events and things like that, packed back up and moved back to St.

Louis. And

Ryan Harrison: Eric wanted to start a motorcycle shop and they needed a name.

Adam Reed: I think they were sitting in a drive thru for like some kind of like Asian food. And the, and the menu item was. crying tiger and they’re like, well, wouldn’t that be funny if we just call it crying tiger?

Ryan Harrison: There’s a romantic story behind it.

We’re just not great at telling that one.

Adam Reed: However, that story of being in a drive thru sushi shop, which if you want to place your judgments on drive thru sushi, you know, go ahead. When Eric tells it, it’s kind of funny, but look, it came up with something cool in the end.

Crew Chief Eric: So what about you two? You guys [00:03:00] play a, an essential role in the flying tiger story.

So how did you guys come along? And when did you come along?

Adam Reed: I was a customer before I ever worked there. I had an old bike and they’re the only place in town that works on old bikes. And I think their salesperson had just quit. And I had sweet talked them into helping them build a new website in exchange for the work on my motorcycle.

Cause 20 years old and poor. So it was a fair deal for me. I started doing some media work and some website work. And then one day I was picking up my bike and they presented me the bill. And he said, or instead of paying this bill, we just lost our salesperson. So if you want to like sit up here and work a couple of days a week, we can just call it even.

And that was seven years ago. I live in a different state now and I still work for them. We’ve done some really neat things for being, you know, what used to be just a one bay repair shop. I’ve had a pretty cool role in helping them build into something different. And Ryan too.

Ryan Harrison: Before I came to FindTiger, I was also, I’d say customer shop hang around as well.

At that time I was working for an exotic car dealership. I’m driving other people’s Ferraris [00:04:00] and Lamborghinis and having a good old time. Me and that owner came to a, a disagreement one day, as most do in the exotic car industry. Decided that it wasn’t working out. Ended up trying to freelance myself. I was doing a lot of marketing and photography for those guys.

He started freelancing. Did that for about six months. Realized that I really just don’t like working for myself. And I’d rather do that for somebody else than just try to do the hustle and the taxes and the, you know, all the business side of things. I love doing the creative side. Let somebody else worry about the business side.

Flying Tiger was just landed a deal with Rebel Yell Bourbon, building some custom motorcycles for them. They can’t afford to keep you to do just one thing at a shop that small. So you’re selling motorcycles, you’re, you know, helping service, right? Parts order, and then also help and do some of the creative stuff that we needed for the media machine behind taking a motorcycle to handbill.

As well as they shipped that thing off to, like, was it Spokane, Washington? And rode them to Surgis. [00:05:00] Did a whole, like, documentary on it. I mean, there’s just some really cool stuff that for a little motorcycle shop from Missouri, you know, was doing some really big things. And it was really just the marketing team behind it just pushing it while the other guys are cranking out custom bikes.

So it was, it was pretty cool.

Mountain Man Dan: Because you were hanging out at the shop, you were personally invested into it. It wasn’t because you had to be there. So something about it, you must have saw that you liked and you’re like, I want to be here to do this stuff. And like Adam, when, you know, they offered you the spot, you’re like, I’ll do it.

You know, so that tells me that it’s got to have a good atmosphere there at Fine Tiger.

Adam Reed: When they started, they were Hart from Donaldson’s, I guess. In Whitman, the only place in town that really works on older bikes. And that’s for a number of reasons. Old bikes are temperamental. They’re expensive. It’s not a Honda Civic.

It’s not a car you can trust. It always needs something and it needs motivation. A lot of that motivation starts at a good shop. If you don’t have a good shop to set the tone for your vintage bike, you’re kind of just walking everywhere or bumming rides or you’re kicking it and trying to sell it later.

Crew Chief Eric: That’s a mouthful too, right? Mom and pop motorcycle shop from Missouri. Yeah. Do [00:06:00] that three times fast.

Ryan Harrison: Rolls off the tongue. And that’s what our next t shirt.

Crew Chief Eric: Both of you guys come by this, honestly, I’m sure you’ve had several bikes in your collections. So why don’t we talk about some of the bikes that you have?

And obviously you were going to Flying Tiger because what you owned kind of fits the mold there. It’s not a new bike. It’s something vintage. It’s something unique. It’s something classic.

Adam Reed: My dad always rode a bike, but like Ryan, I started in cars. Cars were my first thing and, you know, I built a number of interesting cars as best as I could in my twenties.

I think about my first bike, my buddy Kevin, his dad had a bunch of bikes in his garage. And I remember Kevin always talking about his dad’s Honda Magnet. He said, well, my V4 Magnet’s the fastest bike in the world. It’ll crush any crotch rocket out there. Don’t worry about it. So he’s like, yeah, you have to come ride with me someday.

And I’d never ridden a bike in my life. And so he shows me around his bike and he’s got a 74. CB550 Supersport, and I mean, the thing is just roached, right? It’s four different colors, but it’s got an old Vance and Heinz pipe on it. It’s jetted. It’s got some pod filters. It’s ready to rock, you know, and it has no brakes cause they don’t work and the clutch is starting to slip, but man, it [00:07:00] frigging boogied for an old bike.

I was just hounded. I’m like day after day. I’m like, man, you got to sell me this bike. And he goes, no, no, no, I can’t sell you the bike. And finally one day he was like, all right, just give me a hundred bucks for it. So I gave him a hundred bucks and he was like, I can’t really let my dad know that I sold it because it’d be pissed off.

So like, you can just come to my garage and here’s how you get in and you can ride it. And so like every day I drive my little Ford Escort GT with some stickers on it over to his house and I take it for a ride to the neighborhood. And then one day, like a, like a month or two later, he knocked on my door.

Cause you know, it’s like 1999, we know telephones. And he’s standing there, he’s got a hundred dollar bill in his hand. And he goes, oh, hey man. He goes, my dad found out that I sold the bike. He made me give you your money back. I’m sorry, you can’t have it. That’s the story of my first bike. It got repossessed by its owner because it was dangerous.

Ryan Harrison: As far as bikes go, I actually had a really good blog post about what drew me into motorcycles. I was at my grandma’s house. She had cable, right? So like flipping through the channels like a eager kid and then you know, it stopped on like speed channel and they were showing it was either like world super bike or something but they were showing this helicopter [00:08:00] view looking down at the track and the motorcycles turned left so the the right side of the bike was facing up.

And it was the first time I’d ever seen a single sided swing arm. And like, it just blew my mind on these, like, it was like, at that time it was Ducati 996, 916s. And the turning over, and just that rear wheel, like, spinning, free floating. I was just like, what is this? What are they doing? Kid from the Midwest, I’ve never seen motorcycles like this.

It’s all just Harleys, and like, things are just leaning over, defying the laws of physics as far as I’m concerned. I got the hook there. Eventually I turned 18, which is the, uh, legal age that your mom can never not tell you that you can’t own a motorcycle anymore. No. I bought a ambitious bike, 2003 at the time.

I got a 2002 Suzuki GSX R 750, which is a big, big bike for a kid that’s never even looked at a dirt bike or [00:09:00] anything and just kind of never looked back. Between that, I’ve, uh, you know, had an RC 51. The Halo bike for me was that Ducati 996. I had that and then I sold it. Most of the drift kids on here all know Danger Dan from YouTube and Hoonigan fame.

Sold that to him to buy my first house for the down payment on my first house. I didn’t buy a 10, 000 house.

Adam Reed: What you could do at the time, but you can’t do anymore.

Ryan Harrison: After that, I didn’t own anything until I came to Flying Tiger. And then I bought a little Moto Guzzi Scrambler. That’s the last motorcycle I owned.

Crew Chief Eric: So you mentioned being a fan of motorcycle racing. So is that true for both of you guys? And if so, do you have a favorite rider, favorite team? You know, people talk about the Repsol Hondas, Valentino Rossi, things like that. Is there a hero out there in the motor sport world?

Ryan Harrison: Rossi is always going to be the big thing because the natural progression is you start learning about racing after I got into it.

MotoGP, it was the last season for the 500 two strokes, which was also what, like maybe Rossi’s like [00:10:00] first or second season in the big bikes and just kind of fell in love with that guy from the start. So, I mean, he’s always a big one. The battles he had with Max Biaggi at that time were also really epic.

Getting to watch Nikki Hayden go from AMA Superbike up to the MotoGP bikes and stuff like that. I mean, there’s just been so many. I think I own every Ben Bostrom helmet that was ever made, or at least for sale. I’m sure he has a ton of them.

Adam Reed: I’m a, such a fan boy. I’m bad at stats. Like it’s why I never got into like sports.

I played hockey terribly my entire life, but couldn’t name a current St. Louis blues player. For me, it’s different. It’s a very personal thing. I grown up watching racing was a huge F1 fan. That was the eighties and nineties. Right? So you’re talking Eric and Senna and then Schumacher’s rise to fame after that.

There’s such a visceral component to racing that kind of mirrors the technical side of it. And that goes for all motor sports. It’s the obvious stuff for me. It’s the sights, the sounds, the colors. It’s just assault on your senses. We recently had the opportunity to go with Motul as guests of theirs to the Petit [00:11:00] Le Mans in Atlanta.

And Ryan and I both have a lot of history at racetracks, running events and being event organizers. And that was my first time being at a racetrack in years, actually. And I was just getting chills now. I was blown away. To see like everything happening, it’s everything. It’s kind of like a strange microcosm of living.

You’ve got everything. You’ve got all the strife and struggle. You’ve got the victory and the heartbreak, camaraderie, that need to work together to solve an issue. But at the same time, it’s an endurance race. So everybody’s bored out of their minds, sitting on the pit wall. Waiting for something to happen.

So for me, it’s always been that kind of tangible aspect of it more than heroes or anything else. It’s like being immersed.

Crew Chief Eric: Since we started talking about motorsport in the vein of motorcycles and Adam, you brought in petite Lamont, the sport and endurance side of the house. There’s an interesting.

transition here that’s happened over the last couple of years. Our favorite motorcycle hero, Valentino Rossi finds himself behind the wheel of an LMP2 endurance sports [00:12:00] car. So how do we feel about that? What do we think about Valentino’s progress in the four wheeled world?

Ryan Harrison: I saw a post that he was as fast as all the, like the rookie class or whatever, right?

Like, I mean, like he’s going to be fast no matter what he does. I’m stoked to see what he’ll do. No matter what, he’s still always gonna be the GOAT. How old is he? He’s in his 30s, almost 40s, right?

Adam Reed: This is like Juan Montoya signing up for NASCAR in like 2004 or whatever.

Ryan Harrison: Yeah, right? Like, he’s just gonna crush it no matter what.

Fast is fast, no matter what you put him on, I’m sure.

Crew Chief Eric: To your point, he is the GOAT. In a lot of ways, he is parallel to the Michael Schumacher of motorcycles. He holds so many records. He is so fast. He’s fantastic to watch. And even when he sort of retired, but then came back, It was sort of like Alonzo.

It’s the same thing. It’s like, well, I’m always here in the top five, beating up the young guys. So there’s these really interesting parallels between the motorcycle world and let’s say formula one, especially at that level of racing.

Mountain Man Dan: Big thing that I’ve noticed in the past five to 10 years in particular, guys transitioning out of one discipline to another coming off of bikes and [00:13:00] stuff into four wheels, there’s a lot of different guys that have done that.

Pastrana, he did it, got into NASCAR for a little bit. He was real big into rally for a while. It’s good to see a lot of the guys crossing over to different disciplines because I think it pulls a lot of that fan base with it and it all strengthens the motorsports community, which I think is a great thing.

Crew Chief Eric: But that’s not what we came here to talk about, right, Dan?

Mountain Man Dan: When it comes back to Flying Tiger with the shop, with repairs and everything, any sort of shop like that, you got your basic repairs to pay the bills and stuff, but you guys do like custom builds. What sort of custom builds are a normal thing to see there at Flying Tiger?

Adam Reed: You’re 100 percent correct. The bread and butter of the business is Straightforward repair, something’s wrong with my Honda Shadow. What is it? Yeah, absolutely. Being one of, if not the only shop currently that does vintage repair, you get such a wide swath of everything. And we’ve had like, God, what’s the oldest one we’ve had?

I mean, there’s like a 1958 Lambretta scooter, like fully original sitting back there in parts waiting to be put together.

Ryan Harrison: Yeah. Oldest thing I saw was like a 1914 Triumph.

Adam Reed: [00:14:00] Yeah. Been a Black Shadow or two. But it afforded you that opportunity to see just about everything. So, I mean, your typical stuff, it’s just your daily rider, but we get some interesting stuff because we’re willing to work on it because we have the knowledge base,

Crew Chief Eric: it’s interesting.

You bring up the Lambrettas because earlier this season, we actually had Malcolm Bricklin on the show who is responsible for bringing Lambretta scooters. Into the United States way back when, in the late fifties, early sixties. So it’s really funny that you guys have one of those laying around.

Adam Reed: There’s still a few out there.

I found a website, lambretta. net. I think it’s called, and they claim to stock a bunch of parts. Speaking of the Lambretta, we sell a genuine scooters. People always ask what the best scooter is and they go to a Vespa and Vespas are fine, but there’s a beast to repair. If you can get parts and Ryan can back me up on this, having worked for Ducati, you need a part for an Italian bike.

And you call the warehouse to the distributor and they essentially ask you why you need the part. And you say, cause the bike broke. And they go, that’s impossible. It’s Italian. It can’t break. It didn’t break. You’ve done something wrong.

Ryan Harrison: Or you try to order the part in August and they’re all on [00:15:00] vacation.

Adam Reed: Again, for the fifth time that summer. I think Genuine has the tooling for Lambretta chassis and they kind of repop a modern version, which is pretty interesting. Other stuff that we get, you asked if we did builds. I mean, yeah, that’s kind of like the next phase of the evolution. So the shop started in where it is now actually adjacent to it.

There was a little one bay garage that somebody was using for storage and Eric rented that and was doing wrenching repairs out of it and outgrew it. Now they’re in this massive spot with like four beds and Eric’s little secret room hidden somewhere in the middle of the building, where you can only find if you already know where it is.

Growing into builds was kind of the next thing Ryan mentioned earlier. We’ve had bikes in hand built, one golden bolt. Cycle showcase. Shout out to Randy. You haven’t seen cycle showcase. That’s some of the top stylistic building you’re going to see outside of LA. It’s great stuff. I’m going to throw this out into the universe and maybe it’ll happen.

Keanu, if you’re listening, Arch Motorcycles, come on, man, it’s a fit. You know, we got the Arch in St. Louis. Arch is your name. Bring it in, [00:16:00] boy. I’m totally ready. We’ll build something together.

Crew Chief Eric: Obviously with custom builds, there’s also restorations. There’s the daily work. But I also noticed other services that Flying Tiger provides.

One of them is really, really interesting. And that’s the auction service side of the business. And obviously that speaks to you, Adam, as part of sales leadership at Flying Tiger. And you don’t see motorcycle auctions too often. Now I know that Mecham has a big one that they run every year. And this past year, it was record setting for the number of bikes, but those usually come from private collections where they’re trying to break them up and sell them off.

And the only other auction service I’ve come across is by way of classic Avenue. And that’s Nick Smith, who you see on motor trend kind of, you know, stumping and thrumping around with his British accent and they sell bikes by auction as well. So I wanted to dig a little bit deeper into how your auction works, where they’re coming from, or they are your builds.

Are they clients? Are they part of an estate?

Adam Reed: We’ve used bring a trailer and we’ve had some pretty good success with that. It’s a pretty fair system. They’ll send a photographer out to you and give you some [00:17:00] really nice stuff, but just happened to have a background in photography myself. That’s another hat I get to wear photographing bikes.

They are not from our collections. Personally, they’re usually private collections. One of them just happens to be. Richard Ford is the guitarist for Guns N Roses. You know, he’s a buddy of the shop. He lives in St. Louis. So we sold his bike on there. We kind of helped him put it together. We even had him autograph the bike after it sold.

But the auction process there, it’s very straightforward. You photograph the bike. You write up a nice little article about it. You send it to them and they actually kind of rewrite that article for you. So you really send them an overview of details, but that’s the process, it’s very straightforward.

Crew Chief Eric: So we joke a lot on our drive through in a section we call lost and found, where we scour the internet looking for the newest old car out there and try to look at some of the crazy prices on bring a trailer and in the car world, it’s sort of gone nuts, the used market is insane.

You know, there’s geo metros selling for five figures. It doesn’t make sense. Is the same true. On the bike side of the house, has it been affected in the same way in the used market?

Adam Reed: I [00:18:00] wish I could say yes. Certain bikes are demanding more than you would expect as a bike guy. My personal bike is a 95 CBR 600 F3.

You know, it’s in really good shape. It’s near perfect. It’s got 40, 000 miles on it. I might get five grand for it on a good day. So not mind blowing money, but more than it’s worth if I’m air quoting worth.

Crew Chief Eric: Are you seeing any trends in motorcycles where even older ones are gaining more traction? They’re becoming more desirable things that investors might be looking out for.

Adam Reed: If there’s a way to see that data more streamlined than I’m looking at, and it’s just a tool that’s on bring a trailer. You can actually see just a plot of what has sold. It seems to be all over the place. And it seems to be dictated by currents in the market, like the stock market. What happened on that day?

I don’t know. Did Honda release a new model, you know, a new 600 RR out this year in Europe, if it’s not coming to the States, does that mean we’re going to see an increase in 600 F3s and RRs from the past? I don’t know, but maybe if you look at that scatterplot for all the different bikes, it’s pretty [00:19:00] dense across the board from high to low, it’s all over the place.

Ryan Harrison: I’m going to let you guys in on a little nugget and a new time waster. It’s called IconicMotorbikes. com.

Adam Reed: Love Iconic.

Ryan Harrison: They’re a really cool shop doing some world class auctions with some bikes and traditionally it seems like they’re really hot on the uh, like 80s, 90s sport bike scene right now. I mean like those bikes just go for like nuts money compared to, you couldn’t give away some of these bikes 20 years ago, right?

They were just kind of worthless and now the bike’s going for just silly money or what they are, but they’re all clean, pristine. So if you’re going to play the, uh, newest, oldest bike for a ridiculous amount of money, their website’s going to be a good one to look at.

Adam Reed: And they’re really good at finding zero to live mile bike.

Ryan Harrison: Yeah.

Adam Reed: That’s how I’m gone from what I’m dealing with in my shed with 40, 000 miles on it. Who knows what the resource is. They’re finding stuff in boxes in their original shipping boxes.

Ryan Harrison: Yeah, they get some weird stuff. They’ve got a 92 NSR 250 SE. Like, it’s a street legal 252 stroke sport bike. I don’t [00:20:00] think we got those here,

Mountain Man Dan: but they’ve got it for sale.

Here in the mid Atlantic, seasons have a lot to do with values of bikes to where right now is a great time to buy up. And I actually been kind of looking around because a buddy of mine’s got a bike shop. We always scour this time of year looking for stuff for cheap to do a little work to it through the winter and in the spring, sell it off, make profit on it.

Where you guys are at, you guys notice that as well.

Ryan Harrison: Seasonal will get rid of bikes that somebody has to sell because of a hardship. Especially when you get into, like, collection bikes. They’re gonna go up and down as, like, an investment piece, maybe. It’s not gonna be like, I’ve got a Honda Sabre or something.

You know, Nighthawk that I need to get rid of. You know, it’s worth a thousand bucks now, but I might get 2, 500 for it in March. There’s always gonna be a lot of that, but a lot of the cooler bikes that we usually pay attention to, they’re gonna hold their value no matter what.

Crew Chief Eric: More parallels between the motorcycle world and the car world, especially the collector car world, in the sense that, you know, what you’re talking about, the newer bikes, the Suzuki’s, the Yamaha’s, the [00:21:00] Honda’s, the Harley’s, I mean, that’s like Honda, Toyota, Volkswagen and GM, right?

I mean, they’re like the big brands, you get it. But when you sort of look away from that, you have those Classic bikes, the triumphs, the BSAs, the Nortons, things like that. More like the MGs and the Jaguars. And then you’ve got Ducatis, which is like Ferrari and Lamborghini type of stuff. When you draw that parallel for the non two wheeled audience, what are the really nice collector bikes and what are the, the sexy bikes and the really sought after bikes?

And how do you really tell them apart? And what are you looking for? Again, if you’re looking to maybe buy a showpiece or an investment bike.

Ryan Harrison: Oh man, it’s gonna be so subjective.

Crew Chief Eric: Why is it so much easier with cars? Is it because bikes all look the same?

Ryan Harrison: No, like for me, like, if we’re talking like, halo bike right now, like, if I won the lottery tomorrow, like, I’m hanging a Brough Superior from my wall.

Adam Reed: Every person interested in cars, whether you’re interested in cars or not, goes, Oh, you know, a Ferrari F40, duh, it’s like the coolest car ever built. I don’t know if one bike exists like that outside of like a Vincent [00:22:00] Black Shadow, just because it’s got a lot of name recognition. You know, it wasn’t a particularly great bike.

It’s badass. It’s fast, but the thing about motorcycles is like it’s marginal gains. I’ll use the 600 RR as an example. Again, mine’s a 1995. It makes a hundred horsepower. It’s about 400 pounds steel frame instead of aluminum, the 2024 CBR, outside of it’s electronic suite, which is like stuff that’ll make it outperform my bike.

It makes the same power at the same weight with the same. four pistons. So you’re talking very, very small gains on a motorcycle. Motorcycles are very like non monogamous. Every motorcycle is an open relationship because everybody who comes into the bike shop talks about their 10 previous bikes that they had and why those bikes have led them to the decision of the next one that they’re going to get.

It’s not like car guys who have that one car and that’s what they’ve aspired for their entire life and they’re gonna keep it until they die and be buried in it. Motorcycles are like shoes.

Ryan Harrison: I think a good analogy for that is like, if you [00:23:00] work in a motorcycle shop and you put the bikes out during the day and then you bring them back in at night, you usually get the key dish with all the keys in it.

Very rarely does anybody actually like, ooh, I need this one. Like, you’re gonna stick your hand in the bowl. Pull out what you get and be like, hell yeah! Unless it’s just a real hooper of a bike, are you ever going to be not stoked about whatever key you grab?

Adam Reed: Pushing those bikes out, you got to taste just about everything.

There are two bikes that really stick in my mind outside of the Zero, the electric bikes, because those were just insane. Do you remember that hybrid CB650 550? Like a 650 bottom end with a 550 top end. Custom frame, fairing bike, green with like a tail section. Thank God, just the way that thing revved and the way it sounded and the way it felt under you, like it was the most like feeling of wonderment and enchantment on a motorcycle you’ve ever had in your life.

And I just couldn’t wait to slow and it was pathetically slow and it’s too heavy and didn’t handle very well. But dammit, every single time my hand landed on that key when I [00:24:00] was pulling the bikes back in, I was like, this is going to be a good day. This is the one today. And the other one was like a terrifying Yamaha XS 1100.

I don’t know if you’ve ever ridden one of those, but it’s like one of the highest power to weight ratio bikes of the eighties. And it was just terrifying. That’s when that Eric built that was stripped down to absolutely nothing. And it was just an engine that he sat on with two tires. It was in that roulette of nastiness, like, which one today?

Which one do I get to ride today?

Ryan Harrison: If anything, it comes down to a quote from the great Dan Murphy that you can rub a chainsaw at me and I’m going to smile, right? Like, it doesn’t matter. It’s all fun stuff.

Adam Reed: Dan was our Honda Whisperer. He’s no longer with the company. He checks back in every once in a while, but he was the Honda Whisperer.

We called him just about any Honda running top notch, even if it was a chainsaw.

Ryan Harrison: Nobody ever really leaves the Tiger.

Mountain Man Dan: No, nobody really does. My personal experience, I don’t know if you guys have dealt with it, but my experience with older Triumphs is the electrical nightmares are very similar to the older British cars.

Adam Reed: That’s all Lucas. I’ve got a great picture of my buddy’s Triumph at a gas station. Well, it’s actually a picture of me putting [00:25:00] out a fire with a fire extinguisher that was next to the gas pump. I’ve noticed now that there’s fire extinguishers on every gas pump for good reason. And he had just fueled up and he went to kick it and he had to kick it so hard that it knocked the fuel line off the carburetor.

It dumped fuel and the whole bike burst into flames. So there’s this great video of me just like casually sweeping flame retardant material onto his Triumph as it’s burning down in his parking lot.

Mountain Man Dan: Speaking of old nightmare electronics, what do you guys think of going forward with EV bikes?

Adam Reed: I can’t say anything bad about it.

I’m just an old bike kind of guy. I ride a carb bike and I have days where I cuss at it because the humidity’s changed and now getting to work is difficult, but everything we build typically is built on the back of the MotoGadget suite. So we use the M unit. We use everything we can and they’re just such fantastic little products and they make it so convenient.

I don’t think you can get away from it. Love the electric bikes. We dealt with zero for a little while out of California. It was a learning curve. I know that a lot of current is scary when you’re pushing 400 volts and, you know, 60 amps or something through this bike, they can get [00:26:00] dangerous if you do something wrong, but I don’t think it’s going to go any other way.

You don’t have a choice. It’s the only way to compete these days.

Mountain Man Dan: Because I noticed recently in Japan, they had the EV motocross bike. Made its debut. And unfortunately there was an action on the track and the guy didn’t finish, but it was doing really well from what I saw. I’m impressed to see how it’s going to compare side by side with some of the gas

Adam Reed: bikes.

You know, Royal Enfield’s doing some amazing stuff. We dealt with Enfield also, and I was really happy to ride their 650 twins. We took part in the distinguished gentlemen’s ride one year and had a pretty amazing turnout. And I chose the corner Marshall. You know, use this INT650 to ride corners. And it was just a blast to ride that very simple, high rev middle twin.

But I saw they just came out with an electric version of the Himalayan, and we don’t have numbers on what it produces power wise yet, but it looks like a beast. And I don’t see any reason why not.

Ryan Harrison: The Himalayan’s a blast to ride, even in its thumper configuration. The electric version is gonna be nuts, I would imagine, as long as the weight [00:27:00] makes sense for the size and the spring of the suspension.

Adam Reed: The new gas is up double the horsepower of the original.

Ryan Harrison: When Flying Tiger had the zeros on the sales floor, they’re endorsed by all employees as the number one bike to go pick up coffee with and ride back one handed.

Adam Reed: On the FXS street model, you would actually gain battery charge through regenerative braking on the short ride to and from the coffee shop.

It gets my stamp of approval. I made gas mileage.

Crew Chief Eric: Since we’re still talking about old versus new, then you come to the debate about buy versus build. And we have this same debate in the car world, you know, pick up somebody else’s spec Miata that way. You don’t. Start all over again. You know, those kinds of things is the same true in the bike world, or is it like you guys said, it is what it is.

It’s sort of a box of chocolates. If you like the mods that somebody made just run with it, or are people buying base bikes, vintage bikes, and then doing their own personalization on them.

Adam Reed: I mean, that’s a conversation that can go a thousand directions. You could sum it up in two minutes or two hours.

Customs are tough. Customs are really hard to do. [00:28:00] They involve a lot of time, a lot of effort and a lot of money. Most people don’t anticipate. And I know that’s nothing new for anybody in the automotive world. Everybody knows that, you know, you get triple your expense and you octuple your timeframe, right?

Buying a custom is difficult because my custom is not your custom. We could crank out customs all day for sale and they’re the hardest ones to get rid of. Everybody wants that stock bike, everybody wants their own vision, and I totally respect that and support it. You kind of have like a father son conversation with the client, and you’re like, I gotta bring you down to Jesus real quick and show you what it’s gonna be like.

Because you’re getting into a commitment. It’s that meme with the salamander or whatever, he’s like, I’m a 109 year commitment. Overlong specialist. I don’t think most people anticipate that going into it. They go, okay, I can Put a flat seat and some GT bars. And even the simple stuff is hard. I hate that it deters people because I want them to be me in my driveway.

When I had my first eight 86, one of two swapping in a silver top 20 valve with spare parts from the junkyard as best as I can, you know, I want them to have that feeling of accomplishment. Like they did something, [00:29:00] even if we’re doing it for them, but convincing them to want to do it on a budget is.

Difficult. Convincing us to want to do it on the budget is difficult.

Ryan Harrison: Especially with that car and that motor. You gotta be committed to banging in the firewall.

Adam Reed: You

Ryan Harrison: ever cut

Adam Reed: a

Ryan Harrison: hole in your firewall

Adam Reed: before?

Crew Chief Eric: I’m working on one of those right now. Dan knows. Eric’s

Adam Reed: Sawzall, so.

Crew Chief Eric: I love me a Sawzall.

Adam Reed: My dad comes out and he’s like, you know that thing’s supposed to keep you from catching on fire, right?

Crew Chief Eric: I don’t need that. Just extra weight.

Adam Reed: Dad, go back to staying. You don’t know what’s going on.

Crew Chief Eric: Earlier this year, we had Elspeth Beard on, which many in the motorcycle community know her story, Lone Rider, you know, the first British woman to go around the world on an old BMW motorcycle back in the eighties.

Part of the book, although not all of it, is a love story about a man and machine. She talks very fondly R75 stroke fives and stroke sixes, you know, the old air heads and how reliable they were as long as you kept feeding them oil and basket changes and all this laundry list of things she needed. But [00:30:00] when I read the book and after I met with her and interviewed her and everything, I found it to be really interesting in that it’s sparked something about old bikes.

It made them more appealing than new bikes. It opens that Avenue to be engaged with your motorcycle. And so I wanted to ask your guys professional opinion. You know, if somebody’s coming to you as a first time buyer saying, I want to buy a bike, I’m really interested in having an adult bike. I’ve ridden mini bikes and motocross bikes and pit bikes over the years, but I want to buy my first adult bike.

Where would you steer them? Old, new? And if you go old, where would you take them? What kind of brand should they be looking at?

Adam Reed: Old’s easy. Just buy a Honda. It always runs.

Ryan Harrison: Yeah, it really just depends on the use case, right? Like if you’re just wanting to ride around and do some cool guy stuff, maybe a vintage bike night or It just kind of putts around town every once in a while.

Vintage is always fun because you’re not relying on it. If you’re going to be like a commuter or you’re doing this as a, as a lifestyle choice, I’d probably push it towards something [00:31:00] newer, maybe not brand new, but at least fuel injected.

Adam Reed: NC 700.

Ryan Harrison: Yeah.

Adam Reed: Go anywhere you get 80 miles a gallon.

Ryan Harrison: Motorcycles are really easy to get lumped in like, Oh, they’re all just two wheels.

Okay, cars are just four wheels, right? Like, no, no, no. You’ve got stance cars, you’ve got race cars, you’ve got 4×4 trucks, you’ve got lowrider trucks, you’ve got tuk tuks. There’s so many flavors. The same is true while a little more nuanced with motorcycles, but really just depends on the use case.

Adam Reed: Like I said earlier, motorcycles are like shoes.

You got different shoes for every occasion. Only certain shoes fit you. And just because you wear an 11 and one doesn’t mean you wear an 11 and another brand.

Ryan Harrison: If you’re trying to like road trip with your buddies to California, I’m not going to hand you the keys to a CB350. You’re going to have a miserable

Adam Reed: time.

That’s a good conversation too, about setting the proper expectation. One of the challenges on the sales floor, when we had the electric bikes was the first thing they’d ask us, cause it’s electric and then I’ve got to charge it. Right? How long does that take? You know, great questions, but it was always asked.

With their foot in the [00:32:00] door, they already had made up their mind. And I just wanted to hear me confirm why they didn’t want it. Like Ryan’s saying, it’s their use case and the use case was wrong. And they go, well, what if I want to go across country on it? I don’t take my Toyota Highlander mountain climbing rock crawling.

Do I know I say, Ryan, let me borrow the Land Cruiser. A lot of people go in with that. It needs to check all boxes at once. It needs to be able to do everything. It needs to be the impossible bike. You really just have to look at what your average ride is. You know, me, I ride to work and cruise some back roads.

So honestly, my CBR is too much for me. And I’m thinking about getting a smaller bike. That’s a realistic conversation you have to have with people when they’re choosing their bikes. Not one we always want to listen to.

Ryan Harrison: It’s real quick to go down the ego train when selecting a bike. Going back to the electric conversation, when I was working a lot with people, they’d ask about the Livewire and they’d be like, well, what’s the range?

And it’s like, oh, well, you know, you’re going to get about 200 ish mile city on it, way less than that if you’re going to try and beam it down the highway. And they’re like, oh, well, I can’t do that. And I’m like, here’s the thing. I could daily commute on this bike for a week and a half and never have to charge it.

So that [00:33:00] eight hours while I’m at work charging or at home sleeping isn’t that big of a deal. Yeah, if I’m gonna road trip it to California, I gotta stop every hundred miles and charge it for, you know, six to eight hours if they don’t have a level three? That sounds miserable.

Adam Reed: But that just supports the old formula.

How many motorcycles should I own? It’s N plus one. You know, the number I currently own plus one more.

Crew Chief Eric: Not only is it the use case, but I’ve also heard it said when you’re selecting a bike, you find a bike that sort of fits your personality. And I’ve asked people before, and I’ve had some suggestions, and actually a few people have landed on the same bike for me.

And they’re like, knowing you, you should really get an 87 Suzuki 250 Sport. Like that would be the perfect bike for you. And I’m like, where’d you come up with that?

Adam Reed: Very specific, but it’s so much more intimate on a motorcycle and sure. I love cars. I’ve driven everything you can imagine, 1100 horsepower McLaren 720, but I didn’t like it, even if I had the money, I wouldn’t buy that car.

It doesn’t fit me. It’s more apparent on a motorcycle because it’s just you in that one machine and two wheels. [00:34:00] You know, you are in the world as much as you can be, it’s a completely different experience. The talk of the soul of it, things like that, ethereal stuff, which factors in, but it’s like a relationship with a horse.

You control it as much as it controls you, you feel everything. And you experience the world in one big kind of rush of information. So if you’ve got the wrong bike, it could be dangerous? Question mark.

Mountain Man Dan: I don’t think there’s a question. I think it should be an exclamation mark. A lot of people come in to see about bikes and stuff and in their mind, they think it should go one way.

I’ve known guys try to go for the biggest engine bike possible starting out. I’m like, nah, trust me. You don’t want to start that way or even experienced riders. Cause I got multiple bikes in my stables. And the funny thing is sometimes I like hopping on one of my smallest bikes and go out there because it’s easy to throw around, drop it down, low going into turns compared to my bigger bikes that they can do it, but it’s not as fun to do.

And other than that, I’ve noticed with the bigger, heavier bikes, I chew up tires a lot more when I’m riding aggressively in the side roads here. Well, I like taking the small bike out for that sort of reason.

Adam Reed: Funny for [00:35:00] a motorcycle shop guy to keep going back to cars, but I had more cars and motorcycles to be honest.

My favorite car was Brian. You can attest to this because you had one also at an 85 Corolla SR 5 1. 6 carbureted rear wheel drive. And that thing had been owned by four different friends of mine and been run through 20 ditches. And man, I drove the hell out of that little car, deliver pizzas in it. Got a hundred miles per gallon while I did it.

If it would’ve just had a limited slip on it, man, it would’ve been a contender, but that was my favorite car.

Crew Chief Eric: Well, guys, at the top of the conversation, Dan mentioned the candlestick maker. And so where I’m going with this, Adam, you and I met at Petit Le Mans back in the fall, and I Motul booth to touch base with some folks that we’ve done some projects there with in the past.

And right in front of me was, wait, what? Candles! What are you guys doing selling candles? How does this work? Why? I think this is probably one of the most unique items I have ever seen.

Adam Reed: Thank you. It’s all Teresa. What was it, 20 14 Teresa just had the spark of genius. It was very simple. Why not a candle that smells like a dirt bike?

We all know that caster smell. We [00:36:00] all know that two stroke and some exhaust fumes smell. I’m a huge

Mountain Man Dan: two stroke fan from growing up, riding motocross two strokes. So I’m looking forward to smelling with the two stroke candles. I

Adam Reed: can’t give away the secret formula, but you know, she came up with a fragrance and wax combo that works with actual two stroke oil and smells like a dirt bike when it’s burning.

I didn’t know what to think of it when I first saw it.

Crew Chief Eric: And that’s the same thing my wife said when I brought it home. She’s like, what? What’s in this? I was like, motor oil. And then her first question was, well, is it used or is it new?

Adam Reed: No, it’s all, it’s all fresh.

Crew Chief Eric: Okay. And then the next question was, so when you burn it indoors, outdoors, how well ventilated should the room be?

That was her next question.

Adam Reed: I’m going to read to you from the back of the label just for legal purposes. It says, do not burn in drafty areas. Do not extinguish with a lid, uh, and do not burn indoors. So the science is still out in some regards. We’ll let the lab technicians handle that one.

Crew Chief Eric: So keep a carbon monoxide detector handy is what you’re saying, right?

Adam Reed: I’m not giving any disclaimers, [00:37:00] but, uh, We’ve burnt them inside for the last, you know, since 2014, and I think we’re all fairly normal.

Crew Chief Eric: If you look at the Flying Tiger website, where you can buy some of the accessories and clothing and other things that are on there, there’s more than just the Motul candles.

There’s the other ones that you guys designed. But how did Motul come into the picture?

Adam Reed: The literal story was, it was like the midst of COVID. I was doing nothing. And I found an email that was probably a year and a half old of Nolan Browning, the marketing manager, reaching out and saying, Hey, we saw your candle.

I own a few and we have to make one. Contact me ASAP. I hope he hears this. And cause I’m spilling the beans. I think I’d send some kind of reply. Like, yeah, I’ll talk to you later. And I never followed up with them and I found it, you know, like a year later. And I was like, Oh my God, you’ve sank the ship.

Email him now. You know, I did. I just reached out and said, Hey, you know, uh, wanted to follow up on this, whatever. And he got back to me. I mean, it was pretty awesome. He zoomed in and there was our candle sitting on his desk, you know, at Motul there in the laboratory. We’ve spawned a pretty good relationship so [00:38:00] far.

They’ve been really amazing to work with.

Crew Chief Eric: So you’ve got the 800 series oil that would be generally found in the two strokes. And then you’ve got the 300V, the upper echelon of their offerings, right? Which is a ester based oil, which has a very unique smell. If you ever smell 300V, it doesn’t smell like anything else.

Ryan Harrison: It’s the best smelling one.

Crew Chief Eric: It is, isn’t it? It’s almost, it’s very aromatic. That’s the word I like to use. Are there plans to offer other Motul variants or just these two?

Ryan Harrison: I voted transmission oil, but was downvoted quickly.

Crew Chief Eric: You don’t like that sickly sweet smell of 75 90?

Adam Reed: Yeah, man, give me some GL 4 and just cover the kitchen floor in it.

Crew Chief Eric: Make it smell like Redline CV2 or something? You gotta mix it up.

Adam Reed: Just something disgusting, please. I want it the grittier the better. Maybe with some metal shavings in it, you know, for that extra effect.

Crew Chief Eric: Depending on the shaving type, it’ll be like the funky flames you throw in a campfire.

Adam Reed: It’s not magnesium, people, we promise you.

It’s not raw magnesium.

Mountain Man Dan: Do

Adam Reed: you guys have

Mountain Man Dan: any favorite scents that you recommend?

Adam Reed: We get bored and we get inspired by things. And so we try to bring everything [00:39:00] back to bikes. And you know, the thing else we have is the two stroke we have, I can’t say the name of the oil that we use, but it is a snowmobile related oil.

We call it snow tiger. Motoman is, you know, kind of like a, it’s oil and conditioned leather. And then we have Motoman’s

Ryan Harrison: a really good one to give as a gift. If somebody’s not in this world.

Adam Reed: And that’s kind of where this product lies is like in that blurred space between, Oh yeah, you know, my so and so rides a motorcycle, but I don’t, and I don’t really understand, or I love it, but I don’t have a motorcycle.

You know, you see this a lot at racetracks. You know, it’s the reason people buy the t shirt when it comes to motorsports as a whole, they like that feeling of wonderment that they get from it, everything that’s going on around them, and they want to take a piece of that home with them. And, you know, an event t shirt is one thing, but this is something a little more interactive.

Crew Chief Eric: What I think is hilarious about this, it’s like an inception gag gift. Because if you give this to somebody that’s sort of on the fringe of being a petrolhead, like they’re a fan, but they’re not as deeply nerdy as the rest of us are. And they’re like, dude, you give me an oil [00:40:00] filter? And then you open it.

Looks like the oil filter off of like a GM quad four, because it’s about that same dimensions. And then you’re just like, Wait, what is this again? And then you start reading and you’re turning it around. And then it’s like, now you got to open it. Now you got to smell it. Right. So you’ve got them locked into this thing for like at least 15 minutes, just trying to figure out what the heck it is.

And I remember when I first saw it, we were there at petite and I was like, I kept like turning it over asking you guys questions. And I’m like, is this for real? Like, this is super cool.

Ryan Harrison: And you need a tool to open it. So then you get that hook started too.

Adam Reed: You’ve got to bend your mind around it. And if you look at on some of our marketing videos, when this came up, there’s actually a spot where I threaded it onto the oil filter bung of a Triumph Tiger, I believe.

If you can see it in a shot and it’s threaded onto the oil filter, I was like,

Crew Chief Eric: do you guys have any other zany gift ideas related to the motorcycle world or any other swag that people might be interested in?

Adam Reed: I mean, we’re always coming up with something and Teresa’s back in her little laboratory. That’s like her, you know, when she’s done dealing with paperwork for the day and where’s my bike [00:41:00] conversations.

In a busy bike shop, she’s like, I have to go make some candles. She comes up with something brilliant. You know, she’ll call me and say, Hey, I’ve got this idea, you know, making a label or help me come up with a name and build some marketing around it. Currently we offer soap. We’re trying to get Motul sold on some soap, but we do a couple of different soaps, we do cologne and then the candles.

They’re all kind of centered around motorsports or motorcycling.

Mountain Man Dan: Is it possible to drop a hint for a scent to be created? Because some cam 2 race fuel would be phenomenal.

Crew Chief Eric: Oh, that would sell like crazy.

Ryan Harrison: We talked about fuel once. We just weren’t sure which fuel, but thanks for doing the research for us.

Crew Chief Eric: I mean, you’re not going to go to Yankee Candle and buy this kind of stuff.

You know what I’m saying? This is legit. This is hardcore. So what are these candles cost? If somebody does want to pick one up?

Ryan Harrison: Currently they are at 40.

Crew Chief Eric: That’s

Ryan Harrison: a bargain. Especially if you’re significant other shops at Yankee Candle.

Adam Reed: Correct.

Crew Chief Eric: And if you know how much a liter of 300 V costs, it’s a good deal.

Adam Reed: Luckily we’ve worked that out with MoTool, but it is made with actual 300 V.

Crew Chief Eric: And Dan, [00:42:00] I’ll see your cam too, and raise you some Castrol SRF. I think that’s another one that needs to be in there. A little bit of brake fluid. You have to have all the lubricants. And all the fluids as candles, right? You got to collect the whole set.

Adam Reed: I want to get like, Castro’s Super Library on a can. You know, how do I do that?

Crew Chief Eric: Part of what makes these candles even more interesting, if you don’t open them, or if you just open them, give them a whiff, and then close it back up, the cans are very attractive. It’s a talking point, because the next guy that comes along And because what’s that on your desk and here we go again, it perpetuates conversation, which in our world, right?

Motorcycles are cars. We’re always looking for that, you know, raise your hand. If you’ve ever gone to a party, knowing you wore that race t shirt because you’re hoping somebody else would go, Oh yeah, I was there. I saw it on TV. Let’s talk about it.

Adam Reed: Yeah. I get emails all the time of people saying. I don’t even light them.

I just put them on the desk or, you know, when they’re done, I use the can in my shop to store stuff in. It’s a useful little thing, either as a conversation starter or as a utility afterwards. So we’re quite proud of [00:43:00] it.

Ryan Harrison: Anybody listening that has one, if you could please light them, we’re getting ready to make more batches.

So we got to keep that money machine going.

Adam Reed: Yes. Please burn

Ryan Harrison: your candles.

Crew Chief Eric: Tell Teresa we need the Glade plug in version. That’ll really keep it going, you know?

Mountain Man Dan: He’s writing

it down! He’s writing it down! Hahaha!

Mountain Man Dan: Are there any big projects coming up for Flying Tiger, or like, any new services and items you guys would like to share with us?

Adam Reed: I was actually just on the phone with Teresa earlier today, and we were talking about builds and what’s coming up in the future and what we’re focusing on. I haven’t seen what’s on the table for restorations this year, but you never know. Something cool might pop up. Tons of ideas that we have. You asked earlier, like, anything else with Motool, you know, we’ll wait and see.

We’ve had some cool discussions about some future stuff. I don’t want to promise anything, but we’re still talking.

Ryan Harrison: We just got a reply to their emails before a year.

Adam Reed: You know, actually it worked out last time, so maybe I’ll just wait like two more. Sorry, Nolan.

Mountain Man Dan: Sorry. Well, you mentioned Petit Le Mans and Sturgis.

Do you guys have any big events you guys [00:44:00] plan to attend? We’re definitely going to Le Mans

Adam Reed: next year, either as guests or spectators. Nolan’s last words were, see you next year. So Nolan, it’s on the record now. You have to take us.

Ryan Harrison: I’d say something’s probably going to show up at Cycle Showcase, which is a local show here in St.

Louis, which is a really big custom bike show. It’s been going on for a while. You gotta have finished bikes to go places. And then most of those shows you gotta apply to and then wait and hear. And then you gotta have a budget sometimes to take them to Texas or Portland or where, you know, just, it all takes money and time.

Really just depends on who wants to go and who’s paying for it.

Adam Reed: We want to keep exploring this relationship that we’ve built with Motul and see if there’s more products in the pipeline that we can crank out from. I know we filled a fairly large order for them for Christmas.

Crew Chief Eric: Well, guys, with that, as we wrap up the episode here, any shout outs, promotions, or anything else you’d like to share that we haven’t covered thus far.

Adam Reed: Are you guys familiar with that flat track, um,

Mountain Man Dan: with the Royal Enfield series that’s going on? Every year for 4th of July, [00:45:00] there’s the annual Barbara Pritchie classic flat track race. I want to say it was up to the 102nd, 103rd year of it running recently.

Adam Reed: Royal Enfield has their build, train, race program, which is pretty interesting.

Ryan Harrison: That one’s really cool. Shout out to Brianne Poland at Royal Enfield, putting that together. She’s done some really cool things there and made a lot of cool stuff happen for a lot of people trying to race Royal Enfields and also just trying to get more women into the sport. Any motor sports is going to be extremely male dominated.

Brian, if you ever hear this, you should come on here and talk about all the cool stuff you do that I have no idea how to make it sound cooler.

Mountain Man Dan: More than just a repair shop, Flying Tiger’s passion for the two wheel life has led them down some interesting roads. It has inspired them to think outside of the box and create unique items and services that you may have never considered before.

To learn more about Flying Tiger Motorcycles, be sure to visit them online at flyingtigermotorcycles. com or follow them on social media at flyingtigermoto on Instagram.

Crew Chief Eric: [00:46:00] Adam and Ryan, I can’t thank you guys enough for coming on Break Fix and sharing the Flying Tiger story with us. I love the vibe that you guys have.

I love that you’re in it, you’re involved, you’re perpetuating the classic motorcycle world, getting people interested in that, and I think it’s really exciting all the other things you’re doing. And as Dan was saying, thinking outside the box. We need more of that, even on the car side of the house. So I applaud what you guys are doing and I look forward to getting another flying tiger candle in my stocking.

Adam Reed: so much for your time guys. I really appreciate it. It’s awesome to be here.

Crew Chief Eric: We hope you enjoyed another awesome episode of break fix podcasts brought to you by grand Torrey 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 [00:47:00] 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.

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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 Meet Adam and Ryan from Flying Tiger Motorcycles
  • 01:23 The Origin Story of Flying Tiger Motorcycles
  • 03:05 Adam and Ryan’s Journey to Flying Tiger
  • 09:32 Motorcycle Racing and Personal Stories
  • 13:19 Custom Builds and Services at Flying Tiger
  • 16:10 Motorcycle Auctions and Market Trends
  • 21:19 Collector Bikes and Motorcycle Culture
  • 24:32 The Honda Whisperer and Triumph Troubles
  • 25:20 Embracing Electric Bikes
  • 27:25 The Buy vs. Build Debate
  • 30:15 Choosing the Right Bike
  • 35:23 The Unique World of Motul Candles
  • 43:19 Flying Tiger’s Future and Events
  • 45:37 Closing Remarks and Thank Yous

Bonus Content

BEHOLD! The patron saints of the missing 10mm socket!

Not just the candles you heard about on the episode… Flying Tiger Motorcycles is developing all sorts of new petrol-head inspired gifts and schwag, like these tributes to the patron saints of the 10mm socket! Learn more on their website

Photo courtesy Flying Tiger Motorcycles

Learn More

More than just a repair shop… Flying Tiger’s passion for the two wheel life has led them down some interesting roads. It has inspired them to think outside of the box and create unique items and services that you may have never considered before.

To learn more about Flying Tiger Motorcycles, be sure to visit them online at www.flyingtigermotorcycles.com or follow them on social @flyingtigermoto on Instagram

From MotoGP legends like Valentino Rossi to endurance racing at Petit Le Mans, motorsports are woven into Flying Tiger’s DNA. Adam and Ryan shared their admiration for Rossi’s transition from two wheels to four, comparing him to Michael Schumacher and Fernando Alonso in terms of legacy and versatility. For them, racing isn’t just about speed – it’s about camaraderie, struggle, and the visceral thrill of the track.

Flying Tiger’s bread and butter is vintage repair, but their custom builds have earned national attention. From hand-built showpieces to Cycle Showcase winners, the shop’s creative output is matched only by its technical expertise. They’ve even ventured into auctions, selling bikes for clients like Guns N’ Roses guitarist Richard Fortus via Bring a Trailer. Whether it’s a 1914 Triumph or a modern scooter, Flying Tiger treats every machine like a masterpiece.

While the collector car market has gone wild, the motorcycle world is more nuanced. Bikes like the CBR600 F3 are gaining traction, but prices remain modest compared to their four-wheeled counterparts. Seasonal trends affect sales, and platforms like IconicMotorbikes.com are spotlighting pristine 80s and 90s sport bikes. Still, as Adam and Ryan note, motorcycles are like shoes – —riders cycle through them, savoring each for its unique feel and personality.

Photo courtesy Flying Tiger Motorcycles

At Flying Tiger, every bike tells a story. Whether it’s a terrifying Yamaha XS1100 or a hybrid CB650/550 that revs like a dream, the team embraces the quirks and character of each machine. As Ryan puts it, “Motorcycles are non-monogamous. Every rider has a history of bikes that led them to the next one.” It’s this open-hearted approach that makes Flying Tiger more than a shop – it’s a community.

Photo courtesy Flying Tiger Motorcycles

Flying Tiger Motorcycles proves that passion, grit, and a little bit of drive-thru sushi inspiration can go a long way. From vintage restorations to custom builds and auction block stunners, they’re keeping the spirit of two-wheeled adventure alive – one bike at a time.


Guest Co-Host: Daniel Stauffer

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Motoring Podcast Network

Podcasting the Grid: How Women in Motorsports Are Rewriting the Narrative

In a compelling presentation from the History of Motorsports series, Mike Stocz – Assistant Director of Kinesiology and Senior Lecturer in Sport Management at the University of New Hampshire – dives into the evolving role of podcasts in shaping the public perception of women in motorsports. His research, sparked by a previous symposium on Title IX and gender equity, explores how podcasting has become a grassroots archival tool and a platform for empowerment.

Historically, media portrayals of women in motorsports have leaned heavily on over-sexualized imagery, often sidelining the technical prowess and strategic finesse of female competitors. Stokes’ research challenges this narrative by analyzing podcast titles and episode descriptions that center women in racing—not as novelties, but as professionals, engineers, and leaders.

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Using archival theory as a framework, Stokes examines how podcasts function as modern repositories of motorsports culture. He highlights the concept of “appraisal”—how certain stories are preserved while others fade—and suggests that long-running, content-rich podcasts may be shaping a new canon of motorsports history from the bottom up.

Spotlight

Mike Stocz is the assistant director for the department of kinesiology, and a senior lecturer of sport management & eadership, at the University of New Hampshire. He is one of the founding members and editor in chief of the Journal of Motorsport Culture & History. Mike’s recent works have included a co-authored book chapter about the future of Formula 1, as well as works surrounding big game hunting legislation on land preserves, an economic funding model for college athletics, and critiques on K-12 coaching certifications surrounding sexual assault.

Synopsis

This episode of The Logbook, our History of Motorsports series, presents a comprehensive examination of motorsport podcasts focused on women, led by Mike Stocz from the University of New Hampshire. The discussion delves into the thematic analysis of podcast descriptions, covering the representation of women in motorsports, and how these podcasts help foster participation and knowledge. Stocz explains the methodologies used to collect and analyze data, including an inductive thematic analysis of podcast descriptions. Key themes identified include career advancement, equity in motorsports, and technical aspects of the sport. The importance of creating inclusive spaces and the potential future direction of research, such as the success of these podcasts in engaging women, are also discussed. Additionally, the video touches on the role of podcasts in educating diverse groups and their potential impact on the motorsport community.

Follow along using the video version of the Slide Deck from this Presentation

Transcript

[00:00:00] Breakfix’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.

An overview of motorsports podcasts focused on women by Mike Stokes. Modern technologies have expanded our ability to share a wide variety of interests. Motorsport, primarily focused on women in motorsport, has found social media as a medium to help grow actual participation numbers. Expanding on this theory, while also taking into consideration a later discussion on modern archival methods, this presentation will overview how podcasts surrounding women in motorsports are self presenting to the public at large.

In particular, the thematic analysis of women’s motorsport show descriptions and episode descriptions will be explored, with themes and expanded research discussed. Mike Stokes is the Assistant Director for the Department of Kinesiology and Senior [00:01:00] Lecturer of Sport Management and Leadership at the University of New Hampshire.

He is one of the founding members and Editor in Chief of the Journal of Motorsport Culture and History. Mike’s recent works have included a co authored book chapter about the future of Formula One, as well as work surrounding big game hunting legislation on land preserves, an economic funding model for college athletics, and critiques on K 12 coaching certifications surrounding sexual assault.

Mike will be talking about an overview of motorsport podcasts. Focused on women. Mike is one of our more important people with the Oregon Singer. He’s also the Journal of Motorsports History. He’s the, uh, publisher, editor, chief cook and bottle washer. Take it away, Mike. Good morning, everybody. Again, my name is Mike Stotes.

I’m from the University of New Hampshire. Today’s talk comes by way of a talk that really started last year by my colleague, Dan Simone, when Dan came up with a [00:02:00] couple of other presenters and started to talk about Title IX women in motor sports. And one of the things that really stuck with me through last year’s symposium and afterwards was, how do we make sure that women find or have space carved out for them within motor sports communities?

And me being one of these sneaky millennials thought, well, we already probably have a spot for that. Heading back home. I was listening to one of these weird, freaky podcast things, and I thought, you know, there might be something to this. So the idea for this piece of original research kind of spurred from last year’s conference.

So some previous studies in motorsport that surround women suggest that in a lot of ways, coming back to Danica Patrick, as mentioned earlier by Mark Howe, a lot of media representations of women in motorsport. Are very over [00:03:00] sexualized, rarely, at least in popular media, do they go into the finesse, the skills and capabilities there in in terms of podcasts themselves.

Podcasts are heard. Worldwide can, in most situations, be downloaded and heard almost free of charge for many different providers. Some, there will be some sort of a fee associated with them. Some have advertisements for them. Really, it’s a new phenomenon that occurred just after the turn of the millennium.

For the study itself, what I decided to look into was podcast titles, not necessarily individual podcasts themselves, but podcast titles that circled around, namely, women in motorsport. So we’ll get to why that’s a little bit of a problem later on. But being an academic and how we [00:04:00] got here, some of the background literature surrounding podcasts, podcasts have been used in a couple of different ways.

In particular, sport is one of the most popular venues for podcasts to be housed within sport podcasts. Some of the previous literature suggests that sport podcasts can be used as a way to bring Folks from diverse, and in many instances, repressed groups, socially, economically, or otherwise. Other podcast literature suggests that podcasts today, when we think of K 12 and even higher education, are being used as ways to help students learn.

For example, one of my colleagues has a podcast dedicated solely to adapted physical education, so think Paralympics, Paralympic Games, in which he uses [00:05:00] to re emphasize Key points from different lectures, classes, et cetera. And it has helped out tremendously with retention for his students. Lastly, within sport podcasts in particular, listeners self identify themselves as A, listening to podcasts to try and increase their overall knowledge for a particular sport podcast subset, but B, also self identify as being higher than your average intellect for a sport fan in that.

So, meaning, if somebody were listening to, let’s say, a basketball podcast, they would identify themselves as somebody who may know the NBA better than an average fan. To tie this in somewhat with the ideas I got from Dan’s roundtable last year, I decided to go with a theory called archival theory, which archival theory is essentially how librarians in particular Choose which artifacts, be that books, [00:06:00] collections, photography, video, digital media as well.

What is represented in their library coffers? What are they spending money on to keep these things around and available for public consumption? One of the main critiques of archival theory is something that we’ll talk about a little bit at the end, too. This idea called appraisal, and how we evaluate one piece of memorabilia or artifact versus another.

And why we may keep one versus the other. Sternfeld, in particular, decided to expand on archival theory beyond your brick and mortar libraries and suggested that, hey, this wacky internet thing may actually be a good place to expand archival theory and start to look at more of a bottom up approach of what fans are wanting to listen to or find on the internet.

Last off, the women in motorsports literature. Without beating a dead horse [00:07:00] too much, very over sexualized representations of female athletes tended to occur up until and still today, but in particular it was a focal point of the 2010s in literature. Before we go into what all of these weird looking phrases are, I want to describe how we got the sample and kind of what that looks like for this study.

The sample consisted of podcasts that falls under one general category that focuses solely on women in motorsport. What that means is A really, there weren’t that many podcasts found from a general search of women in motorsport via Google in particular, seeing as how it is still the most popular search engine in the world and coming from a perspective of not being an intensely listening podcast [00:08:00] consumer.

Meaning that they may be fairweather and just seeing what’s out there. Sure, we could have went through and used these same search terms through Google Podcasts, Spotify, and others. The way we wanted to attack this was from how a general consumer may try and find this information. So, some of the things that are left out.

Danica Patrick’s podcast, that may or may not be conspiracy theory laden, was left out because the focal point wasn’t. necessarily on motorsport. Further, there are a number of different overarching podcast titles that may have a bunch of little subtitles underneath them. So for example, one of them in our data set.

Women in motorsport hosted a variety of different shows that focused on women in motorsport, but from different angles. Similarly, there are other podcast titles that may have special once a month [00:09:00] episodes that focus on women in motorsports. Those were not included in this, mostly because the main focal point, again, wasn’t expressed in the title.

And it could be a secondary type of interest for the host and podcasters getting to what’s on the slide what we did and what we found was using a general search term, women in motorsport, we were able to find at first it was only five. Then it became eight, then it became 12, but at first a whopping five podcasts that fit a very general Google search criteria of the eventually 12 that we would find.

We just stuck with the original five copied all of the descriptions. from each of the episodes, as well as the title, descriptions, et cetera, the show descriptions, et cetera, put them in a word document and did something called an inductive thematic analysis. So [00:10:00] essentially what that is, after transcribing all of these things, we went through line by line and inductively reasoned that this line is suggesting X or Y.

Afterwards, we went back through the entire data set one more time, went line by line through each of these combined related terms. And, we came up with general overarching themes and some sub themes therein. Alongside of that data collection, we collected how many episodes were under each title, which as you can see, vary greatly, from 8 all the way up to 197.

From a Wendy’s Were Published perspective, Women in motorsport was the longest tenured going back to 2016. All of our data collection ended roughly September of this year. Average run times. We also kept those as well. Some [00:11:00] discussions that had with others about. Podcasts and how long a podcast should be range anywhere from five minutes for just quick bits, quick news bits, things of this sort all the way up to two hours if it’s an in depth conversation here, we found that the average hovered just below 40 minutes per podcast.

Obviously, there were some outliers, some of which included trailers, such as a 30 minute snippet of, Hey, tune in when we’re going to talk with such and such. Some of the results, on the left side of each of the following slides, are the themes that we generated, myself and a student that helped me out with this, named Caleb McChesney.

We went through all of the data sets and By ourselves. Came up with these themes. Agreeing, disagreeing at parts. On the far side to me, you’ll see a bunch of these word bubbles. These word bubbles were put together by a [00:12:00] software called Lexamancer. Nowadays we think of a software such as Chatbot GPT that’s been all over the news.

Think of LexaMancer as sort of a dumbed down version of Chatbot GPT. Its main function is to find connections between different words. And the way that we use that, at least in qualitative research, is to help certify that what we’re seeing is generally correct. From each of these, some of the data points were not sufficient.

I will say that to be really verified VOX and answer, we could talk about that when we get there. We broke these down into different subsects being. The title and title descriptions and each of the individual podcast title and episode descriptions. This slide is the overall results of when we put all of the codes together [00:13:00] across all of the titles, etc.

So the major themes included on track elements. So here we’re discussing racing. We’re talking about rules. We’re talking about results. We’re talking about ingenuity, talking with racers, things of this sort. Career advancement was a very interesting one in that it happened in two different ways. You had racers and administrators within motorsport.

We’re talking about how they advanced to whatever position that. They eventually were in, be it chief engineer, CFO, CEO, things of this sort. And then some of it was career advice and almost like a networking opportunity. Next we had equity in motorsport. So this theme itself was more positive than it may come out on the slide.

In that, sure, there were minor sub themes that suggested that equity in motorsport. Might [00:14:00] actually be still a toxic environment, but overall equity and motorsport was talking more so about developmental opportunities in particular for women. Then we have show elements, which this one goes more into the nitty gritty of podcasts.

So these would be things such as advertisements for an upcoming show talking about who they would be interviewing. A lot of times we would see. The hosts mentioned things that they were doing. So, for example, one of the major sub themes from a couple of different shows was the hosts would talk about, in particular, F1.

They would talk about their experiences in going to Formula One race at Silverstone. Miami and others. Some minor things that we found in particular to the Women in Motorsport podcast were life away from the track. So what were folks doing behind the scenes, which ties in a lot with other more social [00:15:00] media based sport research.

A lot of early social media research suggested that people were getting involved at the time, mainly Facebook and Twitter. It’s expanded now obviously to TikTok and others in that folks were getting on these platforms and following sports personalities because they had the chance of interacting with them and seeing what they were like without the helmet on.

When they weren’t in a car and then the last one life advice and struggles the one podcast women in motorsport Went on during the pandemic in which a substantial amount of that data set was geared towards Getting folks through the pandemic. Sorry if that brings up bad memories From just the grandiose podcast titles and podcast descriptions, the major themes that emerged from that were inspiration.

A lot of times in this theme that they would talk about why racers. Particularly women would get involved. Why the hosts [00:16:00] themselves wanted to get involved in this podcast elements, which we went over before social media, which was more so to help bolster other handles and such, such as Twitter handles, follow us on particular blogs or if they had a different host site and sustainability sustainability here, meaning green initiatives, things like formula E.

So again, those were just the titles and now going into the specifics per podcast itself. So the themes that we saw in particular for the Females in Motorsport podcast were show elements, obviously talking about what would happen within this podcast. elements. A lot of times data from this portion would talk about things such as the politics of racing.

So going behind the scenes of why certain opportunities were given versus not. And then career advancement, which we mentioned previously. Some of the on track [00:17:00] elements were, if we look at the bubble slash Lexamancer part, we’re tied in with STEM initiatives. Some STEM initiatives obviously tied in with sim racing, For girls on the grid again, we had show elements again, what’s coming up, who’s coming up, things of this sort.

One of the most interesting elements from this data set included. Some of the career development aspects, including talking with and putting forward almost more so than others, administrators within motorsport who were women, including discussions with Sabre Cook, mechanical engineer and racer in the W Series or former W Series.

Renee Winterbottom, who was a data engineer and Rami Mayer. As an engineer for triple a racing. So this podcast in particular almost went out of its way to find women [00:18:00] in these spheres, almost as a way to try and inspire the next generation and show that women can be involved in motorsport as well. Girls across the grid.

This one in particular podcast had the least amount of episodes available and published and was a little bit more. relaxed and conversational in tone. So some of the elements that we would see in particular for the show would be discussions about weekend activities. We’ll put it that way. We also saw a little bit here of off track performances and off track activities Circulating around which Formula One racer was dating whom and such.

Not really many interviews with that one. Then we had F1R for the girls. This one had many of the same elements that [00:19:00] we saw in the beginning. But one of the bigger things that we did see from this one Was equity within motorsports and here we saw more of the negative themes of equity IE inequity start to pop up more We don’t have the opportunity to advance in some of these Positions most of the formula one or similar drivers academies are not accepting women for X Y Z reasons Things of this sort.

Then the biggest data set was the Women’s Motorsport Network, which again had a variety of different shows here. The podcaster themselves would talk with a number of very interesting individuals that were almost motorsport adjacent and more car enthusiast adjacent. For example, a jeweler who would take cars from her husband’s garage that were completely totaled and [00:20:00] Would make jewelry out of the wreckage and try to paint it from factory original colors as well.

So there was a lot of ingenuity there. We also saw in particular from this data set, more girls, i. e. Under 18 age 18 year olds getting involved not only as drivers But also in administrative roles such as doing things like play by play color commentary Calling the race in one instance an engineer So in this data set we saw a lot of very unique things life advice and struggles We went over a little bit in the beginning so I won’t hammer that one Okay, so we got all this data, so what does this suggest?

At the start of this project, to be very blunt, I thought that most of the podcast would turn out extremely negative. But overall, the vibe, if you will, was extremely positive, [00:21:00] minus a few instances. Within archival theory, just being an academic for a second, We can see how in certain podcasts, in particular the ones that had the most episodes and were running the longest, we can almost see appraisal working in action.

Appraisal here meaning how we evaluate one artifact versus another. How we evaluate one podcast versus another. The longevity very much suggests that they will still be around and that there is a fair amount of interest from listeners. A little bit of a deviation from previous sport literature that involves women.

Our data suggested that there was a lot more talk around the technical aspects of the sport. Some of the other technical aspects not already overviewed. We talked about engineering a fair amount, but different race aspects too, and development. Things that we haven’t necessarily seen in other sport related literature.

And that there needs to be some sort [00:22:00] of a push for greater access. We did see that in particular with STEM. Again, a little bit of a negative connotation, but it was usually coupled with some sort of positive aspect. Implications and future research. One of, again, the biggest limitations for this study was that we weren’t able to capture every little bit.

of women and motorsport related podcasts, be it individual episodes or even show titles. This limitation is more systemic and goes back to podcasts themselves. Within podcasts, you cannot necessarily put in what we call search engine optimization terms. In other words, how Google finds Certain websites and other elements.

Those have not been fully integrated into podcasts as of yet. Now, the podcasts that we did find that didn’t directly match the search term usually had a separate web [00:23:00] page that worked as a housing unit that linked you to Here’s where our podcasts are available on Spotify, Google Podcasts and others. In future research and in continuing with this, obviously getting those little remnants and finding out what’s going on in more of your one off type episodes as well as the A little bit harder to find podcasts would absolutely be necessary.

And one other consideration that we could have is interviewing or doing some sort of survey with podcast hosts or if available, their audiences to find out from a uses and gratifications lens why they find equity in listening to these podcasts and such. With that, we’ll open it up for questions. Thanks for your attention.

Thank you, Mike. Thank you, Mike. I feel somewhat qualified to ask this question. Please. You obviously focused on podcasts that entirely focus on, you know, women in motorsports. [00:24:00] Do you think that perhaps if we are looking at where women have come, that maybe it’s time to shift towards It’s a focus on women as drivers, women as mechanics, not just for the sake of women as women.

Yes, I totally 100 percent agree with you that we need to be focusing on the content of the competitor as opposed to their gender or sex. Absolutely. 100%. And I think a lot of the literature that came out at the end of the 2010s suggested as such across all sporting types, not just motorsport. One of the, you know, reasons Janet Guthrie, you know, Denise McCogge were so successful is they viewed themselves as drivers first.

But I would say, you know, obviously very interesting research. I’d love to see not just the cause, but also the effect looked into. So who are these podcasts reaching? Who is actually watching these podcasts? Is it younger women, women from their 30s to their 50s? What is the actual quantifiable success of these podcasts in getting women [00:25:00] actually involved in motorsport and not just sort of.

Qualitative research is more exploratory, if you will, right? So we’re trying to break some ground in some area that hasn’t really been looked at because we don’t know what’s going to happen. For the, who watches, or listens, watches if it’s video one, definitely one of the future research areas could be surveying audiences for these major podcast titles for women in sport.

That’s where you would get the, how do you identify, age bracket. All of those like census questions that we all love taking so much, right? That would be one way that we could look into it. In terms of involvement and actionable items to get more women involved in sport, that one definitely goes way beyond podcasts.

I will definitely say that, but I will say that podcasts probably will play at least a minor role in getting more women involved moving forward. in particular with the popularity of podcasts for your Two to 17 year old [00:26:00] audiences. All right. Thanks again, everybody for your time.

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. 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 [00:27:00] 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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Stocz and his research assistant Caleb McChesney conducted an inductive thematic analysis of five core podcasts focused on women in motorsports. Their findings revealed several recurring themes:

  • On-Track Elements: Racing strategy, results, and technical ingenuity.
  • Career Advancement: Stories of women rising through the ranks as engineers, executives, and commentators.
  • Equity in Motorsport: Both the challenges and progress toward inclusivity.
  • Show Elements: Behind-the-scenes insights, host experiences at races, and promotional content.
  • Life Advice & Struggles: Especially prominent during the pandemic, offering support and solidarity.
  • Sustainability & STEM: Coverage of Formula E and sim racing as gateways for young women.

Each podcast brought its own flavor to the conversation:

  • Females in Motorsport: Balanced coverage of racing politics and career development.
  • Girls on the Grid: A relaxed tone with a focus on administrators and engineers like Sabre Cook and Rami Mayer.
  • Girls Across the Grid: Lighthearted and social, with less emphasis on technical interviews.
  • F1R for the Girls: Tackled inequity head-on, critiquing barriers in driver academies.
  • Women’s Motorsport Network: A diverse showcase of motorsport-adjacent roles, from jewelry makers to teenage commentators.

Contrary to initial expectations, the overall tone of these podcasts was overwhelmingly positive. They offered nuanced portrayals of women in motorsports, emphasizing technical skill and leadership. Stokes argues that podcasts are not just entertainment – they’re tools for education, inspiration, and cultural preservation.

He calls for future research into audience demographics and engagement metrics to better understand the impact of these shows. Who’s listening? Are these podcasts inspiring real-world participation? These questions remain open but vital.

As motorsports continues to evolve, podcasts are carving out space for voices that have long been underrepresented. Whether you’re a fan, a researcher, or a future racer, these shows offer more than commentary – they offer community, mentorship, and a roadmap for change.

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.


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From NYC Streets to Carolina Circuits: AJ Campo’s Audi-Fueled Ascent

What happens when a New York native trades the hustle of city life for the winding roads of North Carolina? For Amanda “AJ” Campo, it sparked a motorsports metamorphosis—one that transformed her daily driver into a track-ready beast and her casual interest into a competitive passion.

Photo courtesy AJ Campo

AJ’s motorsports roots run deep. Growing up in Patchogue, Long Island, she spent her childhood in her father’s VW-Porsche-Audi shop, AVP Technology. “We’d sit cross-legged on the lifts, begging Grandpa to raise us up and down,” she recalls. But while her dad and brother raced, AJ never saw driving as a tangible goal – until she left New York behind.

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“I felt so confined,” she says. “Always working two or three jobs, treading water. I wanted to invest in myself, not just keep up with the Joneses.” That desire led her south, where she found not just space to breathe – but a community that would change everything.

Photo courtesy AJ Campo

AJ’s Audi S3 wasn’t always a track weapon. Originally chosen for its safety and all-wheel-drive practicality, the car’s transformation began with mountain runs alongside Audi Club Carolinas members. “I realized I could tweak a few things and really enjoy the car,” she says. “Then it snowballed.”

Dynamic Auto Tune in Charlotte partnered with Unitronic to outfit her S3 with a full suite of bolt-ons. Suspension upgrades, harnesses, and eventually a cage from Studio RSR followed. “I didn’t plan to build a beast,” AJ laughs. “But the car kept up with R8s and TTRSs – and I wanted more.”

Spotlight

Synopsis

This Break/Fix episode highlights AJ Campo’s journey from New York City to the winding roads of North Carolina, where she discovered her passion for motorsports. Originally from a family involved in racing and automotive mechanics, her interest blossomed after attending a local cars and coffee event. AJ discusses her career transition, moving from city life to focusing on what makes her happy, and diving deeply into the motorsport world. She elaborates on her love for her Audi S3 Quattro, known as ‘the beast’, and how it has evolved for track performance. AJ shares her experiences with time trials, pointing out the importance of both mountain runs and track days, and the challenges and rewards each brings. Now, as President of the Audi Club of the Carolinas, she’s dedicated to expanding the community and encouraging a diverse and inclusive motorsports environment, while also aspiring to be a track instructor and make an impactful difference in the racing community.

  • Let’s talk about The who/what/where/when/how of YOU  – Did you come from a Racing or Motorsports Family?
  • Let’s talk about your Audi S3 aka “The Beast” – Talk us through your Build – Street Car, Race Car or somewhere in between? Power Figures, Mods, etc. 
  • HPDE vs Mountain Runs (Smoky Mountain Drives)- which do you prefer and why? How do you setup your car for both types of events?
  • You also moved on to SCCA time trials, how does the Audi fair versus the competition – what class are you in?
  • You’re a member of the Audi Club (Carolina’s Region); there’s tons of Audi owners out there, but not everyone is a Club Member; as an ambassador for the Club – why should someone join?
  • What is “car girl culture” ?

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 petrolheads 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: Our guest is a force to be reckoned with hailing from the bustling streets of New York City, but finding her true home on the winding roads of North Carolina. Little did she know that fate had something extraordinary in store for her at a local cars and coffee event. Amanda. Better known to her friends as AJ Campo crossed paths with a fellow enthusiasts and leaders at the Audi Club of the Carolinas.

And that chance encounter ignited a friendship that would change the trajectory of her motorsports journey. And she’s here with us on Brake Fix to [00:01:00] share her story. With you. And with that, welcome to the show, AJ.

AJ Campo: Thank you very much. Happy to be here.

Crew Chief Eric: Well, like all good break fix stories, there’s a super heroine origin story.

So tell us about the who, what, when, and where of you and your racing career and your motor sports background. Did you come from a racing family?

AJ Campo: I somewhat did. Yeah. I grew up watching my dad and my brother race, just hanging out in the paddock and always wishing it was me, but never really thought of it as like a tangible thing that could happen.

But no, nothing really turned into anything fruitful until I left New York, moved to North Carolina and started pursuing whatever I thought would make me happy. And I ended up behind the wheel.

Crew Chief Eric: The move from New York to the Carolinas. Was that because you just couldn’t really open the taps in New York city or was there some other draw to move south?

AJ Campo: I felt so restrained and confined in New York in my mid to late twenties, I wanted to invest. I wanted to buy a house. Everything [00:02:00] was so difficult financially. It was the hustle was insane. It was always work, hardly any fun. And I just, I wanted to be somewhere that was removed from all of that constant fast paced stress.

So that way I could focus more on really what made me happy, not just keeping up with the Joneses.

Crew Chief Eric: Racing in New England is kind of interesting because you do have some famous tracks. Let’s call that nearby if we discount traffic disasters. You’ve got places like Lime Rock and you’ve got places like NJMP, even within reach Watkins Glen and Pit Race and Summit Point and places like that.

So there was no shortage of opportunity to go racing though.

AJ Campo: There was a shortage of time. Really? That was it. It was just like always working two, three jobs, always treading water.

Crew Chief Eric: As you moved to the Carolinas, obviously your motor sports background suddenly began to blossom as you made friends within the Audi club and so on.

And I want to talk more about your Audi S3 Quattro, also known to many people as the beast. But I also want to recognize the fact that you [00:03:00] come by the VAG family of vehicles. Honestly, I heard rumor your dad owned a VW Porsche shop.

AJ Campo: He did. Yeah. Up in New York when I was growing up, it was actually called AVP technology.

Yeah. Audi, Volkswagen, Porsche in uh, Patchogue, New York. Mom and pop shop, just the one. Pretty big, I have to say, but I grew up in there with my sister. I remember basically throwing tantrums and making my grandpa lift us on the lifts over and over again, up and down, sitting Indian style, trying not to fall off.

You can’t do that these days. Somebody would get arrested, I guess, but you know. So yeah, we, we grew up in the shop surrounded by them.

Crew Chief Eric: So I can make the assumption that you recognize that Audi started well before the B4 S4 came to market. So growing up around a VW Porsche shop, was there a car that got you excited?

Something that, you know, was like, I got to hang a poster of that on my wall. That’s the car I want to buy or something that got you excited about motorsport?

AJ Campo: No, not really. Every sports car was just, yes. I wanted it all.

Crew Chief Eric: How did you settle on the S3? [00:04:00]

AJ Campo: As a early twenties girl on long Island, New York, my father wouldn’t let me get behind the wheel of anything other than an Audi.

It was safer. It had all wheel drives. There’s snow all the time, et cetera, et cetera. And then when I kind of got into my industry at work and wanted to buy something nice, new and fancy for myself, I went for the S3 cause it was sporty, but it was still affordable. And it had everything that I was already accustomed to.

And actually, funny story, I was driving a Sonata before that. Got into my only accident ever, knock on wood, really stupid, pulled out of a parking spot and hit a guardrail that I didn’t realize was right next to me. So I had a loaner for a couple of weeks and it was this adorable convertible A3 and it was red and it had the vents.

If anybody knows the A3s, S3s, they have like these. And like, you can turn them any direction that you want. Like I’m a little bit of a snob about comfort and convenience and the vents sold me on that platform because it was like the heat of the summer. I was going to work. I was in like suits and everything and it could get [00:05:00] cool and total control over the air.

Crew Chief Eric: It’s funny you bring that up because Audi purists would say, well, those got their inspiration from the first generation TT. When I argue that they actually came from the Pontiac Aztec. But you know, that’s a story for another day. Your S3 has gone through a bit of a metamorphosis. So walk us through the build and why you decided to take your daily driver S3 and make it into more of a, let’s say a beast.

AJ Campo: You never really sit there and make the conscious decision to transform something like that. At least that’s not something I think I would ever do. Coming from the girl who, you know, flipped a switch and left everything in New York overnight to move to North Carolina, but whatever, that’s another story, but you know, when I came down here, I met Jess and others at the Audi club got super involved.

We started going on mountain runs and I was realizing that there’s a couple of tweaks I could do here and there to make the car better perform in the mountains, make it something that I can really enjoy that’s safer, that keeps up with the friends with the R8s and the TTRSs and all that sort of [00:06:00] stuff.

Getting into networking with the track guys and having them pull me in and actually getting my car on track for the first couple of times and realizing this is right here. I can make some minor changes and have a really great time. And then it snowballs a shop reached out dynamic auto tune in Charlotte.

They said, you know what, we think you’re awesome. You’re coming out to all the shows. You’re doing awesome on the track. We want to work with Unitronic and build your car out. And they put everything full Unitronic suite that is offered for the eight feet and a half platform, all the bolt ons, the two and everything on the car.

I had already had Oh three, four kind of like street density suspension on the car. So it was a little bit of a bump from other people. In different directions got me to where I am today.

Crew Chief Eric: But what did you think was a shortcoming of the S3? What was the first thing you felt you had to change or overcome that was inhibiting you from growing as a driver?

AJ Campo: It’s actually funny that you say that because originally before I even started tracking the car, [00:07:00] the one thing that irritated me was that it was a DSG. I’ve totally gotten over that since then. It’s just it blows everybody like so fast. I would say one of the biggest struggles that I have right now, I would say heat and the lack of legitimate track performance aftermarket support.

I

Crew Chief Eric: can see that. I mean, you know, the S3 was never really intended to be a track car. Like a lot of the. Transverse, let’s call them Quattro based Audis that exist like anything, you know, that shares a platform with a Volkswagen. It’s kind of interesting. You bring that up. I hear a lot of people say, ah, well, they understeer quite a bit because it’s still front wheel bias, things like that.

So I was really curious, you know, what it was like to drive on the track and are you happy with the mods you’ve made to a bigger point, it’s a lot different driving it at the track and setting it up for the street. So have you had to make some compromises between the track and the mountain runs?

AJ Campo: Yeah, there’s definitely been some compromises more so moving into next season.

I’ll see that a little more significantly. For example, I’m [00:08:00] running my stock seats, but with the Shroth quick fit harnesses, I’m still having some level of support. It’s still street legal. I can still use my regular belts on the street if I want to, but for daily driving and mountain driving, et cetera, I still can sit in a regular seat.

So it’s actually a compromise on both sides because now moving toward a more serious build in the next couple of. And it’s going to be more and more difficult to get the car out on the mountains. And it’s going to be more dedicated to track

Crew Chief Eric: everything. You’ll make it to the point where it’s no longer street legal and you’re trailering it somewhere like completely gutted cage and all that kind of stuff.

AJ Campo: If it doesn’t, it’s because I bought something else, but that is the goal. I’ve actually already ordered a cage from studio RSR. So they are doing really awesome job expediting that for me. So I can get it in really early in the season, this season. So I’ll have the cage going. I’m still trying to decide on seats, but I just last week actually bought a pickup truck and I’m shopping for a trailer now because it’s getting a little worrisome [00:09:00] being out there on track and wanting to push it.

And then you have that thing in the back of your head that just clicks. It’s like, I got to drive this home so many hours and then go to work tomorrow. You know, it’s stressful.

Crew Chief Eric: So let’s talk about mountain runs doing tail the dragon and things like that versus going to the track. Which do you prefer? Is it about the same and why?

AJ Campo: I love hate this question so much because mountain runs and the fun with people and the scenery, I mean, that’s where it started for me. That’s where it kind of like ticked in my head that I just want to go fast all the time and I want to challenge, but on the track, it’s obviously safer. It’s legal. You can really hit it all the way.

You don’t have to worry about is there going to be like a dog running out in the street in front of us, et cetera, et cetera. So I like to be on the safer side of things. Being on the track is more comfortable for me, but just getting out there in the mountains with your friends and their exotics that they only take out on the weekends.

And it’s a totally different monster. For [00:10:00] example, when Mike and I went to the Tale of Dragon with the Audi club a couple of months back, we had a good time just in the parking lot with Rob at Faster Skunk, putting the carbon fiber wheels on the car and just kind of hanging out, drinking beers. We did not drive after, we waited till the next day to take it out.

But you know, just the hang out, have a good time part of it. That’s really where it all started for me anyway. And without that. The rest of it doesn’t mean anything.

Crew Chief Eric: So I’m glad you bring that up. Cause we work with our friends at ESC carbon and they do sponsor the show. So I’m wondering what was it like having the E2 carbon fiber wheels on the car?

People ask, does it drive differently? Does it feel differently? You know, does it handle better? You know, all of these questions, what’s it really like?

AJ Campo: I’m like cheesing like a fool right now, because I love those wheels so much from the second that I got into the car with those wheels on it, it was a completely different monster.

They’re light. The car is so responsive with them on. I walk around like tossing my keys to people, just go take this for a ride around the block. You [00:11:00] need to feel this car with these wheels. Nothing has made me happier in a really long time than making the switch over those wheels. I mean, I did come from a heavy set of street wheels, but I have never experienced anything like these.

I highly recommend them too. Everybody that will even hear me, at least try them out.

Crew Chief Eric: And you’re running a big brake kit on the car, which a lot of times limits the selection of wheels that you can choose from. Even on my time attack car, I run custom made team dynamics because I’m running Porsche brakes.

And so I have to be able to fit around those monster calipers. Did you run into any of those kinds of problems with the wheels, or was it just straight bolted on and go?

AJ Campo: It was straight bolt on and go. Yeah, I have pretty monstrous willwood calipers on the front and the wheels went right on. They’re fantastic.

Crew Chief Eric: Let’s talk a little bit more about the track and your HPD experience, right? And you’ve graduated away from HPD into time trials, and we’ll get into that as well. So down in your area, which tracks are you frequenting? Are you going to CMP? Are you gonna VIR? What’s your favorite?

AJ Campo: CMPI would say is. Kind [00:12:00] of my home track, it is the closest and nearest and dearest to my heart because that’s the first time I actually was on a track in my car, really testing it out.

I go to VIR a lot. VIR is hands down my favorite track, without a doubt. It is just technical enough, but it’s not too difficult. I guess I’m a little bit biased because I’ve been there so many times as well, but it is just always a good time and you always feel great about yourself when you’re going around that track.

CMP is great for just comfort and fun and goofing off.

Crew Chief Eric: Any bucket list tracks you want to drive at?

AJ Campo: Yeah, I want to drive on every single track ever made in the world.

Crew Chief Eric: Fair enough. A lot of people are car aficionados, enthusiasts, etc. And then you talk about the track and they’re like, no, no, no, no, no, no, no.

I’m not leaving the house. I’m going to polish it, go to the car show, not taking autocross might be a stretch sometimes, but then you get those adventurous types that do jump in. What was it like for you? Were you like ready to rock and roll or were you hesitant? Was there some sort of apprehension you had to [00:13:00] get over going from, you know, doing mountain runs to going to the track for the first time?

AJ Campo: Absolutely not. No way. I will say it was completely the opposite. I could not wait to get on the track as soon as I realized it was an option and it was tangible. I realized, you know, on the mountain runs having so much fun, but the level of danger and always having to hold back really irritated me and everything was telling me I want to go faster.

I want to push harder. I want more challenge, et cetera, et cetera. So as soon as the opportunity to get on track came up, I immediately jumped on it. And to be honest with you, zero apprehension or nerves or anything in terms of. My capabilities on track, but my buddy Ryan would say is committing the apprehension for me was just making sure that I was following all the rules.

I just did not want to mess up anybody else’s lap or anybody else’s day. I’m always trying to be the most considerate of other people. But when you’re newer, it’s a little overwhelming. Everybody knows what’s going on, like, 2nd nature. So that’s where my anxiety always kicks in. It’s just like, am I doing all the right [00:14:00] things?

Number one, and then number two is, okay, now go have fun and kill it.

Crew Chief Eric: So there’s a lot of people that make the argument that, oh, I’m only getting, you know, 30 minutes at a time a track day, and I gotta sit around all day. When you calculate the number of hours you spend on track, it’s actually quite a bit.

What do you think about that? Are you getting value for money at an HPDE versus doing a mountain run? I mean, I know they’re a little bit apples and chainsaws, but there’s something to be said about getting off the street and really driving the car at its designed limits.

AJ Campo: First of all, I, Would pay almost anything to be able to do that, to just get off the street onto a track and push the car to, it’s like you said, designed limits, but to be honest with you, if you’re pushing yourself that hard and you’re getting the absolute most out of your track day, it’s not all about your literal seat time.

It’s about coming off and analyzing how you did, what you could do differently, keeping yourself hydrated, keeping yourself fed, keeping your. Mental emotional health in check, and by the time I’ve done all of those things, [00:15:00] then I’m getting called to go back out again. I’m like, all right, now I’m ready to go.

So I have never had an issue with not having enough actual seat time at an HPD event.

Crew Chief Eric: So what are the kind of darker sides to both of these types of motorsport, you know, whether it’s the mountain drives or the HPDs is those. Oops moments, those Code Brown situations, we like to call them, and they happen on the street, and they happen at the track.

Now, I’ll preface that by saying that in the HBDE world, we can get additional track day insurance to help us if something happens that isn’t available on the street. So what have you seen and what have you learned?

AJ Campo: If I ever have to have an incident, it better only be on track. I do purchase additional insurance.

For myself and for the car. Every time I go out on track on the street, there’s absolutely nothing you can do. The risk is so much greater if you’re going out there on mountain runs, especially with like the caliber of vehicles that we typically go with. They’re going to know that there’s going to be videos.

Somebody will have posted it or something. There’s too much risk. It’s way too dangerous and way too unsafe. I get it. It’s fun. I like to have fun and I sound like a [00:16:00] buzzkill talking about it, but. An incident can always occur. It better not happen on street.

Crew Chief Eric: And the reason I bring it up is I’m going to assume as you progress through the HPDE system, you’ve learned some lessons on track too.

So tell us about maybe a moment where the car gave you a reality check.

AJ Campo: I would say there were two particular incidents on track for me. The first one was actually at CMP through the infamous kink. We still don’t know what happened, but the car rotated 180 degrees and I ended up going across the wet grass in reverse.

Starting at, I don’t know, I think I was going over the kink at like a hundred and change miles an hour. And I had just no control over anything. Once you’re on wet grass, that’s it. You just let go of the wheel, brace for impact, you know. Nothing happened. I got really lucky. If there was anything around, that would have been a really bad day.

But I also know that because I was on track, more than likely, nobody else would have been involved. I would have had the car towed home. Insurance would have taken care of everything. And I’d be moving on and buying another track car. But there was another incident also at CMP, [00:17:00] actually. It was, I guess, just an HPTE day.

But there was an R8 in front of me that lost it going around. Can’t even remember what corner it was. I have a video of it on my Instagram though, but he was right in front of me, lost it, and we got pretty close. I actually had one of my buddies who is an instructor in the car with me and we both kind of got a little nervous.

He got a little pucker. We were all paying attention. We did fine and carried on, but it could have been, could have been a bad time.

Crew Chief Eric: So I’m glad you brought up instructing. Is that something you aspire to do in the future?

AJ Campo: It absolutely is. Yeah. That’s something that I will be working on dipping my toes into this season for sure.

I do think it’s very important if you have the ability to go ahead and give back to others. There is no reason not to. And I think that I have a little bit of a niched position being a younger female in that world. That can probably help others with some of the ins and outs that most men don’t necessarily think about.

I would love to help out some beginners that are trying to get on track for sure.

Crew Chief Eric: Well, and it is one of the steps out of the HPD [00:18:00] arena and you took another one already, which was to head into competition with SCCA under their time trials division. What made you decide to go that way versus club racing?

What class is your Audi even in and how is it doing versus everybody else that’s out there?

AJ Campo: I kind of got pulled into the SCCA time trials because I attended a racing for ALS event that was combined with SCCA time trials, racing for ALS hosts the HPDEs, but since I was there anyway, it was Jim’s race at CMP.

Can’t remember what year that was a couple of years ago. I said, you know what, I might as well just sign up for the time trial portion and see how I like the competition. And it really was all downhill from there. I got sucked in. I will say I’m a very competitive person. And going out there and racing against the other guys.

We’re in 2 0 3. It’s usually the same group of us going out time after time. Really good group of guys though. It’s very rewarding. I guess you can say. The S3 holds up very well against those guys. I think I hold up against them very well too. But I guess that’s. [00:19:00] Pretty subjective, but we do pretty great.

I’ve taken home a couple of first place trophies and our last event, first place in my class. And then third place overall, the entire event.

Crew Chief Eric: Just like your car evolves and will continue to evolve. Obviously your driving career is evolving too, but have you learned from time trials? What comes next?

Because when you set it up for the mountain runs and then you set it up for DE, which you’re moving fast and you’re lapping, but it’s not the same as when you’re in competition. Have you had to mod the car since you entered the time trials?

AJ Campo: I have not had to, too heavily, but I have the itch. I have been trying very significantly to hold back because I would love to continue to compete in my class.

I think we are doing so well in it. My sponsors love it. I’m having a great time. I’m feeling great about myself, meeting the boys out there. It’s pretty cool. So I’m trying to hold off on anything that might bump me up out of that class until next season. And there is a big book of work that we plan to do next season.

I will tell you. [00:20:00] But in the meantime, it’s really just about getting the most out of the car. I’m still working on some heating and fueling issues. And the brake setup was a really big one for me last season. It’s just keeping the car up to par with my skill level for now until we decide to really dive in and do some crazy stuff.

Crew Chief Eric: And the dangerous part is, you know, you’re playing the classic game with SCCA and you go from tuner three to something like STU and suddenly you’re like, why are there 900 horsepower Corvettes here? You know, things like that they introduced a couple of years ago, at least in our region, the idea of bracket racing, are you thinking about that?

Because I think club racing would be very difficult to class your car in right now.

AJ Campo: I have no idea what direction I want to go in the next couple of years. I have to tell you, I’m taking everything day by day right now. There is nothing that I won’t consider. It’s just a matter of how the next couple of months go for me and who I’m talking to and what I find an interest in.

And I say yes to everything. So we’ll see.

Crew Chief Eric: We joked earlier about [00:21:00] knowing Audi’s older than the year 2000, the Biturbo S4. As we stated, you know, you’re a member of the Audi club and more so you’re on the board of the Carolinas region. There are tons of Audi owners out there, but not everybody is a club member.

So as an ambassador for the club, How would you entice someone to join? What’s the value proposition there? Why become an Audi club member?

AJ Campo: I wouldn’t entice someone to join cause I’m not a salesperson, but I can tell you the reason why I joined is because I love to drive and to attend the, they call it wheels in motion events with Audi club.

You have to be a paid member, which is. It’s like totally reasonable because you’re covered by insurance for the events, et cetera, et cetera. But there are a significant amount of other benefits as well that I probably should be more mindful of taking advantage of myself. But the even national level sponsorships that the members get discounts.

For almost anything you want to do, not even necessarily just performance upgrades on your car. But there are some big name sponsors that you can really [00:22:00] take advantage of too. It pays off. I think the cost of the membership is like less than what you pay for a tank of gas.

Crew Chief Eric: Your role can be influential in this place by recruiting new members, but You also have other duties as assigned.

So how are you affecting change? Are you helping to come up with new events, new ideas? How are you keeping members involved?

AJ Campo: This is something I’ve been thinking about a lot the last couple of weeks. I was recently elected the president of the Carolinas chapter.

Crew Chief Eric: Congratulations.

AJ Campo: Thank you. Thank you very much.

But what I am trying to be mindful of is not to infuse my own personal goals and missions for the club across the rest of the board. So it’s something that we’re all working on this year is to make sure that we are representing a vast audience and their interests. So I would love to say that we are posting track events all year long and pulling everybody in and making sure that everybody’s getting the most out of driving their car and all that [00:23:00] sort of high performance stuff.

But it’s about giving back to the community and what they want. So we have a couple of ideas up our sleeves this year within the Carolinas chapter. That will be kind of probing our membership audience, you know, what do you want and what can we do for you? And that’s where we’re going to put our attention.

And to be honest with you, I think that’s the only way to do it.

Crew Chief Eric: Well, that also brings up another great question and kind of going back to talking about track rat life. How can we make the paddock not just more diverse, but inviting for people that are like we talked about earlier, maybe hesitant, but also have that idea of if I don’t see myself there, then I don’t belong there.

AJ Campo: I think that is a responsibility of every person involved. Those of us that are already comfortable in the paddock need to reach out and pull others in and say, come hang out. Don’t feel out of place. See how easy it is to get involved. Come have a good time. I don’t care if you’re driving, turning a wrench, cooking hamburgers.[00:24:00]

Or taking photos, you know, there’s a place for everybody. But the other side of it is realizing that if there’s something you’re interested in doing and you don’t feel comfortable necessarily doing it, there is a level of self accountability. Do what you need to do. Step out of your comfort zone to find your happiness.

So people need to understand that it’s not so scary to step out of your comfort zone. And also the rest of us need to be there to catch those people that are doing it.

Crew Chief Eric: There is a place for everyone at the track. I always joke that it’s a party waiting for a race to happen. You know what I mean? You can always get involved.

And I’ve personally made some lifelong friends by going to the track and probably would have never met them anywhere else had it not been for us all going there together. Now, there’s something else I’ve heard you talk about before, which is this concept of car girl culture. Can you explain that to me?

And why is that important?

AJ Campo: Car girl culture is a very sticky subject. I have spent a lot of time in that typical tuner slammed [00:25:00] show vibe culture. And the Women that you see there, the girls, your interests are completely different than someone like myself. Whereas I just want to go fast and I don’t really care about how it actually, it’s funny, I do care about how I look at all times, but like, that’s not my top priority, but there are other girls out there that are really just doing it for the social media, do it for the gram type of attention thing.

And it makes it very difficult for us who are out there trying to be real and feel like we need to compete with, well, I have to also look good while doing it or whatever it is. There are a couple of us women in the area that have a personal prerogative. To pull those girls further into the sport, if they’re interested, but to just not let them just hang out and sit on the sidelines or be kind of like a passenger princess.

If we know that you’re interested in it, at least in some way, and you’re putting yourself out there and you’re making a social media name for yourself or whatever it is. Do you want to come to the track? Do you want to come [00:26:00] for a ride along? You want to sit in my passenger seat? I’ll drive you around, be my passenger princess, you know?

So it also creates a little bit of a stigma, I guess, for the rest of us, too. Someone sees me, a car girl. And they wonder, you know, is she, is she trying to take my man? You know, like that type of a thing. No, I’m not actually, please keep them. I don’t want nobody’s man. I don’t have one myself. I’m, I’m cool.

So it creates a fine line that women in the industry have to kind of walk, which is unfortunate, but you know what, we all contribute to that in society. And I think we all need to do better.

Crew Chief Eric: Say you’re at the track and a little girl walks up to you and says, AJ. Why do you race? What would you say?

AJ Campo: Because it makes me happy.

Crew Chief Eric: Well put. You have a lot of stuff going on. You got a lot of stuff on your plate. And so we tend to just keep piling stuff onto our plate sometimes. And I wonder, what’s next for AJ? What kind of events, projects, do you have some [00:27:00] builds? Anything you can share? Upcoming projects or collaborations. What’s the, not just this season’s outlook, but next season?

AJ Campo: There’s so much going on. I don’t even know how to answer that question. I gotta refer to the whiteboard. Hang on. I just bought a truck for myself last week. So I have a daily driver now. I am shopping for a trailer so I can transport the car, be a little more comfortable on track, a lot more comfortable on track.

I have a cage in the works. I will be kind of transitioning a little bit off of the street onto the track. For the S3, I’m looking forward to next season, probably doing some Aero, doing a significant amount of suspension work with Pete at 529 Innovations. Other than that, I don’t know what’s next. I just want to hit the ground running and do, I just, like I said, I say yes to everything.

Even Mike at ESE Carbon with the E2 wheels. He’s like, you want to see if we can get them going on track? Yeah, I would love to figure out how to test those on track. Like, let’s do it. I would love to be able to be part of testing their product out and opening it up to [00:28:00] a completely new market. Whatever gets me behind the wheel, I am down to do it.

Crew Chief Eric: Is there a dream drive out there still? Not a road or a track, but maybe behind the wheel of a special car?

AJ Campo: When I was growing up, maybe like early 20s, I was like, Oh, I wish one day I could own an R8. So I’ll probably get one for a little bit, but like, that’s not like a dream car anymore. I don’t know what is.

I really don’t know what is. I’m transitioning from what you see coming off the line at the factory. And that, you know, this shiny new toy to like a track monster is what really just gets me going. Ask me another year or two.

Crew Chief Eric: Well, with that, AJ, we’ve come to that part of the episode where I’d like to invite our guests to share any shout outs, promotions, or anything else that we didn’t cover thus far.

AJ Campo: I have to give a shout out to Racing for ALS. Without them, I would have never gotten behind the wheel on a track. So I owe my entire journey in large part to them. If anyone wants to know more, you can go to Racing for ALS. But they are [00:29:00] a non for profit organization that raises funds and awareness for ALS patients and research.

Everything that they do is entirely donated and with true good behind it. They are a network of people that, again, there’s a place for everybody at the track. Not everybody drives, but a lot of them do, but everybody’s an enthusiast about having a good time and saving lives. I feel like everyone in the world should in some way, at least be aware of what racing for ALS does, because I’ve never met a better group of people out there doing good.

Crew Chief Eric: AJ’s story doesn’t end here. She’s not just conquering curves, she’s breaking barriers. As a woman in the automotive world, AJ stands tall, proving that horsepower knows no gender. She is now the president of the Audi Club of the Carolinas, fostering a community where enthusiasts, regardless of gender, come together to celebrate their shared love for all things four wheeled.

To learn more about AJ and her Audi, look no further than social media and [00:30:00] follow her at Nomad underscore S3 on Instagram and Facebook. And don’t forget to check out her YouTube channel or connect with her on LinkedIn. And with that, AJ, I can’t thank you enough for coming on break, fix, and sharing your story with us.

And I have to say, whether you realize it or not, you are what I call a silo breaker. You are an inspiration for women out there trying to get them up off the street and onto the track. And perpetuating and spreading motorsports enthusiasm, which is important these days in the midst of everything that’s changing in the automotive world.

And I deeply appreciate the fact that you’re out there time trialing an Audi. So maybe we’ll see you at CMP in the future and best of luck this season.

AJ Campo: Thank you very much.

Crew Chief Eric: We hope you enjoyed another awesome episode of Brake Fix Podcast brought to you by Grand Touring Motorsports. If you’d like to be a guest on the show or get involved, be sure to follow us on all social media platforms at GrandTouringMotorsports. And if you’d like to [00:31:00] learn more about the content of this episode, be sure to check out the follow on article at GTMotorsports.

org. We remain a commercial free and no annual fees organization through our sponsors, but also through the generous support of our fans, families, and friends through Patreon. For as little as 2. 50 a month, you can get access to more behind the scenes action, additional Pit Stop minisodes, and other VIP goodies, as well as keeping our team of creators Fed on their strict diet of fig Newtons, gumby bears, and monster.

So consider signing up for Patreon today at www. patreon. com forward slash GT motorsports, and remember without you, none of this would be possible.

Highlights

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

  • 00:00 Introduction to BrakeFix Podcast
  • 00:27 Meet AJ Campo: From NYC to North Carolina
  • 01:05 AJ’s Racing Background and Early Influences
  • 01:40 The Move to North Carolina and Audi Club Involvement
  • 02:52 Building the Audi S3 Quattro: The Beast
  • 05:15 Track Experiences and Challenges
  • 17:57 Time Trials and SCCA Competition
  • 20:57 Audi Club and Community Involvement
  • 24:40 Car Girl Culture and Inclusivity
  • 26:55 Future Plans and Shoutouts
  • 30:45 Conclusion and Podcast Information

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.

Learn More

Audi Club Nationals (sponsored by ESE Carbon)

The Audi Club of America Nationals event was a huge success over the weekend of September 14 and 17, welcoming over 150 guests from multiple states, that included great weather (except for Sunday), awesome driving, and even some guests like Brian Scotto, Cofounder of Hoonigan, Jamie Orr, famous car builder and journalist, and Charles Sanville, aka The Humble Mechanic on YourTube. Just these three personalities alone have a total of over 6,400,000 followers on YouTube!

Photo courtesy AJ Campo

Of special note to ESE Carbon though was meeting up with our new ambassador, Audi racer extraordinaire, A.J. Campo, who partners with Faster Skunk Racing and supports Racing for ALS, had her multi-colored Audi S3 in full force for the weekend. We took the wheels of our VW Golf R and put them on her S3 and it was a perfect match – the aftermarket Wilwood brakes fit beautifully behind the E2s and A.J. ran all through the weekend like only a racer knows how without issue.

The Audi Club Carolinas Chapter hosted the 37th annual Audi Club Nationals event at Fontana Village Resort & Marina located near Pisgah National Forest and the infamous “Tail of the Dragon.”

Attendees joined fellow Audi lovers for banquet style dinners on Friday and Saturday evenings, as well as a Sunday Brunch offering at Fontana Village Resort & Marina. All guests were invited to embrace the local moonshine history for a “Roaring 20’s” themed Saturday evening at the resort. **Review of ACNA Nationals courtesy of ESE Carbon Wheels and Garage Style Magazine. Written by: Don Weberg.

To learn more about AJ and her Audi look no further social media and follow her on social @nomad_s3 on Instagram and FB, and don’t forget to check out her YouTube channel, or connect with her via linkedin. 

AJ’s journey began in the mountains, but her heart now belongs to the track. “Mountain runs are fun, scenic, and social,” she says. “But the track is safer. You can push harder without worrying about dogs or guardrails.”

Still, she’s mindful of the compromises. “I run stock seats with Schroth harnesses – street legal but supportive. As the build gets more serious, it’ll be harder to take the car out casually.”

That’s why she recently bought a pickup and is shopping for a trailer. “I want to push the car without worrying about driving it home after.”

One standout upgrade? ESC’s E2 carbon fiber wheels. “They changed everything,” AJ beams. “The car is so responsive. I tell people, ‘Take it around the block—you’ll feel it.’”

Despite running massive Wilwood calipers, the wheels bolted on without issue. “They’re light, they fit, and they make me smile every time I drive.”


From HPDE to Time Trials

AJ’s first track experience was at Carolina Motorsports Park (CMP), and she quickly graduated from HPDE to SCCA time trials. “I’m competitive,” she admits. “I wanted to test myself.”

She races in Tuner 3 (T3), often placing first in class and even third overall. “I’m holding off on big mods to stay in class,” she says. “But next season, we’ve got a big book of work planned.”

Her favorite track? VIR. “It’s technical but not overwhelming. I always leave feeling accomplished.” Track life isn’t without its scares. AJ recounts a 180-degree spin at CMP’s infamous kink, sliding backward across wet grass at over 100 mph. “I let go of the wheel and braced for impact,” she says. “Luckily, nothing happened.”

Another close call involved an R8 losing control ahead of her. “We got a little pucker,” she laughs. “But we were paying attention and handled it.”

AJ’s next goal? Becoming an instructor. “If you can help others, why wouldn’t you?” she says. “Especially as a younger woman in motorsports – I can offer a different perspective.”

She’s also president of the Audi Club Carolinas chapter, working to make events more inclusive and responsive to member interests. “It’s not about pushing my agenda,” she says. “It’s about asking, ‘What do you want?’ and delivering.”

AJ is candid about the challenges women face in motorsports. “There’s a stigma,” she says. “Some think we’re just there for the gram. But I want to pull those girls in—get them in the passenger seat, show them what it’s really about.”

Her advice to young girls curious about racing? “Because it makes me happy,” she says simply. “That’s why I race.”

AJ Campo’s story is one of transformation – of a car, a career, and a community. From the lifts of a family shop to the apex of VIR, she’s proving that passion, perseverance, and a little bit of quattro can take you anywhere.


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Motoring Podcast Network

B/F: The Drive Thru #43

0

In this latest episode of The Drive Thru, hosts discuss various automotive and motorsport news, starting with the cost and hassle of owning an EV, including a deep dive into upgrading household infrastructure for electric vehicles. They review updates on Cybertruck resale prices and compare its performance against Rivian and Ford Lightning. The episode covers unexpected high auction prices for classic cars, ridiculous car thefts, and misuse of gas pump rewards cards. They also delve into the fate of Hertz’s Tesla fleet and vibrant conversations about F1 races and other motorsport events. Additionally, they touch on upcoming automotive releases and provide updates on sponsor activities and events.

Tune in everywhere you stream, download or listen!

Listen on Apple
Listen on YouTube
Listen on Spotify

Showcase: Real Talk about owning an EV!

Future Electric Vehicles: The EVs You'll Soon Be Able to Buy

These EVs aren't for sale yet but are in various stages from concept to production—and perhaps a few may never see the light of day.  ... [READ MORE]

Marcello Gandini, Storied Italian Designer, Dead At 85

Born in Turin, the touch of a considerate designer was clear in all of Gandini’s work. ... [READ MORE]

There's a Truck Full of Porsche Cars That a Dealership Just Can't Sell

A dealership from the United Kingdom has been trying for quite some time to sell a very odd package. It comprises six super exclusive Porsche cars and a truck. Yes, you read that right. But it just can't seem to be able to sell them all.  ... [READ MORE]

2025 Mercedes-AMG GT43 Features a 416-HP Turbo Four that Feeds the Rear Wheels

Unlike the more powerful AMG GT55 and GT63, the new entry-level GT43 coupe forgoes all-wheel drive for cheaper RWD fun.  ... [READ MORE]

Hyundai IONIQ 9 looks big and bold after the three-row electric SUV was spotted testing

 ... [READ MORE]

Reborn Renault 5 Is A Super Cute, Super Cheap EV With A Baguette Holder

The new Renault 5 won't set any distance records, but it doesn't need to.  ... [READ MORE]

Could The Rivian R3 Be The Brand’s Best Seller?

Rivian's smallest model won't be here for a while, but its lower price could bring new buyers to the brand.  ... [READ MORE]

Enter code MARNEWS50 for 50% more chances!

2024 Corvette eRay 3LZ Convertible Sweepstakes continues through April 2024, Still time to register to win! ... [READ MORE]

**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.


Automotive, EV & Car-Adjacent News

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

Stellantis

Tesla

VAG & Porsche

TRANSCRIPT

Executive Producer Tania: [00:00:00] The Drive Thru is GTM’s monthly news episode and is sponsored in part by organizations like HPTEjunkie. com, Hooked on Driving, AmericanMuscle. com, CollectorCarGuide. net, Project Motoring, Garage Style Magazine, and many others. If you are interested in becoming a sponsor of the Drive Thru, look no further than www.

gtmotorsports. org. Click about, and then advertising. Thank you again to everyone that supports Grand Touring Motorsports, our podcast, Brake Fix, and all the other services we provide.

Crew Chief Eric: Wait, where’s the button?

Crew Chief Brad: Welcome to drive through episode number 43. This is our monthly recap where we’ve put together a menu of automotive, motorsport and random car adjacent news.

Now let’s pull up to window number one for some automotive news.

Crew Chief Eric: This is our season five kickoff heading into a long run of a hundred different episodes coming your [00:01:00] way. If tuning in for the first time.

Crew Chief Brad: And that’s just next week. Yeah,

Crew Chief Eric: right? We have a very aggressive schedule here. No, season five is action packed.

But first, before we jump into our automotive news, Brad, we need a cyber truck update.

Crew Chief Brad: The update is there’s no update.

Crew Chief Eric: Oh, come on. Have you been able to ditch that? Allotment yet.

Crew Chief Brad: Nope. But I will say I saw on cars and bids that somebody is selling a cyber truck. And the current bid is up to 150, 000 just for the allotment.

Well, no, that’s for the actual truck. I believe they took ownership and then they’re selling it. Is Tesla suing them yet? I don’t know. It didn’t say in the ad whether they were being sued or not. But if you think about it, that’s actually not that. I mean, I guess it is a lot. It’s 33 percent

Crew Chief Eric: markup

Crew Chief Brad: profit.

Crew Chief Eric: The Cybertruck is definitely not out of the news. I actually avoided putting it into this drive thru episode because we talked about it so much and it’s just unending. I mean, the internet is obviously full of trolls, but it’s also relentless. In terms of the things that are going on with the Cybertruck.

There’s literally like a plea out there to say stop [00:02:00] abusing Cybertrucks. Like people are doing the craziest things to them and say like, see, they’re just big pieces of junk. And it’s like, all right, guys, give it a rest.

Crew Chief Brad: The same shit happened when the Ford F 150 Raptor first came out. There’s a lot of hate because people were taking them out to sand dunes and stuff and literally.

Jumping them five, six feet in the air off these jumps. Then the trucks were landing and the frames were cracking. Like the bed was separating from the body of the truck. I mean, the cab was breaking. I mean, there are all kinds of problems. And this is the original Raptor with the V8, not the EcoBoost Raptor.

At that time, that is how Ford had advertised the truck, but Ford was getting a lot of hate for the Raptor. Haters going to hate, I think is the key term here.

Crew Chief Eric: And players going to play. Haters always going to

Crew Chief Brad: hate. Yeah, play is going to play hate is going to hate.

Crew Chief Eric: Jokes aside, we kick this off talking about the cyber truck again, because the showcase for this month is a little bit different.

It’s a little bit more personal. And I wanted to touch on some homework that I’ve done about what is the [00:03:00] real cost of ownership of an EV in the year 2024? What I’ve done Come to realize is there’s a lot of hearsay and speculation and tinfoil hats about what’s going on in the EV world. And there’s just some real concrete information that I’ve come across.

And I’m going to get into this as we go along. I got to first start off by saying, if you’re listening to this for the first time, we do own quote unquote an EV. So does Brad now you have a hybrid, we have a plug in hybrid. Both of us have vans. My wife’s had hers since 2019. The plug in hybrid tries to be all electric all the time.

And then it switches the gas 16 kilowatt battery, get 33 to 36 to almost 40 miles out of the battery, depending on the temperature. You know, if it’s summer versus winter, stuff like that. You know, she loves it record setting miles per gallon, you know, almost 50 miles of the gallon. She’s gone almost 1100 miles between Phillips, like all this astronomical stuff, like blowing our previous diesels completely out of the water, right?

Like, wow, this thing’s [00:04:00] incredible, but here we are. Five years later, and what’s it really like to own a plug in hybrid or an EV or whatever it is?

Crew Chief Brad: Oh, we’re going to qualify this, but what’s it like to own a plug in hybrid EV? And then what’s it like to own a Chrysler plug in hybrid EV? Cost of ownership and convenience expense and things like that.

Crew Chief Eric: We’re going to get into that. But what kicked off this entire investigation? Actually goes back to many drive through episodes we’ve had in the past, talking about the electricity availability, the infrastructure in our homes, the infrastructure commercially available, the power grid states that can’t even maintain their air conditioning in the summer because the grid is overstressed, all this kind of stuff.

And people are like, yeah, yeah, yeah. You know, we’ll put up some more windmills or, you know, we’ll make up the difference somehow. But the reality of the situation is. We live in a house that was built in the late seventies, early eighties. A lot of stuff that was to code back then doesn’t meet the code of a house that was built, let’s say in 2019 [00:05:00] when my wife’s Pacifica was built.

And so we got a letter in the mail. Yeah, we still get those, you know, like paper mail. So I got this letter in the mail from our utility company and it was talking about upgrading, adding a level two charger to your garage and this and that. And I’m reading this letter and it sounds really good. It was very technical and not a lot of marketing.

Fluff. So I was like, you know what? You’ve got my attention. I’m going to reach out, contact this number, fill out this form, all this kind of stuff. And in this solicitation, it says 1, 100 and I’m like, that’s the magic number. As we know, working on race cars, everything’s 1, 100 every time you turn around. So I’m like, you’ve got my attention.

Let me see how bad this is going to be. What started as an 1, 100 offer has turned into an 11, 000 nightmare. And let me explain. So real talk, there is a lot of moving parts when it comes to upgrading the house to make it acceptable to have an EV. Not just a plug in hybrid that has a small battery, but imagine a Tesla.

[00:06:00] Or a Rivian or a Volkswagen ID where it’s got a much larger battery with that extended range three, four, five, 600 miles. You don’t want to wait a week like that guy in Canada with a Hyundai to be able to charge it. Level two charger is sort of the minimum. Now we’re still in a level one hundred and ten bolt charger and we can get the van charged roughly overnight.

So how did we get to 11, 000? Well, let me explain like a lot of people, especially on the East Coast where houses are a lot older, but there are new developments popping up all the time. But if you have a house from the 1950s through the early 2000s, a lot of the code and all that kind of stuff was the same.

The service to the house ours is on the one 50 side because we were built in the late seventies. So the first hurdle became, well, your service is too small. We need to upgrade the entire fuse panel in the house. Okay, well, what do we got to upgrade to? Well, technically. 200 in the house to be code just for the house to future proof the house.

You got to upgrade to 200 amp, but realistically you need a separate 200 amp service in the garage [00:07:00] because of the way the house is built and this and that and yada, yada, and then we got to make sure that the power lines underground are enough to deliver 400 amp to the house. You know, maybe we have to run new service underground.

That’s on us to do that, but maybe there’s a hidden cost there too. We’re not a hundred percent sure yet. It started to compound and then you need this, and then you’ve got to buy this And then because you have two separate services, one on the garage side and one on the house side, then you need a kill switch because the code says that you have to be able to terminate all the electricity in one spot and more and more and more and more and all this stuff.

The next thing you know, the guy comes back and he goes, well, here’s your quote. It’s 11 grand. Obviously your mileage may vary. It could cost you five grand. It could cost you 12 grand. What I heard from the utility company was the average was about 8, 800 bucks to do the upgrade if you don’t have 200 amp service and all this other stuff, right?

You don’t have a much more modern house. So that’s still, let’s say 10 grand. And I’m like, what? I don’t think I’m special. We live in a modest home. And I think a lot of other people, not [00:08:00] just in my neighborhood where the houses were built at the same time, but across middle America would be faced with the same problem if they’re trying to go to EV and just solely EV, not just a small battery plug in hybrid.

And I’m like, this is an astronomical amount of money for people. Not everybody has. 11, 15, 20 grand sitting aside to make this massive utility upgrade to their houses. So I’m scratching my head going, how is this tenable long term?

Crew Chief Brad: Well, two things. One, I must be the luckiest guy in the world because my garage already has a separate power account with a 200 amp board.

So I’ve already got 200 in the garage separate from the house, completely separate, separate account, separate everything to that’s what home equity loans are for bud. You overextended up to detonate to their eyeballs. Remember that old commercial? The guy’s like, I’ve got a mansion and I live on a golf course and I’m riding my lawnmower and I’m up to my eyeballs in debt.

Crew Chief Eric: And that’s true. And that’s [00:09:00] where, again, it becomes this total cost of ownership thing. And we talked about low budget. EVs before Hyundai’s got some all the way up to 40, 000. That’s like the low budget now, right? We’re like the Mach E all these other kinds of cars that sort of fit in that window between 25 and 40, 000.

I’m sitting here going, you go and buy this EV and you have this fantasy that I’m going to get free electrons at the library. Well, guess what? You got to swipe a credit card there. I’m going to get free electrons when I park at Ikea. Guess what? You got to swipe a credit card there because it’s all.

AmeriCharge and CradlePoint and all these different services, it doesn’t cost nothing. It’s very rare to find free electrons anymore. And so I’m like, okay, well, do you want to sit in the parking lot at the library for 45 minutes to charge? I mean, it’s a long time. Granted, you could be doing other stuff.

Maybe you could go for a walk, take the dog, you know, whatever it is fine, but you’ve got to go out of your way to get power. If you don’t have like you have the 200 amp extra service to set up that level two charger at home. You just bought a 30, 000 Model 3. That’s what they’re supposed to cost. And now you’re faced with an 11, [00:10:00] 000 bill, maybe a 20, 000 upcharge on that.

So now you’re 50 grand in the hole on this EV. And Tonya and I talked about this, how much gas. And diesel for that matter, can you buy for 10, 000? So these are things you got to think about. Yeah, I get that. We’re saving the planet and all these kinds of things.

Crew Chief Brad: That’s debatable too. Exactly.

Crew Chief Eric: I’m still interested because I want to future proof my garage.

I’ve got some other things I want to do. Some heavier equipment that we’ve had issues with, you know, mountain man, Dan brings over a welder and it’s like a minor brownout. You literally cannot run a vacuum cleaner in the garage while the van is charging, because it’ll knock all the circuits out. Like it’s just, it’s a mess.

So I’m sort of like, well, if I make the investment, maybe we’ll get it back out of the house later if we sell it, because you can come in and say, look, we’re already set up for EV and we have his and her chargers on both sides of the garage and you know, all this wonderful stuff. Still, it’s hard to get away from a five figure price tag.

It’s like, ah, that hurts. If we take that [00:11:00] off the table and say, everybody’s just got a tax return. They got an extra 15 grand to spend on upgrading their house. So they can, everybody can get an EV in the future. What about the grid tax returns? Are these getting 15 grand back? We’re living in fantasy land now, right?

Yeah, we are. Pull our pennies, but let’s just say you could find the money to upgrade your house. Do you do it? Do you not? But then also the stress on the grid. Are there parts of the country that are better prepared? Like Tennessee, especially like Chattanooga near TVA, stuff like that. They have the self healing power grid, very modern, very progressive, but that doesn’t exist everywhere.

We know California struggles. We know Texas can struggle. The East Coast, maybe not so much. But I think if everybody here from Massachusetts to Florida converted their houses to be EV ready, we’d have a really big problem.

Crew Chief Brad: We’re also just talking about houses. There’s also people that live in apartment complexes and things like that.

Are they excluded from being able to have an EV because they live [00:12:00] in such a facility? Or are we going to require these landlords to upgrade their service? Not only For one family, but the entirety of their property and their unit.

Crew Chief Eric: And that actually is a really great segue back into the episode we did with Henry Grabar, because a lot of those complexes, the apartment buildings and condominiums and all that is predicated on parking availability.

And so I won’t get into all that, go back to that episode from the end of last year. It’s fascinating. He wrote a whole book about it, about how parking changes the world. And it really explains how parking dictates. How houses are built. But we did talk about it on his episode about the EV grid, how this is going to work, parking lots are going to have to be changed over.

So that’s another whole layer of complexity, but you’re right. Apartment buildings, not everybody lives in a single family home. Here’s the other thing. It’s not an overnight process. They make it seem like it’s going to take a day. They can come in and do it. Sure. If you’re already set up for it, they’re going to add another breaker.

They’re going to install the level two charger, which by the way, you have to purchase separately. [00:13:00] So you’re looking at a juice box, you’re looking at a whatever, and that’s another six to eight hundred bucks that you gotta spend. But they’ll sell it to you, you know, they get them in volume, you get a slight discount, it’s like fifty bucks less than what you’d buy for on Amazon if you ordered it.

Okay, fine, sure. You’re gonna be without power for multiple days. Because they got to do this whole upgrade. Not only are they changing my main service panel, they got to change my meter box on the outside. They’re like ripping everything out down to the bare wires to be able to do this project. If the underground wiring is insufficient, which they still have to figure out at this point because they have to do a service call and this utility has to get involved and all these kinds of things.

If they have to add more power underground, they got to go all the way back to the transformer. They might have to upgrade the transformer. Now there’s all these other moving parts. It takes almost two months to get that part done. So we’re still waiting for their initial survey to be completed to see is there enough service underground?

Because we don’t have power lines in this neighborhood. It was one of those like early, we’re going to do everything underground sort of deals. So they got to go investigate all that. And then once [00:14:00] they get that done, it could be another month before they can get us in the loop to schedule the process, to even begin to take the house offline for a couple of days, change out the service and add all this stuff.

Then they’re punching holes in the walls, you know, all this kind of thing. This is going to be like a 90 to 120 day effort.

Executive Producer Tania: And I would have zero expectation that anything happens in two months. Because you as a residential query are very low on the order in the utility company’s work list, the priority who is going to go to hospitals or other things like that, they’ll get the priority of the work.

They might have said two months, but I wouldn’t be surprised if you’re dragged on for months and months and months.

Crew Chief Brad: We’ll catch back up with Eric in season six.

Crew Chief Eric: A hundred percent. Yeah, we’ll still be talking about my level two charger that I don’t have. Again, just bought my EV. I don’t have my charger. I want to upgrade the house.

I still got to go to the library, you know, to go find free electrons because I still can’t charge at home. That’s the other thing. Time is [00:15:00] valuable. How much is it costing me to sit there to get my electrons at the library? And then how much is it going to cost me later when my bill spikes? Because they got to do some other metering and all this kind of thing when you plug the EV in to say, we’re not going to charge you at the maximum rate because the price of electricity has also gone up.

This is all getting really, really complicated very quickly. And I already noticed that our electric bill had gone up when we got the Pacifica, but five years ago, our electricity, you know, negotiated rate and all this kind of stuff. It was low. It was like, Oh man, what’s an extra 40 bucks a month. I would pay more than that in fuel.

But now Five years later, our electricity bill has doubled. Is that a result of the van? Is that a result of the price of electricity? It all plays a factor and we’re not getting any special sub metering or off hours when we plug in the band. We’ve asked, we have a level one. Can we get the exemption? You know, when it runs between these hours and the power company’s like, nah, it’s just like, you’ve got a stove running for 13 [00:16:00] hours at a time.

And that’s exactly what it is. It’s like a stove running with the broiler on. All night. So it’s costing a ton. I’m starting to wonder, is it worth it? What really brings into the question, is it worth it? You made jokes about the cost of ownership of an EV versus the cost of ownership of a Chrysler EV. So this is where it gets ironic.

President’s day, everybody’s off from school. We’re home, got the day off, you know, that kind of thing. We’re like, what are we gonna do? President’s day. And my wife goes, Hey, you know, there was a recall letter from the dealership. This is a great day to take the van in to get it done because I could drop you guys off and you know, the whole thing, right?

We took it in for this recall and it’s had something to do with power control module and all this kind of stuff. And we’re like, oh, okay, cool. She mentioned to me the week before. That the van was doing something weird. It would flash the check engine light and then would go away. It wouldn’t stay on.

It’s like an intermittent code. My wife’s got an Autel scanner. She hooks up her phone, Bluetooth to it, pulls down. She showed it to me later. She goes, it kind of aligns itself with the [00:17:00] recall. This is perfect timing. We’re going to take the van in, get the recall done. Then check engine light goes away.

We’ll report the whole thing and blah, blah, blah. And the service writer’s like, yeah, yeah, yeah. Great. This is awesome. Nobody shows us the scan codes and whatever. And they did their own scan and their own stuff. A week goes by. You don’t hear anything. It’s like, what the hell is going on? Chrysler service is neither here nor there.

I’m not gonna badmouth the dealership or anything like that. They’ve been good to us. But we were smart to buy the super extended max care 12 year warranty on this thing. Because I knew going into this, it’s not Chrysler’s hybrid. It supposedly, allegedly is Ford’s. It’s not their transmission, you know, all this kind of stuff.

So yaddy yaddy. I don’t want to have to work on this, nor do I want to have to pay when something goes belly up. We finally get a phone call and the guy’s like, Hey, been meaning to call you, put in a ticket to Chrysler. Star, which is the organization that does all the parts distribution, is sending a new transmission.

And I’m like, what? So it’s sort of like went in for a health check, had to amputate your arm. What the hell is happening here? So the guy’s like, it’s [00:18:00] all just intertwined and we got to put a new tranny in it. Because the hybrid is in the transmission. A lot of people don’t know that. So if your hybrid’s going, your forward motion is going to go because it’s all built into the trans.

Crew Chief Brad: For those of you following at home, I believe this is Eric’s 15th transmission in this Pacifica. You’re not

Crew Chief Eric: far

Crew Chief Brad: off. I think you get transmission bingo!

Crew Chief Eric: To bring everybody up to speed, it is not the original trans. The first trans, the stock one, I don’t know what happened to that because it went bonkers to the point where you would put it in drive and it would either decide to like lurch forward like the parking brake was stuck on or it would just go backwards at maximum speed.

You had a hard time stopping because the brakes are electrically connected. It was a nightmare and we literally beached it on the side of the road and told AAA, or actually we called Chrysler, take this directly to the dealership. Not our problem. So they put a new trans in it then, but they put an updated transmission in it.

So we’re like, Oh, cool. This is going to be awesome. This thing is going to last forever between trans two [00:19:00] and this one. It’s only been a year and a half. She’s only put maybe like 15, 000 miles on it, maybe a little bit more, 20 or so. So it hasn’t been that long, right? We’re like, Oh, this is nuts that they’re telling us we need another transmission.

Then two more weeks goes by. So the van is gone for three weeks. We were talking about time is money. Luckily she’s driving my car and I’m driving my hoopty that, you know, sits for long periods of time. So we got an extra car. We’re very fortunate in that respect. Not a lot of people are fortunate with that, but it’s something to think about.

You hear these. Horror stories about Teslas and accidents. And they’re out for months and months at a time because the parts just aren’t there and because chips, and in our case, the van was down for three weeks. The first time the trans went, it was down for a month. Again, no communication. Suddenly we get a call one day and it’s like, van’s ready to be picked up.

Uh, okay. So we go through all that and we come home. And, but I’m reading the sheets. Not one sheet that says transmission replaced, did service check at 80, 000 miles or whatever, right? No, it’s [00:20:00] pages of stuff. What I sort of discern from all this is, I think they pulled the trans. Because inside of this whole combuberation that they’ve created, there’s some auxiliary water pumps and it was leaking.

And I don’t know if that interferes with the electronics. I’m sort of like trying to read between the lines. I’m trying to do some homework. And it’s one of these deals that like a proper German car would be. You can only reach it. When the service position is engine out, they got to get the hybrid out.

And I’m looking at the parts list and all this stuff. They changed. Luckily, we didn’t have to pay a cent for it, but I asked the guy, I was like, how much would it have cost if I had to replace this thing? And here we are. We’re back to that magic number, 11, 000. That’s parts and labor, right? And I’m like, this is insane.

So thank goodness we had the foresight to buy the extended warranty and they’ve been super awesome about covering everything and any problem we’ve ever had with it. To your joke from earlier, the Chrysler has been amazing. So I haven’t been paid for anything. And it’s actually been, except for this.

Which I [00:21:00] don’t blame Chrysler for, because it’s really not their hybrid. It’s been trouble free, but the trouble it’s had has been debilitating, right? So it’s Sketch 22.

Crew Chief Brad: Didn’t it also brick itself in your garage at some point?

Crew Chief Eric: That happened within the first month we got it. And what that was really all about was, we bought it as a 2019.

It was an S model, de chromed, like all this kind of stuff, and a special paint color, whatever. Apparently it had been sitting on the lot. Where we got it from for like an extended period of time and they weren’t running it or whatever. And I guess there was a drain on the main battery. Basically the main battery, the main 12 volt battery, like any car has shit the bed.

It bricked itself because it wants to be an EV first. It wouldn’t even try to kick over to gas, run the alternator or anything like that. We were stuck. So they came and hauled it. They replaced the battery for free and it’s never been an issue. So I’m like, you know what? That happens on a regular car.

Batteries go bad. They have bad cells, you know, summer to winter. I don’t [00:22:00] fault them for that either. It’s like, man, you’re going to replace the battery. Big deal. What was happening in those three weeks though, was a really big discussion between me and my wife. And it became a three week long. What should I buy?

Because we said, and we asked Chrysler. How many more times is this going to happen? When does this become a lemon law problem? When do we get a new one? Or when do you buy it back from us and we get something else? And so we’re sort of running those permutations going, if we got to get something else, what do we get?

What is there to buy right now? What are our options? Are we screwed? I brought my wife into van life sort of kicking and screaming because she was a wagon girl. Before that, she had a hatchback and kind of this progression of the vehicles are getting larger, but basically the same thing. So now we’re at van life.

She loves the van. The sliding doors sell it, which is why I make jokes about kids and SUVs. It’s like, dude, you don’t understand how glorious sliding doors are until you have them. And the cargo space of a van is amazing. You just went through this, Brad. There’s three options, right?

Crew Chief Brad: At least for me, there was only one option.

Yes, [00:23:00] technically there are three options. There’s the Honda Odyssey, which runs a traditional naturally aspirated V6. There’s the Kia Carnival, which I don’t know the powertrain, but I’m assuming it’s a standard naturally aspirated V6. Then there’s the Toyota, which in 2021 switched over to a hybrid. For me, we went with the Toyota, one, because of the hybrid, and two, because the backseat design in the Honda didn’t leave enough room for us to put the car seats in.

And have the seats go all the way back. My wife and I are very tall and we could not put the seats back to our comfortable position and have the car seats in. So we would have been in the same issue that we were in, in the Honda pilot. The backseat is just, it does not have enough room. The Toyota was, we didn’t even consider the carnival for you.

I think the Toyota is it. You’re not going to get 50, but you’re going to get over 30, 30, 35 or so. My brother in law with his Honda Odyssey does not get 30.

Crew Chief Eric: Again, if we had the level two charger, do we wait for the ID buzz? The Volkswagen all electric van, which is [00:24:00] bigger than I realized until I saw it at person.

So I know my wife likes that. She thinks it’s cute. Tanya’s seen it in person as well. The inside is very well appointed. And then we’re back in the Volkswagen family. I’m scared of that thing because I never want to be the first. One to buy the first new thing. It’s sort of like software or a computer.

It’s like, we’ll wait a generation or two until they figure it all out. You always wait for Windows service pack two. The other option that I threw on the table for her, because she’s driving my Jeep every day, was what about the 4XE? The hybrid Jeep. I don’t know whose hybrid that is. It’s because that’s a totally different layout.

It’s longitudinal. It’s all wheel drive. It’s not that borrowed Ford technology or whatever. Maybe it’s Chrysler’s own or they developed it alongside of Toyota because Toyota, a lot of people don’t realize owns the patents for a lot of this hybrid technology. What they do is then they license it out to other manufacturers.

But it’s never the most current [00:25:00] generation technology. It’s always like a couple generations old. So you’re getting the old software. You’re getting Windows 7 and not Windows 11. You know what I mean? That was another option because those are getting in the 30s from what I understand. And then all wheel drive and all those kinds of things.

Now the price tag on the Jeep is hefty. Don’t get me wrong.

Executive Producer Tania: You can get a wagon here.

Crew Chief Eric: At a hundred and fifty

Executive Producer Tania: thousand

Crew Chief Eric: dollars. Yeah.

Executive Producer Tania: You

Crew Chief Brad: know, you guys should just get a Hummer.

Executive Producer Tania: Well, just sell them your Cybertruck thing.

Crew Chief Brad: Yeah, you guys can have my Cybertruck allotment. Yeah.

Crew Chief Eric: The problem is I don’t think the Cybertruck will fit in my garage.

Although I know a Suburban will fit in my garage, but I don’t think the Cybertruck will fit.

Crew Chief Brad: You can’t charge it yet.

Crew Chief Eric: That’s true. And I think the Hummer’s too wide to fit in my garage.

Crew Chief Brad: Yeah, but once you pull it in and then you crab walk it around so you can perpendicular.

Crew Chief Eric: That also brought into question, do we get something older?

Do I go look for another diesel Grand Cherokee? Do we go find an older Chevy Nomad, Chevy Nomad, or Jetta station wagon with the TDI? And I go back to diesel because you [00:26:00] can still get diesel everywhere. Granted, it’s 4 and something a gallon here on the East Coast, but diesels of diesels run for freaking ever.

So it’s like, okay, whatever.

Crew Chief Brad: Like, what’s the conclusion for that? Did we ever close out the conversation of true cost of ownership or did we just kind of leave that twisting in the wind?

Crew Chief Eric: We don’t know. We really don’t.

Crew Chief Brad: I think we do. It’s called expensive. That’s what it is. You need a side hustle just to pay for your EV.

Crew Chief Eric: You know, it’s starting to look that way. It really, really is.

Executive Producer Tania: Just like any car purchase, unless you absolutely need a new car, it’s not financially advantageous to change from what you already have unless it doesn’t run or it was in an accident and doesn’t run or you have disposable income and no bigs if you go change to a 60, 000 car.

But if your car If you already have one and the mileage is reasonable, even if it needs whatever service [00:27:00] interval major work done to it, it’s not going to be 60, 000.

Crew Chief Eric: And I think where people misconstrued the whole mathematics is replacing the engine is a quarter of the value of the car, you know, the car’s 20 years old or whatever.

But you don’t think about it that way. Think about how much the car is costing you over the long term. And if the car has been trouble free for a really long time, it owes you nothing. It is more than paid for itself. It’s paid off. I mean, unless you bought like that lady did, what was it? That. Ford Escort ZX2 and

Executive Producer Tania: there’s somebody else who just bought a Camry and they have like a 72 month loan at 630 a month or something.

Poor person. Oh my God.

Crew Chief Eric: But the point is, the longer you keep your car, if it is relatively trouble free and you keep up with the maintenance that’s required and you can do maybe some of it yourself, that car will pay you dividends. Even if the motor transmission blows up, you’re like, man, I get another motor for 500 bucks, throw it in there and go another 150, 000 miles, you know, like who cares versus that car [00:28:00] note.

Crew Chief Brad: Yeah. And people also are in a very bad habit. Listen, cars of today are not the cars of the seventies and eighties. That a hundred thousand mile mark is not a death sentence. It’s not the nail in the coffin. Oh my God, I’ve got to get rid of this car. Tanya, how many miles are on your diesel right now?

Executive Producer Tania: 183, 000.

Crew Chief Brad: I had a diesel that had, when I had it, it had turned over 300, 000 miles. And to this day, I believe the person I sold it to is still driving it up and down the East coast to different track events. And granted, those are two examples of diesels.

Crew Chief Eric: My station wagon is a VR six. I got 226, 000 miles on it. It still runs.

Crew Chief Brad: I’ve got 130, 000 miles on my R. 100, 000 miles is not a death sentence. 100, 000 miles is usually a turning point for inexpensive maintenance, a timing belt, a timing chain, things like that. But as long as you kept up with the regular maintenance of the vehicle, it’s probably been trouble free up to that point.

You do that. Do you put. A couple hundred dollars to maybe a couple thousand, depending on the car. And you should [00:29:00] get another a hundred, 150, 200, 000 miles out of it. Again, as long as you keep up with the maintenance, just because your vehicle has a hundred thousand miles on it does not mean you need to run out.

And as Tanya said, spend 60, 000 on something new, which is close to like the average price of new vehicles, especially these days, shit is expensive. It’s wild. What vehicles cost right now.

Crew Chief Eric: I have never advocated for this in the past, but I can see the value in it today because of the expense of the cars.

If you’re the type of person that likes having a new car a lot, or you’re like, you know what? Do that a hundred thousand miles. I’m not really interested. You know, blah, blah, blah. And keeping it all that kind of stuff, lease the car. And here’s why. And again, I would, I don’t usually condone this. But it makes sense with these EVs or these spaceships where it’s like, you know what?

I had it for three years. I had fun. I’m going to get another one for three years and another one for three years. Because if you sort of amortize that because of how expensive they are, you’ll pay the 60 grand over 10 years or whatever it is, [00:30:00] but you’ve had three or four cars. In that span of 10 years that have always been kind of fresh and kind of new.

And now there’s somebody else’s problem.

Crew Chief Brad: Two questions about leasing though. One, if you lease a new EV, do you still get the federal tax credit? I don’t think so. Do manufacturers like Tesla even have leasing programs?

Crew Chief Eric: I don’t think Tesla does.

Crew Chief Brad: I mean, I know Ford and like all the, all the traditional

Crew Chief Eric: ones.

Crew Chief Brad: Yeah, but if people are buying Teslas and Rivians, I mean, if they don’t have a leasing option, then

Crew Chief Eric: you’re screwed.

Crew Chief Brad: Yeah, for sure.

Executive Producer Tania: If you’re buying a Tesla or Rivian, you’ve got money.

Crew Chief Eric: Maybe. Or you’re just in debt up to your eyeballs, like you said before, Brad. So there’s a lot of really interesting.

Permutations to sit and calculate. Now it used to be really straightforward. You’re like, I got 30, 000 to spend. What can I buy for 30 grand? I’m going to go to the, you know, blah, blah, blah. But now there’s so many different types of cars, power plants, drive trains. What can I buy for 30, 000? Next to nothing, unless you want like a base model Corolla, [00:31:00] it’s really hard.

And that’s where, again, I go back to that squishy center of the population, the gooey marshmallow between the graham crackers and the schmores that makes up the middle class. And it’s like, this cannot sustain longterm. This is not tenable. Between what we were talking about, upgrading the infrastructure in your house, the power grid, the cost of cars, it’s just coming to a head in a really, really interesting way.

So to answer your bigger question about where does this leave us with total cost of ownership? I don’t have an answer yet, and I’m not at the end of this journey, and I won’t be surprised going back to the earlier conversation. If the utility company comes back to me, says, remember what we said, 11. Well, we really met 17 and at that point, I’m checked out.

Crew Chief Brad: We really meant 111.

Crew Chief Eric: I’m not calling it a bait and switch or anything like that. It’s just the realism of the situation and all the different moving parts that are involved. It’s not just, Ooh, I’m going to buy a Tesla today. You know, it’s not that simple. Not anymore, but that actually leads us. [00:32:00] Into our very first article.

And so where I’m going with this whole discussion and Tanya brings this to the table and answer to my question. What do we buy future electric vehicles, EVs that you’ll soon be able to buy. So within this year, talking about new cars in 2024, what do we think?

Crew Chief Brad: Tanya, do you have any thoughts on what Eric should buy for Jess?

It’s Jess’s car. You have thoughts. I know you do. What do you think she should

Crew Chief Eric: buy? I have no idea. I know what I would buy off of this list, though. The second car on the list? Hell yeah! The Alfa Romeo? The

Crew Chief Brad: Toyota Sienna?

Crew Chief Eric: No, it’s the Alfa Romeo Giulia EV. Dude, that is just Oh,

Crew Chief Brad: you’re looking at the, uh, no.

Crew Chief Eric: That’s awesome. Come on, I thought Alfa was gone. Now they’re teasing us with this? But we’re gonna get an Alpha Julia EV, that’s gonna be faster than the Quadrifoglio, I guarantee it.

Executive Producer Tania: Well, until the battery dies.

Crew Chief Eric: And the upside is, it doesn’t look like it came out of the Jetsons.

Crew Chief Brad: It looks like a regular Julia Q4.

Don’t Alphas have electronics problems to begin with? And then they’re doubling down with the EV.

Crew Chief Eric: Only in [00:33:00] Formula One they have those problems. Shush, shush you.

Crew Chief Brad: No, no. People can’t even get in and out of their driveways because the car bricks itself trying to get in when it goes to a certain angle.

People, driveways are a little steep.

Crew Chief Eric: It is a Stellantis product.

Crew Chief Brad: It would be like a Range Rover EV.

Crew Chief Eric: Yeah, well there is a Bentley on this list. The rest of this list is interesting cars that we’ve actually talked about throughout the year, the BMW 3 Series EV concept, a bunch of other BMWs on here, the Buick Electra, which they teased a while back.

Executive Producer Tania: The Chevy Bolt. I thought that went away. Or was it the Volt?

Crew Chief Eric: Dude, that is such a hokey pokey.

Executive Producer Tania: It’s coming back in 2025.

Crew Chief Brad: Apparently. So Eric would get the second car. Hell yeah. Before I can make an informed decision based on the cars on this list, how close were the girls to Being out of car seats,

Crew Chief Eric: my youngest is almost out of her booster and my eldest is completely out.

Crew Chief Brad: And then why not? The A6 e tron

Crew Chief Eric: dude, that thing is sexy.

Crew Chief Brad: Yes. The Audi electric cars are whatever. [00:34:00] Eric’s about to spend 25 million to upgrade his panel. I mean, what’s another. Yeah, right. 100, 000 for an EV.

Crew Chief Eric: I love that there’s three Fiskars on this list and they can’t even fix the ocean, but they’re going to introduce three more cars.

I’m like, nope, hard pass.

Crew Chief Brad: I didn’t even know Fisker was still a company.

Crew Chief Eric: But there’s a lot of stuff. The Honda Prologue is on here, which we’ve talked about. The Honda Saloon actually looks like the Wraith. Yeah, it does. And there’s the new Ioniq 7 and the Ioniq 9, which we’ll talk about a little bit more as we go along.

Executive Producer Tania: Then there’s all the N versions of the 5. Yeah. What about this Lexus EV supercar?

Crew Chief Eric: That is interesting looking.

Crew Chief Brad: Why do they always have to throw out rappers and shit when they talk about the Escalade? It’s popular with 70 year old white women too. Why not talk about them?

Crew Chief Eric: There’s a lot of Cadillacs on this list talking about the elderly people.

Crew Chief Brad: Yeah, I do like the Celestique. I think we talked about it because it looks very, very French. It looks very Citroen.

Crew Chief Eric: I really like the lucid gravity. Did you guys see this thing? [00:35:00] Yeah. Looking for it. I didn’t know that they were going to make an SUV. This thing looks cool.

Crew Chief Brad: I like the canoe pickup truck. Yes.

That thing is freaking brutal looking.

Crew Chief Eric: Guess what? There’s a Mercedes Benz EQG, and it looks like every other G Wagon they’ve been making for a hundred years.

Executive Producer Tania: And I’m okay with that. I’m okay with that.

Crew Chief Brad: God,

Crew Chief Eric: these Mini Coopers are huge.

Crew Chief Brad: By the way, did you guys see the Rivians, the R3 and the R3X? The electric Fiat Panda looking things?

Those things look pretty cool.

Crew Chief Eric: But what’s really interesting about this list, then there’s like 30 cars on here. The Toyota Tacoma. EV now it looks like a regular taco, like anything else. And they got rid of the grill and all that. But again, we talked about Toyota, not really playing in the pool with everybody else and here they are.

Here’s another one we didn’t know about. And if they’re really going to come to the table in 2026 with a taco EV, maybe they are pulling back hard on what they said before

Crew Chief Brad: they’re testing the waters. They’re big enough where they can test the waters [00:36:00] of vehicles and not go completely all in. Do you never go full Tesla?

Look how it worked out for Polestar.

Crew Chief Eric: Well, before we switch into some Volkswagen, Porsche and Audi news, we have some sad news to report, right Tanya?

Executive Producer Tania: Earlier this month, we lost a legend in the automotive design industry of Italian fame, Marcello Gandini, who died at the age of 85. He is known, or he is responsible for a few cars you might’ve heard of.

The Lamborghini Diablo, the Lancia Stratos, the Mark I Polo, you know, a couple things like that. He was part of the Bertone company.

Crew Chief Eric: Yeah, he designed some really ugly cars. I mean, this guy. Really ugly. Yeah. No, all kidding aside, a legend in the automotive design world has left us. And he lived a good long life.

He designed some really, really cool cars. And the ones that you mentioned are just a few in his portfolio. Maybe not as epic as Giugiaro. But Gandini will definitely be missed. But I’m really curious [00:37:00] to see what comes next though, right? And what comes next is Volkswagen is making a stripped down, beefed up version of the Polo available only for farmers.

Not farmers only. Don’t be confused. They’re just making it for farmers.

Executive Producer Tania: Oh, this isn’t farmer needs a wife. Sorry. No, no, no.

Crew Chief Eric: Farmer needs a BW Polo. Apparently. Sorry.

Executive Producer Tania: Haha. Why is this a farm vehicle?

Crew Chief Brad: I don’t get it. The same reason the smart car was turned into a, a vineyard runabout.

Crew Chief Eric: Yeah, but that makes sense because it’s basically a glorified golf cart, but a VW Polo, like really?

Executive Producer Tania: I mean, I guess they’re trying to be like, be a panda.

Crew Chief Eric: Okay. First of all, it’s as big as a Mark 4 GTI was 20 years ago. So it’s not a small car. Let me throw some specs at you. One liter. One liter. Normally aspirated three cylinder making 84 horsepower and 75 pound feet of torque with a five speed manual.

Well, it doesn’t need to be fast. Here’s where the article is misleading. Okay. They [00:38:00] call it the Polo Robust. That ain’t robust. There’s nothing robust about this.

Executive Producer Tania: How much does this thing weigh?

Crew Chief Eric: 73, 000 tons because it’s German. Oh my

Executive Producer Tania: god, I would smoke it. On foot. Would smoke it in my Audi.

Crew Chief Eric: I’ll never forget driving my grandfather’s Alto Bianchi YDH, which is the Y10.

It was a one liter engine, four cylinder, five speed manual. The whole car weighed like 900 kilos. I mean, it was like a shopping cart with two seats in it, right? Even that if you wanted to pass somebody, it took like a half a mile of preparation and wringing its neck at 9, 000 RPM to get the stupid thing to move to like 60 kilometers an hour.

It was insanely slow. So I can’t imagine a 3, 200 pound VW Polo with a normally aspirated one liter, not even a diesel petrol. There are probably mark one rabbit diesels that are faster than this. Seems [00:39:00] sad. Volkswagen has lost their minds.

Executive Producer Tania: This should just be a street car, but with more power.

Crew Chief Eric: With a big turbo, like a Yaris.

That’s also a three cylinder, but it’s got a turbo. Big turbo. Big snail under the hood is what this thing needs. Well, you know what Volkswagen would do though? Nah, they’re gonna go, Oh, I know the solution. We’ll put a supercharger on it and call it a G40 like they did 20 years ago because they did have that for the Polos and it’s going to be pathetic and it’ll blow up and nobody will want it.

Bad, bad ideas, bad ideas. My reaction to this next article was, well, at least they’re not stuck on a carrier ship sinking in the middle of the Atlantic Ocean.

Executive Producer Tania: I mean, this is rich people things.

Crew Chief Eric: Right?

Executive Producer Tania: He’s trying to sell the car carrier with the six Porsches.

Crew Chief Eric: Headline reads, there’s a truck full of Porsches that a dealership just can’t sell.

This is like, what, two million dollar package to buy this? Each one of these 911s has got to be 300 grand.

Executive Producer Tania: It’s the package. It’s the six exclusive [00:40:00] Porsches and the truck. He’s

Crew Chief Eric: trying to sell them like a Hot Wheels collection.

Executive Producer Tania: Yes! It’s the car hauler with six 911s!

Crew Chief Eric: And they’re different 911s, although that top row, they look oddly similar.

This is some Austrian rich people stuff. The collection includes a 2018 911. 2 GT3 Club Sport, 2016 911 R, A 2018 911. 2 GT3 Touring, 2019 Wysock, a 2018 911. 2 GT3 Cup, and a 2018 991 GT3 R Carbon. Apparently he was going to take them to Goodwood to celebrate Porsche’s 70th anniversary. So he’s been sitting on these cars for six, seven years.

And the truck, let’s not forget, which is a man. TGX. Good luck, man. There’s no way he’s going to sell all these. He’s got to break this up.

Crew Chief Brad: He would make more money breaking it up, given the portions that are in this collection.

Executive Producer Tania: Who’s he going to sell it to? He’s only going to sell it to some celebrity who’s got millions of dollars or [00:41:00] something like that.

Or I don’t know, some sort of king.

Crew Chief Eric: The Sultan of Oman or something, you know, whatever.

Executive Producer Tania: I mean the picture right underneath the little wooden Porsche. It’s cute. Hauler with the, the cock, you know, even that is probably out of price range.

Crew Chief Brad: To me, the cars don’t even make sense together. There’s no cohesiveness between the colors or theme.

Like if they were all white, the truck’s white or all black. It seems kind of cool to me, but it just seems like a weird buffet of Porsche goodness.

Crew Chief Eric: It’s literally the Hot Wheels grab bin of whatever 911s were available at that time. That’s all. Yeah,

Crew Chief Brad: yeah, yeah. And why was he going to take them to Goodwood?

Does he work directly for Porsche? No.

Crew Chief Eric: He’s just a dealer. It’s time we go to Lower Saxony, talk a little bit about Mercedes.

Crew Chief Brad: Oh my god, we have Mercedes news.

Crew Chief Eric: Yes, they still make cars. And every once in a while, they make something that definitely gets my attention.

Executive Producer Tania: I don’t like the back though. What?

Crew Chief Eric: This is hot.

This is the scaled down [00:42:00] version of the GT three.

Executive Producer Tania: It’s all good until you get to the back. And then you’re like, what are these mom jeans with the 15 feet of like ass cheek? Okay. It’s in a terrible color.

Crew Chief Eric: A lot of people like yellow. That’s fine. I’m not a big fan of yellow cars. Imagine it in dark gray or in black.

Executive Producer Tania: And maybe the color would help, but there’s just something about the other AMGs with the haunches. I don’t know. It’s like this swooping rear and maybe it’s the angle and the color.

Crew Chief Eric: This thing’s got hips.

Executive Producer Tania: You can’t see them in this color, I guess.

Crew Chief Eric: No, you can’t, but it’s definitely got wide hips. Now, what are we talking about?

We are talking about the new 2025 AMG GT 43.

Executive Producer Tania: And it’s real drive.

Crew Chief Eric: It’s like the AMG version of the A class, except the A class is front wheel drive and a turbo four cylinder, two liters, something like that. This is. Still a four banger, rear wheel drive, but it makes 416 horsepower.

Executive Producer Tania: Still a lot of a two liter.

Crew Chief Eric: I [00:43:00] wonder what it sounds like though. Cause AMGs have that guttural earth shaking. It better sound amazing.

Crew Chief Brad: It’ll sound like half that. It’ll sound like that, but it’ll be two octaves up.

Crew Chief Eric: Just better not sound like a Honda with a fart can. I’m

Crew Chief Brad: not impressed.

Crew Chief Eric: What? Ah, I guess maybe I’m a fan of the 928. So I like stuff like this.

The

Crew Chief Brad: 928? What did the 928 have? The V8. Ding, ding, ding. You lost me.

Crew Chief Eric: I’m

okay with turbo fours.

Crew Chief Eric: Not

Crew Chief Brad: for a hundred

Crew Chief Eric: grand. There it

Crew Chief Brad: is.

Crew Chief Eric: There’s the problem with this.

Crew Chief Brad: I would pay 45 to 50 grand for this car. There you go. Thank you. I’m not paying a hundred thousand dollars for this fucking thing.

Crew Chief Eric: Yes, the price is the problem.

A hundred thousand dollars for a four cylinder AMG when you could go buy a turbo civic for 45. That’s a hard conversation. This is,

Crew Chief Brad: this is in a completely different league than a civic. Oh, let’s not get it twisted, but still something just irks me about paying 100, 000 plus for a two liter instead of the Honda civic, you could get a Volkswagen, which I [00:44:00] think would be in a closer league luxury wise.

You get a Golf R with similar to more horsepower and you put. 500 into it or 1, 000 to a chip.

Crew Chief Eric: 1,

Crew Chief Brad: 100. Yeah. 1, 100. And then you’re making 600. How, how much torque did Bruce get out of his car? It was 460 some odd torque. Yeah. And that, that wasn’t even an R. So

Crew Chief Eric: like you said, you love V8s and for a hundred thousand dollars, Tanya, what else could Brad get?

Executive Producer Tania: Mustang. You could get the Jeep Wrangler V8 final edition. For only 101, 890.

Crew Chief Eric: Finally. Atlantis money. Woo! It does come with a 392, 470 horsepower, 6. 4 liter V8 engine. Standard. Zero to 60 in a Wrangler in four seconds, brah. But it gets 13 miles to the gallon. I mean, who cares

Crew Chief Brad: about gas mileage these days?

Crew Chief Eric: If you

Executive Producer Tania: had 100, 000, which would you buy?

Crew Chief Eric: Oh, I’d buy the Benz.

Crew Chief Brad: If I had 100, 000, I’d buy a used 911. Or an Audi R8 or like a Nissan [00:45:00] GTR or something like that. I

Crew Chief Eric: mean, he has a point.

Crew Chief Brad: No, actually, I would buy a CLK AMG Black Series.

Crew Chief Eric: But you’d have the coolest sort of Hellcat Jeep Wrangler to take to the mall.

Crew Chief Brad: Or I would have the coolest blacked out Mercedes to take to the mall.

Executive Producer Tania: 100, 000 and you can get you the correct Mercedes. 100,

Crew Chief Brad: 000 get you a four cylinder Mercedes. How fucked up is that?

Crew Chief Eric: Well, let’s Let’s continue our domestic news brought to us by AmericanMuscle. com, your source for OEM performance and replacement parts for your Ford, Chevy, or Stellantis vehicle.

Executive Producer Tania: So going back to our Chevy Bolt B.

Crew Chief Eric: Is that the Colt? Oh, they need to bring that back. Or Colt. Colt? Or Colt? The Colt is the square body, people, but that’s another episode to itself.

Crew Chief Brad: And then the Colt is a Tesla thing. We’ll

Executive Producer Tania: So this guy who purchased his new back then [00:46:00] 2018 Chevy Bolt Ev has now amassed 240,000 miles Wow. On that little grocery gutter.

And the only thing he’s done, he says, is the battery was replaced under a safety recall at 150,000, but no other problems. Besides, like, brake maintenance.

Crew Chief Eric: That’s impressive! Good job, Chevy!

Crew Chief Brad: I mean, you got a ways to go with your diesel, apparently.

Crew Chief Eric: Well, I gotta say this, and the Green Grand Prix is coming up again this year, and plan on being there, live streaming and doing some other stuff, but I was really impressed by the Chevy Bolts.

Regardless of stock or modified like they had at the Green Grand Prix, especially during the autocross, if you go back and look at the live stream that we did, they were quick and they handled well. And everybody kept saying like how fun they were to drive. And I’m like, Chevy Volt, are you, are we talking about the same car?

And these guys, man, they were hooning it up with these Chevy Volts and they were loving them and they couldn’t say enough good things about them. And I’m like, man, [00:47:00] like, what am I missing here? Absolutely

Crew Chief Brad: nothing. They’re trying to convince themselves that they have a good car. I

Crew Chief Eric: mean, it’s not a Prius, right?

I mean that you know what you’re getting there,

Crew Chief Brad: which I have seen a Prius at a track event.

Crew Chief Eric: I have two. They’re not allowed anymore, though, from what I understand. Certain tracks, at least.

Crew Chief Brad: According to a track test by Jeremy Clarkson, a BMW E46 M3 is more fuel efficient than a Prius to get the same track time

Crew Chief Eric: at the same speed too.

Executive Producer Tania: Speaking of that tangent, I don’t blame them for banning the EVs. at track day events. Because you have one catch on fire, and then 1900 years later, when they put it out, everyone’s track day has been ruined.

Crew Chief Brad: And what damage does it do to the asphalt, the surface, you know, wherever it’s parked, when that thing melts down and just goes full scorched earth?

Crew Chief Eric: Well, This next one, I am still scratching my head.

Executive Producer Tania: This was, I think, a concept a couple years ago, but it’s like back, they’re still doing something with it. What is this Buick? It looks like something from that show Viper. [00:48:00]

Crew Chief Eric: Yes, which I love. Was this generated by like Mid Journey or one of the other AI programs?

Because it’s almost Forza quality supercar that we’re looking at here. And I don’t associate Buick. With something like this and especially the name that they chose the wildcat, which as we know, Tanya, our cousin’s dad had a wildcat and that thing was 11 million feet long. It was like the biggest car to this day that I’ve ever seen.

I mean, it was literal land yacht. So to call this the wildcat, I’m going to get it because it’s like a fun name and it’s aggressive. If I think about the original one, I’m not the red

Executive Producer Tania: car. Yes. Oh my god, I didn’t know that. Okay. Yeah,

Crew Chief Eric: it’s a Buick Wildcat 2 door.

Crew Chief Brad: Am I the only person in the world right now that is surprised that Buick still exists?

Executive Producer Tania: Not your grandparents car company anymore.

Crew Chief Eric: They say it’s because of the Chinese market. They really, really like Buicks for some reason. I don’t get it.

Crew Chief Brad: American weirdos.

Crew Chief Eric: Yeah, right? I’m just, I don’t [00:49:00] understand it. But, I saw another Buick the other day and I don’t remember the name of it. And I thought it was a Polestar.

It had the same sort of shape and same sort of look to it. And Buick has also revamped their logo. So it just has those three like downward facing pennants instead of the ring and all this stuff. And they silently changed that

Crew Chief Brad: like the Camaro logo now.

Crew Chief Eric: Yeah, exactly. And so we actually kind of were buzzing through traffic to see this car because I was like, what is this?

And I’m asking my wife and she’s like, I don’t know. I don’t know. And we finally got close enough to it and we’re like, Oh my god, that’s a Buick? I feel like Buick is silently changing their cars over. Maybe they’ll make something that we’re more excited about, or because we’re getting older, they’re building stuff that appeals to us

Crew Chief Brad: as old people.

So when do we see a new Grand National?

Crew Chief Eric: Right? Let’s switch to Asian domestic news and talk a little bit about Kia and Hyundai and some other manufacturers here that we [00:50:00] alluded to earlier. What’s going on in Korea, Tanya?

Executive Producer Tania: So apparently Kia is winning in the affordable mass market EV category.

Crew Chief Brad: Duh, they’re winning in the affordable ICE category too.

Yeah,

Executive Producer Tania: I don’t know what they’re comparing to. They only mentioned the Kia EV3, so I don’t know what they’re saying. Second one is, which is weird though because I guess they’re comparing it to EVs that don’t even exist yet because the R3 aren’t even out yet. So cool. You’re winning in a category that you’re only in.

Crew Chief Brad: Like Toyota Lama.

Crew Chief Eric: The important part about this article has nothing to do with Kia. It’s zooming in laser focused, hypersensitive. On what? To the Rivian R3X. Tell me that’s not a Lancia Delta or a Golf GTI Mark II silhouette.

Executive Producer Tania: Some people think it looks like an AMC Gremlin. If you’re listening, you need your eyes checked.

Crew Chief Eric: It looks like [00:51:00] anything designed by Giugiaro from back then. The Golf. The Panda. Just the way the back door is cut, the back glass, the B pillar.

Executive Producer Tania: If you take the Mark II Rally

Crew Chief Eric: Golf Oh, it’s a carbon copy.

Executive Producer Tania: Just put a roof rack on this thing.

Crew Chief Eric: It is so cool. Like, this is the coolest new EV I’ve seen in a while.

Like, if this is gonna be for real, and I like the little hippo nostrils front end that the Rivian has, that’s neat. The problem is that’s never gonna come here. That’s going to be for the European market because that appeals to all the launch a Delta lovers and the Volkswagen people and the Renault Clio folks out in the world.

But man, that’s what I’m excited

Crew Chief Brad: about.

Executive Producer Tania: Well, they’re saying 2027.

Crew Chief Brad: How absurd is it that they’re winning the most affordable EV 54 nine base price for an EV nine.

Executive Producer Tania: The EV9’s big though. That’s a sedan.

Crew Chief Brad: But the EV9 was their big SUV.

Executive Producer Tania: Oh, is it the SUV?

Crew Chief Brad: What’s the cheapest electric, like all electric vehicle out right now?

The

Executive Producer Tania: Chevy Bolt. It’s like twenties, I [00:52:00] think.

Crew Chief Brad: Twenties?

Executive Producer Tania: Well, I don’t know what the new one will be because they stopped making it, I thought.

Crew Chief Brad: Nope, it’s back.

Executive Producer Tania: You can pick up the used ones. You can pick them up with real low mileage for in the twenties.

Crew Chief Brad: Yeah, but that’s. But I think even

Executive Producer Tania: new, they weren’t anything over.

I don’t think 30.

Crew Chief Brad: The Volt is a plug in hybrid.

Executive Producer Tania: No, no, but the Bolt, the B. Oh,

Crew Chief Brad: Bolt. You’re saying Bolt. Oh, the one that’s the size of an Air Force One Nike. Yeah, your left shoe. Okay. Okay. So that’s more reasonable, but just, I’m just flabbergasted by the cost of brand new cars.

Executive Producer Tania: You can get a 2023 Chevy Bolt EV.

I think they stopped. So I don’t think there’s a 2024.

Crew Chief Brad: No, there isn’t.

Executive Producer Tania: 26 5.

Crew Chief Brad: Why aren’t they on this list for winning? Because they have the most affordable.

Executive Producer Tania: It probably has to do with number that are being sold too. Which doesn’t make sense because I don’t know why they’re listing the EV9 because the R3, the Rivian, allegedly is going to be 35, 000.

That’s

Crew Chief Brad: a good deal! Oh, like the Tesla Model 3.

Executive Producer Tania: Allegedly. So we’ll see what actually [00:53:00] happens.

Crew Chief Eric: This R3X is cool. I’m sorry, this is so cool.

Executive Producer Tania: It

Crew Chief Eric: is. We have another article in the show notes that has more pictures of it. This thing is cool. The interior is cool. Everything about this is cool.

Executive Producer Tania: Got a nice silhouette.

Crew Chief Eric: Yeah, it really does. Well, continuing to talk about the Koreans. We talked about the EB 9 being the biggest one in the fleet. As we know, Hyundai is the parent company of Kia and also of Genesis and a lot of other brands. It’s not a stretch of the imagination to say that just like Audis and Volkswagens are based on one another, there’s Hyundais and Kias that are based on one another.

So Hyundai is rolling out the IONIQ 9. It’s big, it’s bold, and it’s green, but I don’t like it.

Executive Producer Tania: Uh, it doesn’t have a nice profile. Not at

Crew Chief Eric: all.

Crew Chief Brad: It’s very square, unless you’re looking at the windshield. The windshield is at like a 60 degree angle, and then the rest of it looks very square but roundish.

Executive Producer Tania: Square but round.

Crew Chief Brad: Tell me I’m wrong. It’s very rectangular. [00:54:00] It’s rectangular round.

Crew Chief Eric: And I will submit Exhibit A, the fenders. Oh

Executive Producer Tania: yeah.

Crew Chief Eric: Look at these fenders. They’re round and then just cut straight. know what

Crew Chief Brad: that is. That’s, I don’t like it. The front end too. The front end is very perpendicular to the ground and then like slight curve and then parallel to the ground.

You put a level on it, it’s going to be level.

Crew Chief Eric: Why do the fenders of the Ioniq 9 and 7 have LEDs in them? What is the purpose? Federal

Crew Chief Brad: mandate. Look

Executive Producer Tania: hella cool.

Crew Chief Brad: The same reason the Ferrari 360s have to have those stupid side markers in the U. S.

Executive Producer Tania: Yeah, I was gonna say, it’s no different than a side marker that just moved it 8 inches forward.

Crew Chief Brad: Why

Crew Chief Eric: is it so fugly though?

Executive Producer Tania: Well Because it’s Hyundai. You know?

Crew Chief Eric: I don’t see this selling well. And there’s no pictures of the back, which means it must be absolutely heinous. If you’re not willing to show it from the back It must be really really bad and just looking at that d pillar and that weird glass They’ve got all this.

Yeah. I mean the pencil broke when they got to the back of the car There’s just no way this thing [00:55:00] looks good.

Executive Producer Tania: You know, speaking of kids. I saw an ionic 6 I saw it on the road

Crew Chief Eric: sob.

Executive Producer Tania: Yeah, I saw one and

Crew Chief Eric: was Kevin Bacon driving

Executive Producer Tania: it It was coming at me. So I really only saw it from the front And then as it passed me, I recognized it immediately.

I was like, Mmm, that’s that Saab ish thing.

Crew Chief Eric: Ev, like Ev. So dumb. Stupid commercials. Well, speaking of cars you thought were dead.

Executive Producer Tania: I thought the GTR was gone. They still make it?

Crew Chief Eric: Because of the Gran Turismo movie. We gotta bring it back.

Executive Producer Tania: I thought it went away. But apparently you can get a 2025 one, or at least in Japan you can.

Crew Chief Eric: It says here, this could be the end of the line for the 17 year old Godzilla.

Executive Producer Tania: I thought it already was! I’ve only seen one, maybe two, in the last 17 years in the real world. Did anyone buy these?

Crew Chief Eric: I’ve seen a handful of track days and it’s never the same person twice. I feel like they take them to the track one time and then that’s it.

They put them away in storage or something. And they’re big cars. I mean, they’re huge. They’re [00:56:00] rolling arcades. They basically drive themselves. But did it come out in 2007? That feels like a long time ago.

Executive Producer Tania: I don’t know. I guess.

Crew Chief Eric: Here’s another car that’s 100, 000. Do you buy a GTR? Or do you buy the Mercedes?

Executive Producer Tania: I buy the GTR.

Crew Chief Eric: What?

Executive Producer Tania: I buy the Mercedes.

Crew Chief Eric: I buy a Nissan Z at this point because I say 50 grand beats you all out.

Crew Chief Brad: No, I still buy a used 911 or a Dodge Viper.

Crew Chief Eric: Overrated. Okay, now you have my attention. Again, I didn’t know the GTR was still being made. So, okay. Good job, Nissan. Your marketing department wins again.

If you’ve seen three GTRs, that’s three more than the Nissan 400s. I have seen zero on the road. Like, they do not exist.

Crew Chief Brad: Oh yeah, I haven’t seen any

Executive Producer Tania: of

Crew Chief Brad: those.

Executive Producer Tania: I thought I saw one the other day, I remember, but it wasn’t.

Crew Chief Eric: So this next one, as we talk about random EVs and concepts, this is an all Mon Dieu moment.

This is one of those, don’t tease me, because I want this so bad.

Executive Producer Tania: You want that baguette holder?

Crew Chief Eric: [00:57:00] Well, yeah, they’re stale, aren’t they? But this is so cool.

Executive Producer Tania: What about the Renault R5? So

Crew Chief Eric: I saw the Alpine version of this when I was at Le Mans last year, and it is just the hotness. It is sick. This is cool. I can’t wait for the R5 to come back.

Having driven an original R5 Turbo II, this speaks to me. Is it as cool as like the Peugeot 208 and 308s and some of the new ones that are out? I like those better from a modern aesthetic perspective of a hatchback. But this being a retro car and being an EV, man, it checks all the boxes. And how much is it going to cost?

I don’t care.

Executive Producer Tania: It’s never coming to the United States. So it all doesn’t matter.

Crew Chief Eric: It’ll be a dollar nine. When I buy the hot wheels version at Walmart, that’s how much it’s going to cost. True. That’s what’s going to happen there. What else we got going on?

Executive Producer Tania: Brad is looking for that low cost EV and you might find it in a domestic.

Crew Chief Brad: I see

Executive Producer Tania: Ford is said to be [00:58:00] planning on a $25,000 compact EV for 2026.

Crew Chief Eric: BBBB. Did you read the fine print European market?

Executive Producer Tania: There you have it. Nothing good comes here.

Crew Chief Eric: Nope. And it’s going to use the new lithium iron phosphate battery, blah, blah, blah, all this kind of stuff. And that’s great. But here’s the problem I have with it. They’re going to take it to Europe, and they’re going to call it the Explorer. That’s not an Explorer.

Executive Producer Tania: Oh, no. We already have an Explorer here that is. EV or will be EV was listed in the upcoming.

Crew Chief Eric: We need to come up with a new name for this. This it’s not going to be sold as an explored.

Crew Chief Brad: Okay. Let’s do it. Let’s, let’s come up with a new name. I only see the one picture. What do we think it should be called?

If the pickup truck is maverick, I think this should be goose.

Executive Producer Tania: Why not? Mustang something.

Crew Chief Brad: The Mustang mock D’s

Crew Chief Eric: mark D’s. Something along the lines of the car.

Executive Producer Tania: No, this is too big.

Crew Chief Brad: A Mustang is a wild [00:59:00] horse. What is a wild mini horse? It’s the Pinto. Oh, we figured it out. It’s the Pinto. The Mustang Mach E too.

Crew Chief Eric: And just like the Pinto, if you hit this thing hard enough in the back, it’s going to explode and melt to the ground.

So it’s perfect. Done. We figured it out. Ford, we’ve solved your marketing problem at this. See, that’s what we’re here to do. Solve problems.

Executive Producer Tania: We mentioned Polestar earlier as new EVs coming in this year or next year. However, Volvo has lowered its stake in Polestar, relinquishing more of the control to the parent company Geely or Geely, however that’s pronounced.

She reminds me of that movie. With

Crew Chief Eric: Ben Affleck

Crew Chief Brad: and what’s her face? And Jennifer Lopez.

Executive Producer Tania: Was that called Geely?

Crew Chief Brad: It’s called Geely. It’s

Crew Chief Eric: called Giggly.

Executive Producer Tania: At any rate, they’re relinquishing part of their stakes, or they’re not completely going to zero. They’re around 18%. So what does this mean for Polestar? Who knows?

Crew Chief Eric: [01:00:00] Means they’re still going to have cars that look like Volvos.

Executive Producer Tania: I know. Anticlimactic. Time will tell, I guess. It’s not apparently impacting their plans for the upcoming three and four crossovers, et cetera, et cetera. So we’ll see what is in store in the future for Polestar.

Crew Chief Eric: Alright Brad, it’s time for your favorite section of the drive thru, it’s time for Lost and Found, where you scour the internet looking for the newest old car available on dealership lots.

Crew Chief Brad: Well, I already told you about the Tesla Cybertruck Founders Edition that was on Cars and Bids. I think the current bid was 150, uh, let’s see here. God, I feel so sorry for the person who owns this 2005 Ford GT, the yellow and black one, because it is still for sale. 450, 000 estimated payment, 7, 365 a month.

Wow. Still cheaper than an EV. Taxes, tags, title included. Woo! Yep. That’s all. There’s nothing really exciting out here. [01:01:00] Nothing fun.

Crew Chief Eric: Are you kidding me? I found the newest old car for sale. You want to know who the previous owner was? Eric. Nah. The former design boss at Stellantis. He sold his 1992 Lancia Delta Integrale HF in Tornado Red.

This thing is The sickness. Yeah. It was on bring a trailer. There you go. It’s an Evo one and not an Evo two. And guess what? It’s sold for 93, 000. So going back to our question before, if you have a hundred grand to spend, what do you buy? You buy this?

Crew Chief Brad: No, no, no.

Crew Chief Eric: How can you not love an Italian hot hatchback?

That is twin charge, supercharged and turbocharged make it 300 horsepower plus all wheel drive.

Crew Chief Brad: I mean, I like it. I don’t a hundred thousand dollars like it.

Crew Chief Eric: I hear they steer like a bus.

Crew Chief Brad: You’re not selling me on it.

Crew Chief Eric: Well, I mean, it’s 1980s technology wrapped in a 1990s shell. So, you know, you get what you get and you don’t get upset.

I’m not going to kick it out of the garage. I would take this car [01:02:00] hands down. Not for a hundred thousand dollars. Tonya, would

Crew Chief Brad: you

Crew Chief Eric: spend

Crew Chief Brad: a hundred thousand dollars on this car? She’s got to think about it, Brad. Look at that face. For 93, 000, she’s just trying to find the article.

Executive Producer Tania: No,

Crew Chief Brad: a

Executive Producer Tania: hundred thousand on this or the Mercedes.

Yeah. What

Crew Chief Brad: do

Crew Chief Eric: you buy?

Crew Chief Brad: That’s a good question.

Crew Chief Eric: Mercedes has air conditioning. This probably has a rat blowing over an ice cube. Mercedes has AC, but this car has more windows. What

Executive Producer Tania: makes this car 93,

Crew Chief Eric: 000? It’s a Lancia Delta Integrale HF Evo one.

Executive Producer Tania: That’s it. Should it really be? Thank you.

Crew Chief Eric: Thank you, Tanya. Thank you.

It’s wrong with you people.

Executive Producer Tania: This is an icon. I know this is like

Crew Chief Eric: a fashion statement.

Executive Producer Tania: Is it

Crew Chief Eric: $93,000 though? It was like $93,000 when it was new in 1990 $2 when you converted. So it’s a, it’s a bargain.

Executive Producer Tania: This is hard decision.

Crew Chief Eric: No, it’s not. It is a simple decision. You take the Shield and the Lance

Crew Chief Brad: and you put your 93, 000 in the bank.

Well, there’s that. So there is a car we haven’t [01:03:00] talked about yet. What’s that? Do you spend 100, 000 on the Lancia Delta Integrale or do you spend 100, 000 on a 1985 Porsche 940? Oh my God. I can’t believe it.

Executive Producer Tania: All day, all night.

Crew Chief Brad: I’m in agreement with

Executive Producer Tania: Tanya.

Crew Chief Eric: This is where auctions get out of control. I could not believe this.

Executive Producer Tania: Is this even a turbo?

Crew Chief Eric: No, it’s a regular 944.

Executive Producer Tania: F that noise. Piece of crap.

Crew Chief Eric: No, I love 944s. The base model ones are probably the most boring car I’ve ever driven, and I mean that in the most positive way. They don’t do anything you don’t expect. They’re not nervous. They’re very calm. They’re subdued low gear ratios.

Like it’s just an Autobahn cruiser, but on the same token, just like my M3 was, it doesn’t excite me, right? 944s have never gotten me excited. Even the turbos. You’re like, Ooh, that was fun. Great. This is again, where auctions get out of control. 100, 000 for a base model 85 [01:04:00] 944? Okay, it’s got Fuchs on it.

Whoop dee doo, so does every other 944 on the planet. I don’t see it. I think they messed up. This is a 15, 000 car. I could see maybe paying 10,

Crew Chief Brad: 500.

Crew Chief Eric: There’s a typo here. There’s no way this sold for 100, 000 bucks. I mean, the car better have, like, 12 miles on it, but at that point, you’re gonna have to rebuild it.

Anyway, it’s going to need a head gasket as soon as you look at it.

Crew Chief Brad: No, thank you.

Crew Chief Eric: You know, talking about Daniel and square bodies and stuff. I saw a square body with the camper attachment thing. You’ve seen those back in the 80s. They would put that like literal physical box in the bed with like a door.

Like, I don’t even know what you call that, right? It just looks like a bio dome that you carry around with you in the bed of the truck. They had 1 of those sell at me come. For like a hundred thousand dollars. It was absolutely bonkers. I’m like, where are people coming up with the money for this stuff?

And that’s where I say, if you spend a hundred thousand dollars on an 85, nine 44, I will go down to the Mercedes dealership tomorrow and go buy that GT 43, because it doesn’t make any sense. [01:05:00] 944, they literally made hundreds of thousands of these cars. It’s the car that saved Porsche from going bankrupt in the 80s.

It’s a mass market car. And you want to tell me it’s a collector item at 100, 000 now? No freaking way. If you’re gonna spend 100, 000 on a 944, it better be Cup car? Yes, cup car. It better be an S2 Cabriolet, like the last year, like a 92 and a half, with all the options, and the blue leather, and like all that crazy stuff that you could get, the pearl paint, and you know, they only made like three of them kind of deal, but a Guards Red, Black Leather, Black Fuchs, 944, this is like the most basic vanilla latte Starbucks Porsche on the planet.

Come on, 100, 000. Get the f out of here. Take your 944 and go home. Well, we’ve reached that part of the episode where we would be remiss. We didn’t talk about [01:06:00] Teslagate.

Executive Producer Tania: Was that the Law and Order music? What

Crew Chief Eric: kind of shenanigans is Elon up to this time?

Executive Producer Tania: Not much, just a quick check in with Hertz and their, their mis investment.

I love

Crew Chief Eric: that the most exciting thing we have to talk about with Tesla’s rental cars. This is amazing.

Executive Producer Tania: So we recall a couple years ago, they hedged a big bet. Went all in buying 100, 000 Teslas into the Hertz rental fleet, high expectations on this, and now that CEO has resigned from Hertz after he grenaded the company into a hole and the new CEO has to dig themselves out of this huge investment to divest all of these Teslas.

Crew Chief Eric: Wow. They took a bath on these things.

Crew Chief Brad: So if anybody’s looking to buy a used Tesla,

Crew Chief Eric: no, that guy’s looking for a job. That’s what he’s looking for. If you want to hire a CEO that will ruin your company, check the Hertz website. That’s the [01:07:00] guy.

Executive Producer Tania: And they bought high and they’re having to sell not as high.

Cause there’s been a number of price reductions on Tesla’s over the

Crew Chief Eric: years.

Executive Producer Tania: Claim high repair costs. Like, well, what does that mean? The maintenance shouldn’t be Depends, though, because people rag on rental cars. So if they’re bashing them into things, and suddenly you have all these EVs that have been in mild accidents, and then they have to get checked out, maybe brought back to service dealers to make sure everything’s All good.

God forbid you rent it out and lights on fire or something because there’s a problem with the batteries. Wonder what the rental insurance liability is for the EVs. I couldn’t have been cheap.

Crew Chief Eric: Do you have to take out extra fire insurance?

Executive Producer Tania: I don’t know because I’m sure the rental was really expensive per day on these.

So it’s like who are you expecting was going to go Buy these. Most people are trying to find the cheapest rental car they can.

Crew Chief Brad: Eric, you got to add that into your total cost of ownership. Yeah, yeah, for sure. Does your homeowner’s insurance [01:08:00] go up because of the risk of fire if you’re parking an EV in your garage?

That’s true. It has, Matt.

Executive Producer Tania: Well, I wonder if they ask those kind of questions now when you’re filling out your home insurance, right? I

Crew Chief Eric: mean, Chrysler tells you not to park your EV in the garage to begin with. Just leave it outside.

Executive Producer Tania: What is the point of the house I bought for my car to not put the car Is that what the

Crew Chief Eric: garage is for?

Crew Chief Brad: Oh, you bought your car a house.

Executive Producer Tania: Yes, the garage is the house for the car.

Crew Chief Eric: No, the garage is for all your crap that doesn’t fit in your house.

Crew Chief Brad: No, it’s for the car.

Executive Producer Tania: All right, well, enough of that. Now, the more interesting thing. So, Motor Trends has done a comparison test. Before you read the answer, between the Cybertruck, the Rivian R1T, and the F 150 Lightning, which truck do you think came out on top?

And, of course, they looked at the real world mileage. They looked at off road capability, acceleration. They did some like figure eight tests.

Crew Chief Eric: How many Porsches were they towing in this exercise?

Executive Producer Tania: They towed [01:09:00] some 3, 200 almost pound camper trailer.

Crew Chief Brad: All right. The real question is who comes in second.

Executive Producer Tania: Okay.

Because

Crew Chief Brad: we already know who comes in first.

Executive Producer Tania: No. Who do you think comes in first? Go bottom up. Who’s number three?

Crew Chief Eric: I think the Lightning is at the bottom.

Crew Chief Brad: Ooh, I was going to put the Lightning at the top.

Crew Chief Eric: No, we already know the Lightning’s second. It sucks at towing. Like we’ve seen those real life tests with the guys with the tampers and all that stuff.

I think that’s at the bottom.

Crew Chief Brad: We haven’t seen a real life test with the Cybertruck of the Rivian.

Crew Chief Eric: No, it’s towed a 9 11. That’s all we needed

Crew Chief Brad: to know. It beat a 9 11 towing a 9 11. You can tow a 9 11 down a quarter mile, not 300 miles down the interstate. How

Crew Chief Eric: far is your home depot from your house?

Crew Chief Brad: About 4.

5 miles.

Crew Chief Eric: There you go. That’s as far

Crew Chief Brad: as

Crew Chief Eric: you need to go. That’s it.

Crew Chief Brad: But then can you shovel mulch over the side?

Executive Producer Tania: You laugh. But in the cargo carrying category, they commented that the Cybertruck, you can’t easily shovel mulch out over the side rails as you can in other trucks. Boom. Mulch.

Crew Chief Eric: I’ve never seen anybody shovel mulch out of their truck.

Is that a [01:10:00] thing? Like all these guys with their pristine bed liners. I’m like, you buy bag mulch. Come on.

Executive Producer Tania: I don’t think they actually put mulch in these. I think it’s just a funny way of saying like the way that the bed sides are angled. It’s not really great for getting stuff out. Anyway, so you think number three is lightning.

So who do we think is number two?

Crew Chief Eric: I don’t want it to be the Rivian. Is this one of those like, it’s slanted in favor of the Cybertruck because everybody’s given it so much grief?

Executive Producer Tania: Who do you think is number two?

Crew Chief Eric: I’m gonna roll hard. I’m gonna take a chance. And say the Rivian beat the Tesla.

Crew Chief Brad: I have to abstain from voting because I saw the result.

Executive Producer Tania: Oh, dang.

Crew Chief Brad: All right. So what, what happened?

Executive Producer Tania: The Rivian is number one in this comparison, followed by the Cybertruck and then followed by the F 150 Lightning.

Crew Chief Eric: Logic prevails.

Executive Producer Tania: Yes. So.

Crew Chief Eric: So what I learned from this, just from this opening picture, because I didn’t scroll any further than that. I didn’t realize the [01:11:00] headlights are in that gap, which I assume is a panel gap between the front nose and whatever that thing they call a bumper is at the bottom. Like, so that streak of light across the front of

Crew Chief Brad: that, that’s a daytime running light.

Crew Chief Eric: Exactly. I thought that was the headlights.

Crew Chief Brad: Oh my God. That makes the truck. Even stupider

Crew Chief Eric: so ugly and then now that I’m scrolling down. This is the first time I’ve gotten a very clear Picture of the wiper blade.

Executive Producer Tania: Oh, so speaking of the wiper blade.

Crew Chief Eric: What does that wipe

your ass?

Executive Producer Tania: I thought it, Brad said it. How does

this work?

Executive Producer Tania: Here you go. So a new driver venturing into a big puddle will learn that with the wheels and windshield so far, so commenting on Tesla, Tesla presents a curve. That’s so steep. We worry about Turo renters who may not get much familiarization. So stepping into a cyber truck versus something more normal, a new driver venturing into a big puddle will learn that with the wheels and windshield so far forward, visibility can be completely obscured.

By the splash of potentially muddy water. A [01:12:00] terrible time to learn the two step process for activating the Giga Wiper. Thumb the tiny button on the steering wheel with the windshield washer icon, then look down and choose your wiper setting from a pop up menu on the screen.

Crew Chief Eric: Wow.

Executive Producer Tania: It got really poor marks in terms of like visibility.

Apparently you can’t see out of the thing.

Crew Chief Eric: They summarize it in two words. It says further in the article. Bunker visibility.

I also like the other comment in the con column. Cosplay quote unquote off road tires.

Executive Producer Tania: Apparently they were horrible. They mudded up immediately and it went like spinning and sliding. Whereas like the Rivian and the Ford on their like, Whatever normal street tires were, it was like, fine. And they’re Cooper’s

Crew Chief Eric: that they got, you know, like whatever.

I also like the borderline dangerous secondary trolls.

Executive Producer Tania: Yeah. Like that windshield wiper

Crew Chief Eric: is great. It never [01:13:00] ends.

Executive Producer Tania: Like there’s a reason why, and it goes back to the manufacturers now also back peddling on the whole infotainment. Let’s control everything with this big, huge. iPad in the middle of your console, the tactile, the levers behind the steering wheel, knobs that you can intuitively just reach for, feel, and you don’t have to look at them.

I shouldn’t have to divert my eyes to use my windshield wipers. I should just be able to flick if they’re on immediately.

Crew Chief Eric: I feel like the Cybertruck is this giant social experiment. We’re gonna throw the craziest crap at this and then see how people react to it. Who’s the engineer that said, you know what?

I’m going to make the windshield wiper work like this. Let’s see what they think about it. It’s like, here, hold my beer. Like the whole truck is here. Hold my beer, right? It makes no sense whatsoever. But again, these are some of the clearest pictures I’ve gotten of the windshield wiper, the side mirrors, the headlights, some other things about the truck.

Everything else has sort of been obscured. And what’s also fun about the picture of the [01:14:00] cyber truck just above the pro and con column. Look how gross.

Executive Producer Tania: I don’t, I have like, it’s just like, yeah, it looks dirty.

Crew Chief Eric: It’s just awful. Like, disgusting.

Executive Producer Tania: It looks like, you know, you haven’t washed your car in a month and it gets that grime that’s like streaking down the sides.

I’m like, just go look at your stainless steel appliances in your kitchen.

Crew Chief Eric: Come on. And that roof line, I mean, it looks like combination Frank Lloyd Wright meets a kindergartner. Like who wants their car to look like a house? In profile. Like, it doesn’t make sense. I could make something less angular out of Legos, and with better precision as we know, than this Cybertruck.

Like,

Executive Producer Tania: oh god, it’s terrible. It’ll be interesting the day we finally see one on the road.

Crew Chief Eric: We’re never gonna see one on the road. There’s only like three Crest Cybertrucks running around. That’s what it is. Nobody actually owns these things. So bad. Well, enough of that. My expectations are once again [01:15:00] lowered.

Lowered expectations. I told you guys I would check in. Did you watch the Ferrari movie? Nope.

Crew Chief Brad: What Ferrari movie?

Crew Chief Eric: This is becoming like Drive to Survive. So is it going to be one of these deals where if I watch an episode of Drive to Survive, you guys will watch the Ferrari movie? Is that where this is going?

Yes.

Executive Producer Tania: No, I’m not, not watching it for any particular reason. I’m just not watching it. For the same reasons I’m not watching a lot of other movies that have just come out. I just haven’t made the time.

Crew Chief Eric: I thought you were going to say because they suck.

Executive Producer Tania: There’s always that potential too.

Crew Chief Eric: Whatever. I’ll get your guys opinion on it eventually.

If you didn’t have enough things to watch or review with Steve and Izzy from Everything I Learned From Movies, here’s another one to add to the list. This one’s called The Lionheart and it’s on HBO Max.

Executive Producer Tania: Yes, it is about Dan Weldon, who was a British motor racing driver and he was in the IndyCar series.

But he died in 2011 in a racing incident.

Crew Chief Eric: And I have been told by some folks that watched it, they said, quote, if you haven’t watched it, I’m ashamed of [01:16:00] you. You need to watch it now. Okay.

Executive Producer Tania: That was what Sam said.

Crew Chief Eric: All right. So that’s on my list to watch and report back on and see what that’s all about. I don’t know that story.

I don’t follow IndyCar that much. I’ve heard that it’s good. So I’m curious. I did see it pop on my feed the other day and it kind of glazed over it because I was like, Oh, IndyCar. Yeah, I’ll get to that now that it’s been reinforced. I guess I’m sort of feeling guilt tripped into watching it.

Executive Producer Tania: I think I remember when this happened.

Obviously I don’t know all the particulars and I didn’t follow the series that closely, but I think I do recall when it happened.

Crew Chief Eric: Well, this next one, it was a toss up of where we were going to put it. Is it Florida man? Or is it lowered expectations? It’s pretty close.

Executive Producer Tania: How? Nebraska woman used a rewards card loophole for 7, 000 gallons of free gas?

She ain’t ever changing to EV.

Crew Chief Eric: So now you know, we talked about how much gas can you buy for 10, 000. Well, for 27, 000 equivalent, that’s 7, [01:17:00] 000 gallons of gas. That’s a lot.

Executive Producer Tania: How does she do this?

Crew Chief Eric: This woman is accused of improperly using her rewards card from Pump and Pantry in Lincoln, Nebraska, at least 500 times over six months.

Executive Producer Tania: What does that mean? I don’t understand.

Crew Chief Eric: It says here, there’s usually nothing wrong with using a rewards card, but police say the woman took advantage of a software update from November 2022 that managed orders and rewards cards at the fuel pump. She hacked the fuel pump, I think is what we’re saying here.

Dang. According to this, She used the rewards card 510 times. She’s accused of being paid to give her card to another woman to get free gas.

Executive Producer Tania: So if you had a 14 gallon tank, that’s 500 tanks of fuel that you could fill.

Crew Chief Eric: That’s a lot of driving. Where was she going to Canada and back?

Executive Producer Tania: Fill up say twice a month, then that’s 24 times a year.

That’s almost 21 years.

Crew Chief Eric: [01:18:00] Wow. She was filling semi trucks or something like I don’t get it.

Crew Chief Brad: That’s ridiculous.

Crew Chief Eric: So if you two know how to hack the TV based gas pump, like they have it pump and pantry, you can get some free gas apparently.

Executive Producer Tania: But you got to unload that gas pretty fast because Right? Where did she store 7, 000 gallons?

How do you launder it? Oh my god, it’s like the Sonny and

Crew Chief Eric: Philadelphia episode. He shows up with a 90 gallon trash can and then he starts trying to sell it door to door, you remember that? Same thing, or those crazy people. What was it, we were having the gas shortage thing, like temporarily there for like a minute during COVID and everybody’s like buying gas and people are trying to put it in trash bags.

You remember that? How do you move 7, 000 gallons in six months? That’s a lot of gas.

Executive Producer Tania: How did they not notice this sooner? This woman’s going with like 18 gas cans.

Crew Chief Eric: I’m gonna say it again. Pump and Pantry, Lincoln, Nebraska.

Executive Producer Tania: Is that the name of a city?

Crew Chief Eric: No, that’s the name of the [01:19:00] gas station. Where

Executive Producer Tania: are you from?

Oh, I’m from

Crew Chief Brad: Pump and Pantry, Lincoln. That’s in Nebraska.

Executive Producer Tania: Oh, it was Lincoln, Nebraska. Got it. Okay. Sorry. No offense to anybody from Nebraska.

Crew Chief Brad: My family’s from Nebraska.

Crew Chief Eric: The other thing is if she hacked the machine, maybe she found the Easter egg, touch this corner, dance on your head, pick your nose at the same time.

Noob Saibot. Yeah, right. But it doesn’t usually work that way. If you’re going to hack the thing. So she’s out there with her laptop, plugging into the card reader and like hacking into the machine. Like how did, or is it like, you know, you see in like blacklist and she puts the thing and it starts beeping and 93 million numbers start going.

How do you hack a gas pump to make this happen? I don’t know. But this is also why I don’t buy gas from no name gas stations.

Crew Chief Brad: Why? It would have been in your bed. That’s when you pay with cash.

Crew Chief Eric: You could have gotten 7, 000 gallons of just watered down crap too. You know what I mean?

Executive Producer Tania: Yeah, you could have been in for a rude awakening.

Crew Chief Eric: This could have been a Florida Man story. It’s right there. It’s borderline.

Crew Chief Brad: [01:20:00] Yeah, the fact that it didn’t make it to Florida Man leads me to believe that we’ve got something really spicy in the Florida Man

Executive Producer Tania: section. No, I don’t know that we do, unfortunately.

Crew Chief Eric: Does that mean we gotta go down south for alligators and bear?

Executive Producer Tania: Was this one in Flowrider? No, this was in Arizona.

Crew Chief Eric: We’re adding states. We add Nebraska. Let’s say that other one gets an honorable mention. It counts.

Crew Chief Brad: I feel like we need a map of the United States behind one of us with little pins on where these stories are from. Tanya and I talked about this. We’re going to put it on the website.

Executive Producer Tania: We’ve hit a lot of states. We are missing some.

Crew Chief Eric: I ran a report. We figured out where all our stories are coming from. Did you use the Power BI?

Executive Producer Tania: Used Excel, like Williams.

Crew Chief Eric: Nobody needs [01:21:00] that sophisticated AWS, just use Excel spreadsheets.

Executive Producer Tania: Tried and true, baby. You can do a lot with Excel. I do try to look in the lesser known states in this segment.

Crew Chief Eric: The best stories come out of Florida.

Executive Producer Tania: Have yet to find South Dakota man, you know, but I’m looking, I do try to look.

Crew Chief Brad: They don’t have communication out of South Dakota. You have to actually go there. You have to go to Sturgis to.

Executive Producer Tania: I might have to be more specific. I might have to be like city specific.

Crew Chief Brad: Like a pump and

Executive Producer Tania: pump and pantry, South Dakota pump

Crew Chief Brad: and pantry.

Crew Chief Eric: This story is a lot like the carjacking story, though.

Executive Producer Tania: This is stupid criminal file. So guy gets out of jail needs the way home somehow randomly comes across Like a Volvo car hauler loaded up with over 1, 000, 000 worth of Corvettes. So that’s how many Corvettes were on this thing. And he steals it to drive home to wherever Pumpin Pantry, [01:22:00] Arizona.

There must be like 900 lojacks on this thing. And like satellite tracking to make sure the million dollars of merchandise doesn’t get stolen.

Crew Chief Eric: Let’s also be real, this ain’t Smokey and the Bandit. That thing is slow.

Executive Producer Tania: Exactly! I mean, the cop probably could like, run up next to him.

Crew Chief Brad: Look at the road that they’re on.

I can’t imagine that there’s a lot of traffic. So this is probably his only option.

Crew Chief Eric: You know what would have been really funny though? This guy gets in the truck, locks himself in there as the story says, and then he just drives away, blah blah blah. But what would have been really funny is, He gets in it and looks down, and it’s a manual, and he goes, Ah, shit.

Executive Producer Tania: What’d have been really funny is if he knew how to use the hauler, and he took one of the vets off and then drove the vet away. Well, that’s what he should have done.

But how gullible was the truck driver, too?

Executive Producer Tania: Where was the truck? Where is this truck in the middle of a freaking desert? Where was he?

Crew Chief Eric: According to the story, allegedly the truck was parked at the Wilcox Lowe’s truck stop in Wilcox, Arizona.

Executive Producer Tania: Oh, so this is where they caught him. This is the [01:23:00] picture they’ve apprehended him at this point. No,

Crew Chief Eric: no. Where’s the Lowe’s? No, Love’s, the truck stop. It says here, Oh, Lowe’s. When Walker, not to be confused with Texas Ranger, began to strike up a conversation with the truck driver at the truck stop, the driver attempted to climb into the cab of the truck, And Walker grabbed the driver and threw him to the ground, at which point Walker got into the truck, locked the doors, and drove out of the parking lot.

Executive Producer Tania: So he turned down this random dirt road and then got caught.

Crew Chief Eric: That’s where he got caught. Yeah.

Executive Producer Tania: He had missed a seal in the truck, but not the Corvettes.

Crew Chief Eric: No, it’s like Ron White. I was not drunk at all. In public until you put me in public, right? He didn’t steal the Corvettes, he stole the truck.

Crew Chief Brad: If you think about it, how many counts of Grand Theft Auto is he going to be charged with?

Executive Producer Tania: I guess 10 vets in a truck.

Crew Chief Brad: Oh, it says 11 accounts of theft of means of transportation.

Crew Chief Eric: What’s the thing in Monopoly? Do not pass go, go directly to jail, do not collect 200. Yeah,

Executive Producer Tania: he got out of jail just to return revolving door [01:24:00] right back. Oh, well.

Crew Chief Eric: Do we have a real Florida? We have a real

Executive Producer Tania: Florida man. Yes.

Sweet. We’re diverging a little from the norm. It’s a motorcycle. What?

Crew Chief Brad: Those are the best.

Executive Producer Tania: Florida man with mullet.

Crew Chief Eric: Wait, say that again.

Executive Producer Tania: That’s not really shocking. Florida man with mullet. Oh,

Crew Chief Eric: damn. Oh, okay.

Executive Producer Tania: Florida man with mullet. Fleece from cops with mullet. Will Run license plate.

Crew Chief Eric: Wow, advertising.

Executive Producer Tania: Yeah, so there’s a video of this, and there’s a picture of him and his glorious hair.

Crew Chief Eric: Hold on a second, is that a mullet, or is that like, just got out of bed hair? Cause like, my hair looks like that some days. I

Executive Producer Tania: don’t know.

Crew Chief Eric: Like, you know, you’ve been laying on a pillow the wrong way, and then you get up and your hair’s like all feathery and large. Like, is that really a mullet? His hair doesn’t go to his shoulders.

Executive Producer Tania: And there’s a video. He passes the Daytona beach signs. So you fast forward to minute 10.

Crew Chief Brad: Of the video.

Executive Producer Tania: And it hit play. Is he by the track?

Crew Chief Brad: Yeah, he’s by the track. Where we walked across that bridge. Right?

Crew Chief Eric: Oh, yeah, yeah, yeah, yeah. And

Executive Producer Tania: then you see [01:25:00] the Hooters. He drives by the Hooters. Oh,

Crew Chief Eric: yeah, that’s right by Daytona International Raceway.

Executive Producer Tania: The best part, this chase goes into the night time, they find, like, the helicopter’s like,

Crew Chief Eric: Really?

Executive Producer Tania: Well, into the night time, I don’t know, because it went into, like, night vision at the end of the video. I don’t know what time of day it was, but the best part was the last, like, seconds of the video, I think the cop complimented him.

Crew Chief Eric: I thought they weren’t supposed to pursue.

Executive Producer Tania: They pursued him with the helicopter.

Crew Chief Eric: Oh, okay.

Executive Producer Tania: So they weren’t chasing him at speed. I think the helicopter was pursuing him, but then they kept having cops in the vicinity and then like, I don’t know why he finally like stopped and then they rushed him. There you have it.

Crew Chief Eric: Yeah, man.

That’s

Crew Chief Eric: a real, real strong on the motorcycle.

Executive Producer Tania: He goes, yeah, man, you’re real strong with the motorcycle.

Crew Chief Eric: Whatever. It’s Florida, okay? It’s like, none of it makes sense. It never will. But we need to go behind the pit wall and talk about motorsports news. So, I have to admit, I finally watched an F1 race.

It must have been a blue moon or something. Would you like to know my [01:26:00] reaction?

Hello.

Crew Chief Brad: I think you fell asleep. Oh, I you slept. More F1 races this year than I have.

Crew Chief Eric: It was boring. And I thought it was stupid. I can’t watch F1 anymore. I mean, max for stopping plus 20 seconds ahead of the rest of the pack. I was like barf Bahrain, not the most interesting layout either.

And I kept saying to myself. You know, and there was a bunch of us watching it together, kind of did a little viewing party. And I’m like, how do you guys watch this manufacturer’s championship? That’s what it is. I don’t get it. It’s not the formula one I grew up with.

Executive Producer Tania: You pretend that Max isn’t there. And then it’s who is coming in second place.

Crew Chief Eric: I’ll stick to sports car and rally. Sorry. So boring. There’s been like what? Two other races since Bahrain? Since the last time? Uh,

Executive Producer Tania: no, one.

Crew Chief Eric: And what happened? Same thing? Lathering’s repeat?

Executive Producer Tania: I think so. Oh, that’s the race that signs got appendicitis. Right before. And unfortunately he couldn’t race. And so Academy Ferrari driver, [01:27:00] Ollie Beerman, British racing driver.

He stepped in as the reserve driver. He qualified in the top 10 and then finished in the top 10. So what a debut for his first time in an F1 car and he only had one practice session to acclimate to the car, essentially.

Crew Chief Eric: So what you’re saying is the secondary quarterbacks are better than the guys that are out playing the game all the time.

Executive Producer Tania: I wouldn’t say that. I would, I’m pretty sure Saenz would have done much better than what he did, but I think it’s pretty impressive for what he was able to accomplish versus some of the other veteran people on the grid, right?

Crew Chief Eric: You know what veteran means? Oh,

Executive Producer Tania: well, yes, there’s Alonzo, but then there’s people that have been there for years now, like Stroll, and Okon, and Ricciardo, who’s back, and it’s like, that guy just, I’m sorry, no offense to the people who love him, but he’s a personality.

Otherwise, he’s doing crap, and he’s gonna lose his seat.

Crew Chief Eric: Again, for like the sixth time.

Crew Chief Brad: He hasn’t done shit since he left Red Bull. He’s been trash,

Crew Chief Eric: but he’s your heartthrob, Brad. I mean, how are you going to [01:28:00] give up on your man?

Crew Chief Brad: What have you done for me lately?

Crew Chief Eric: Oh, is that how it is in the Ricciardo household?

I see

Crew Chief Brad: how it is. I just posted in our show notes, a commercial it’s F1 adjacent. Have you all seen this Uber car share commercial with Valtteri Botis?

Executive Producer Tania: No, he needs to really cut that mustache and

Crew Chief Brad: No, he doesn’t. It is a maze balls. But sadly, he’s

Executive Producer Tania: not

Crew Chief Brad: built for

Crew Chief Eric: the

Crew Chief Brad: famous Ozzy Watts.

Crew Chief Eric: That mustache makes him look like Harry at your bachelor party.

Crew Chief Brad: Doesn’t it though? For me, the star of the commercial is the car.

Executive Producer Tania: Mullet aeration technology.

Crew Chief Brad: And the fan behind him. The

Executive Producer Tania: fan. It’s fucking awesome!

Crew Chief Eric: Budgie smuggler drying system. That is, I love this. This is great.

Crew Chief Brad: For the listeners at home that don’t know what we’re talking about, Volterra Bodas, recently retired, is now doing commercials for Uber share.

Executive Producer Tania: Did I miss that he retired?

Crew Chief Brad: Or is he still driving?

Executive Producer Tania: He’s still driving. What? Yes, he’s driving [01:29:00] steak because it’s not alpha anymore.

Crew Chief Brad: Oh, okay. So let me rephrase that. No, you get to keep that one. Okay, that’s fine. I thought he was retired. He should be retired. I thought he started a new career in entertainment.

Crew Chief Eric: I thought he had like the same personality as the ice man, like Kimmy. Like he was never talked or did anything.

Crew Chief Brad: No, Voltaire is hilarious. There’s

Crew Chief Eric: pictures

Crew Chief Brad: of

Crew Chief Eric: him.

Executive Producer Tania: He’s always naked recently.

Crew Chief Brad: Laying naked in a creek.

Crew Chief Eric: That’s all for two girls, one formula. That’s just for them.

Executive Producer Tania: It’s not Steak. It’s Kick Sauber now.

Crew Chief Eric: They changed the name again?

Executive Producer Tania: I noticed, because I was pulling him up and seeing where he placed in the last race, and it said Kick Sauber under his name. And now I’m on the team’s roster on F1. com, and he is part of Kick Sauber.

Crew Chief Eric: Well, there was also rumor that Audi’s gonna put their livery on the car like a year early too, but I don’t know how true that is.

Executive Producer Tania: Okay, there’s Steak F1 Team Kick Sauber. Sure.

Crew Chief Eric: That’s like Visa, Cash App, MoneyGram, Chipotle.

Executive Producer Tania: Visa, Cash App, RB [01:30:00] Formula One team, yes.

Crew Chief Eric: Oh my god, terrible. Well anyway, in other disciplines of motorsport, can confirm WEC can be watched on HBO Max. And the best part is it’s the same feed as overseas. So you get all the awesome stuff that they would have over there and not some Americanized version.

It’s legitimately from overseas. So if you have HBO Max and you’re a fan of Sports Garden Endurance Racing, especially the World Endurance Championship, check it out on HBO Max. Highly recommend.

Crew Chief Brad: Can you go back and re watch races?

Crew Chief Eric: Yeah, it’s all there. Our motorsports news is brought to us in partnership with the International Motor Racing Research Center out of Watkins Glen.

A quick reminder, this is the last month to get in on the sweepstakes for the Corvette E Ray. I have seen pictures of it. It is real. It is out of production. It is ready to go. It is gorgeous. It is silver with blue stripes, beautiful interior. It is a Corvette E Ray. Ray three LZ convertible. There is a couple [01:31:00] promo codes floating around.

The latest one is on racing archives.org. In the news and events section, pull up the blog and you’ll be able to get the latest promo code so you can double down on your chances to win that array. You still have a month to go before they declare a winner. And I’m hearing some rumors about what the next sweepstakes car is going to be, but I can’t say it just yet.

So stay tuned for further updates in May and throughout the summer on what the next sweepstakes car is going to be, but you still have an opportunity to jump in there and get that 2024 Corvette E Ride. Meanwhile, the couple events that are important to the IMRRC schedule and regardless of what motor sport you’re interested in, opening day at Watkins Glen is April the 6th.

So there’s a couple different meetups there. I know the Audi club’s doing something at opening day at the Glen. There’s a lot of stuff happening that weekend at Watkins Glen. On May the 11th, they’re going to be doing a center conversation called as we go. Supers a legacy of speed at the steel palace, and they’re going to have the Purdy deuce on display at the center [01:32:00] during that time.

So that’ll be May 11th on June 22nd. They have another center conversation scheduled called the greatest Corvette story ever told. And it’s about the Camerati Corvette, which will also be on display at the center. And then later in the year, September 12th, they’re going to have the Cameron R Argettsinger award for outstanding contributions to motorsport.

The nominee is going to be announced later this year, and that will be followed up in November by the eighth annual Argettsinger symposium on November the 1st and 2nd, which we will be live streaming yet again, this year, we’re still doing all the planning. We have not figured out the schedule, who the presenters are going to be.

The keynote is being kept under wraps, but it’s going to be pretty exciting. So we’re really looking forward to the IMRC schedule. This year, we appreciate their continued sponsorship of Brake Fix and the Motoring Podcast Network. And now it’s time to wrap it up and take us home, right Brad?

Crew Chief Brad: Yes, and as a reminder, you can find tons of upcoming local shows and events at the ultimate reference for car enthusiasts, TheCollectorCarGuide.

net.

Crew Chief Eric: And if you’re still [01:33:00] planning your HPDE schedule, don’t forget to check out HPDEJunkie. com. And you can get a list of all. All up to date events from across America and Canada on their website. And you can filter by location and find the perfect HPD event for you. So get up off the couch and get out on track and drive your car the way is intended to be.

And be sure to keep an eye out on our motor sports calendar on gtmotorsports. org forward slash events to learn about other special events and happenings in various other disciplines of motor sport that you shouldn’t miss.

Executive Producer Tania: This month we celebrated International Women’s Month with 11 new episodes featuring women from all over the autosphere, so be sure to tune in to Brake Fix to learn about fascinating people with fantastic jobs helping to continue spreading vehicle and motorsports enthusiasm.

Meanwhile, we just crested 321 episodes of Brake Fix while you’ve been listening to this episode, but more importantly, we’ve expanded our catalog as part of our new motoring podcast network, where you can enjoy programs like The Ferrari Marketplace, the Motoring [01:34:00] Historian, the History of Motorsports Series, BrakeFix, and others.

Search for Brake slash Fix, or Gran, no D, Touring, everywhere you download, stream, or listen. And be sure to check out www. motoringpodcast. net for reviews of the shows, new episodes, bios of our on air personalities, and descriptions of the services we offer.

Crew Chief Eric: And thanks for bringing that up, Tanya, because we’re also adding Evening with a Legend, sponsored by the ACO USA.

That’s the ACO, the governing body of the 24 Hours of LeMans to our motoring podcast network. And I am, as you guys heard in the past, the new MC for Evening with a Legend. We did our first one in February with Rick Newp, who’s actually the special guest of the ACO this year, returning to LeMans for the first time in 40 years since his second win there.

Not only that, little spoiler alert, we got some awesome news. Awesome names and some former guests of break fix coming to talk on evening with a legend in subsequent months here throughout season five of our show. So look forward to some really cool evening with a legend [01:35:00] episodes and also some special guests.

So if you’re not a member of the ACO today, you can check how to become a member by going to motoringpodcast. net.

Crew Chief Brad: Hey, did you know you can sign up for our Patreon for free, lots of great extras and bonuses, even on the free tier. But if you’d like to become a break, fix VIP, jump over to www. patreon. com slash GT motor sports and learn about our different tiers.

Join our discord or become a member of the GTM clubhouse by signing up at club. gtmotorsports. org. Drop us a line on social media or visit our Facebook group and leave us a comment. Tell us what you like dislike and send us ideas for future shows. Please. We need help.

Crew Chief Eric: That’s right, brad and good point.

Don’t forget to follow our new instagram handle and on facebook at motoring podcast network Where we’ll be dropping all the latest updates of break fix episodes evening with the legend for our marketplace all that kind of stuff Make sure to follow at motoring podcast network

Executive Producer Tania: And remember for everything we talked about on this episode and more, be sure to check out the follow [01:36:00] on article and show notes available at gtmotorsports.

org.

Crew Chief Brad: Tonya, thank you

Executive Producer Tania: for nothing,

Crew Chief Brad: for being a great co host and executive producer on the show and to all of our fans, friends, and family who support GTM without you, none of this would be possible. Oh, true. Cue the music. How did I end up in Volvo? You’re way too far. You’re way too far. I had to click the show more and then it just took me to the bottom.

Crew Chief Eric: Are you a cardboard cutout like Daniella Ricardo?

Crew Chief Brad: Daniella Ricardo.

Crew Chief Eric: You ran it through that Facebook app that turns him into a woman, right?

Crew Chief Brad: No. Who’s Daniel? Yeah. Daniel who? Tell me of this Daniel. Who have you seen mommy with?[01:37:00]

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 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 [01:38:00] Newtons, gummy bears, and monster.

So consider signing up for Patreon today at www. patreon. com forward slash GT motorsports, and remember without you, none of this would be possible.

Highlights

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

  • 00:00:00 Introduction and Sponsorships
  • 00:00:35 Season Five Kickoff
  • 00:01:08 Cybertruck Update
  • 00:02:54 Real Cost of EV Ownership
  • 00:05:39 Home Upgrades for EVs
  • 00:16:05 Chrysler Hybrid Issues
  • 00:32:06 Future Electric Vehicles
  • 00:36:14 Remembering Marcello Gandini
  • 00:37:01 Volkswagen’s Farm-Ready Polo
  • 00:39:33 Porsche’s Unsellable Collection
  • 00:41:41 Mercedes’ New AMG GT 43
  • 00:45:55 Chevy Bolt’s Impressive Mileage
  • 00:47:55 Buick’s Surprising Comeback
  • 00:49:52 Kia and Hyundai’s EV Innovations
  • 00:57:50 Ford’s Affordable EV Plans
  • 00:59:22 Polestar’s Future with Geely
  • 01:00:16 Lost and Found: Classic Cars
  • 01:04:34 The $100,000 Porsche 944 Debate
  • 01:05:52 Tesla’s Rental Car Fiasco
  • 01:08:32 Electric Truck Showdown
  • 01:15:05 The Ferrari Movie and Other Must-Watch Films
  • 01:16:37 Nebraska Woman’s Gas Rewards Scheme
  • 01:24:01 Florida Man’s Motorcycle Chase
  • 01:25:50 Motorsports News and Updates
  • 01:32:46 Wrapping Up and Thank You

UnCOOL-wall Nominee! 

Nothing new this month – But you can always VOTE NOW for our current nominees!

Now is your chance to rate some of the best of the worst from our Drive Thru NewsParking Lot Gold and What Should I Buy? series. Vote early and often!


 

Celebrating Women of the Autosphere!

This month we celebrated International Women’s Month with 11 new episodes featuring Women from all over the Autosphere, so be sure to tune into Break/Fix to learn about fascinating people with fantastic jobs helping to continue spreading vehicle and motorsports enthusiasm.


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

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


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Motoring Podcast Network

From Wind Tunnels to the Brickyard: Lauren Sullivan’s Journey from Aerospace to IndyCar

Lauren Sullivan didn’t set out to become a motorsports engineer. In fact, she thought she was destined for a career in aerospace – until a childhood science fair project and a lifelong love of racing quietly charted a different course. Today, she’s a key figure in the NTT IndyCar Series with Team Penske, and her story is a testament to the power of curiosity, persistence, and the unexpected intersections of passion and profession.

Photo courtesy Lauren Sullivan, Team Penske

Growing up in Southern California, Lauren was immersed in motorsports from an early age. Her family’s super late model team at Irwindale Speedway gave her a front-row seat to the world of racing. But it wasn’t until a fifth-grade trip to the NHRA Winter Nationals and a middle school science fair project on aerodynamics that her fascination with the invisible forces shaping speed truly took hold.

“I can see what I can’t see,” she recalls thinking after visualizing airflow in a homemade wind tunnel built with her father, a former Boeing engineer. That moment planted a seed – one that would take years to bloom.

Tune in everywhere you stream, download or listen!

Listen on Apple
Listen on YouTube
Listen on Spotify

Lauren pursued aerospace engineering at Parks College of St. Louis University, a pipeline to Boeing’s St. Louis operations. She landed a job as a wind tunnel test engineer, fulfilling what she thought was her dream. But after five years, she realized something was missing.

Photo courtesy Lauren Sullivan

“I don’t think I like airplanes,” she admitted. “I wondered, what else could I do with wind tunnel testing?” A quick Google search: “wind tunnel testing in motorsports” – lit up her screen and her imagination.

Photo courtesy Lauren Sullivan

Only one team responded to her applications: Penske. Twice.

She joined as a design engineer and quickly transitioned into wind tunnel testing for the NASCAR program. Over time, she became the lead for full-scale testing. But it was a call from Tim Cindric in 2021 that changed everything.

Spotlight

Notes

This Break/Fix episode features a conversation with Lauren Sullivan, an engineer for Roger Penske’s NASCAR and NTT IndyCar series programs. Highlighting her motorsport journey, the episode delves into Sullivan’s experiences from growing up in a racing family to working at Boeing and eventually transitioning into motorsports, notably with Beth Paretta’s female-powered team at the Indianapolis 500. Sullivan shares insights on the technical aspects of wind tunnel testing, the similarities between aerospace and motorsport engineering, and the importance of inclusion and mentorship in the field. The episode also touches on the Women in Motorsports North America organization and its efforts to support and create opportunities for women in the motorsports industry.

  • You came from a Racing Family – your family was into Super Late Models. What was that like growing up going to the track? Lots of kids “phase out” and maybe don’t follow in their parents footsteps, what drew you in? What helped you stay committed?
  • Tell us about the Road to Penske – how did you go from Super Late Models to Boeing, to NASCAR, then Indy Cars.
  • How much of what you learned in Aerospace carried over to motorsports?
  • Not only have you worked as an engineer, you’ve also moonlighted as a spotter for folks like Josef Newgarden – we’ve never had anyone on the show that was a spotter – let’s unpack that a bit; what does that responsibility entail?
  • Who were the women at the time, as you were starting out that inspired or helped you build a career in motorsports? 
  • Let’s talk about the good, the bad and indifferent of racing – the business side of things. 
  • We had LSJ on the show in Season 3, to tell her story and share about WIMNA – talk about your role in the organization, how you’ve seen it grow, and its involvement in the motorsports community, but the good it’s also doing for ladies in the sport. 

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 petrolheads 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. The

Crew Chief Eric: following episode is brought to us in part by the Women in Motorsports North America, a community of professional women and men devoted to supporting opportunities for women across all disciplines of motorsport by creating an inclusive, resourceful environment to foster mentorship, advocacy, education, and growth, thereby ensuring the continued strength and successful future of our sport.

Our guest is the daughter of a super late model team owner and former Boeing engineer. She has worked for Roger Penske’s NASCAR and NTT IndyCar series programs since 2015.

Lauren Goodman: But [00:01:00] what Lauren Sullivan experienced with Beth Paretta’s female powered 500 team at Indianapolis Motor Speedway It stands as the most impactful moment of her career.

And she’s here with us on BreakFix to share her motorsports journey with you.

Crew Chief Eric: And with that, let’s welcome Lauren Sullivan to BreakFix.

Lauren Sullivan: Well, hello to you both. It is great to be here.

Crew Chief Eric: And I have to introduce Lauren number two. That’s Lauren Goodman, supervising producer of media and exhibitions for the Revs Institute.

So welcome back to BreakFix, Lauren. Well, thank you. So like all good breakfast stories, there’s a super heroine origin story. So Lauren, in the intro, we talked about how you came from a racing family, but what was it like growing up at the track? And one of the things I want to also highlight is that a lot of kids phase out of that lifestyle as they get older and they don’t follow in their parents footsteps.

So what drew you in? What helped you stay committed to motorsport?

Lauren Sullivan: Growing up, I was always around motorsport in some form or another at a really young age. We would go to the [00:02:00] NHRA Winter Nationals in Pomona, California, which wasn’t too far from where I grew up. When I hit about fifth grade, my family started a super late model team at Irwindale Speedway.

As soon as I hit 16 and was old enough to be in the pits, I was right there doing what I could to be involved with the car. And that’s kind of where the passion First ignited and to me, it was always just a hobby. It wasn’t ever something I was going to make money at.

Crew Chief Eric: One of the things I find fascinating about your story, and it’s a thread that you and I have in common is right at that middle school, early high school period, I too did a science fair project about automobile aerodynamics in a slightly different way.

I had no intentions on going to work for Boeing or anything like that, but I was inspired by Giorgetto Giugiaro because I wanted to design cars. And so I saw that come up in another interview of yours where there’s pictures of you at the, you know. 7th, 8th grade science fair with your aerodynamics project.

What about aerodynamics at that age, 13, 14 years old, got you excited.

Lauren Sullivan: It was the ability to see what you can’t see or to understand [00:03:00] what you can’t see. Once we did flow viz in this one tunnel that my dad helped me build and I could see the flow around these different objects we were testing. Like, it was just like a light bulb of like, I can see what I can’t see.

And I can make decisions with this information, you know, from there. I was like, well, what else can you see the flow around? I didn’t know then that what I was doing was engineering. And I didn’t even realize the one subtle connection I had to my middle school project till I think after Boeing or in the middle of Boeing, like I’d forgotten about that completely.

And then I saw it in a scrapbook my mom had put together and I was like, Oh my gosh, this path makes so much sense. Now it’s always been where my interest has been. So. Going into high school and then college, I was always geared towards science and math and did the science thing in high school, but there weren’t any robotics clubs back then or anything like that that I could do that was motorsport except my family’s race team.

And then in college, I decided to major in engineering and the school also had a formula society of automotive engineers. program or FSAE. And I got involved with [00:04:00] that. I got to continue motorsport in that way. But at the college I went to, Parks College of St. Louis University, everyone kind of ended up at Boeing because Boeing is right there in our backyard in St.

Louis, at least Legacy McDonnell Douglas is. And I was an aerospace major. And so that was kind of like the conveyor belt, if you will, Boeing hires, a lot of parks grads. And to me, it never dawned on me that I could make my hobby, my career. So even being involved in motorsport, all those years, I set my sights on what I like to do within aerospace engineering, which was wind tunnel testing.

That’s where my passion within the engineering field is upon graduation. I got a job with Boeing as a wind tunnel test engineer, and I did that for about five years. And then kind of just got to a point of like, I don’t think I like airplanes after all this time. Like I don’t mind flying in them or anything like that, but it just wasn’t exciting to me as much as I thought it would.

So I was kind of having a moment of like, what would I do for her to change? And I’m like, the only thing I’m. Good at or that I know how to do is wind tunnel testing. And I’m like, [00:05:00] man, well, I wonder if they do that in racing. It’s just a hobby. I can, you know, we’ll see. So I, I start Googling like wind tunnel testing and motorsport.

And of course the results just like lit up like, Oh, okay. We might be able to do something here. So started applying to jobs. Really, again, just not thinking this is going to be a career path for me of all the teams I applied to and all the motorsport wind tunnels I applied to. I only heard back from Penske, but I heard back twice.

I first heard back from the aero department on the NASCAR side. And then like within a week or so, I heard back from what’s called Penske technology group, which actually runs our scale model wind tunnel. And I was confused for a second. Cause I didn’t know about PETG at the time. And was like, why, why is Penske calling me twice?

And then Someone finally explained it to me. So once that kind of merged into one, I was hired at Penske to be a wind tunnel test engineer for their NASCAR program. Actually, it started out as a, just a general aero engineer, design engineer, doing some CAD for them. And then once I started doing wind tunnel testing over the [00:06:00] years, I started essentially leading the full scale testing efforts we would do.

In 2021, Tim Sindrick, who’s the president of Penske, reached out to me and asked if I’d be interested in helping this female forward team that Beth Paretta was putting together for the Indy 500. I immediately jumped to that and said yes, not having any idea what I was getting into or what was about to unfold.

Growing up with the super late model team and stuff like that. I was always NASCAR, always NASCAR. It’s rather ironic because I actually met my husband at parks college on that race team. I was in, we were friends for about nine years before we did anything about it. So we’re just friends through college and all that.

But way back then he was like, you would like open wheel. You would like open wheels. Like, no, no, no, I’m NASCAR. I’m NASCAR. I’m not doing open wheel. I’m doing stock car. I came back from the Indy open test. That’s in April. In 2021 and looked at him. I was like, I really like IndyCar. And I think I want to switch.

At that point, he was like, I’ve known you for 16 years, 16 years. I have been telling you, you would like IndyCar. So [00:07:00] then I went to my management at the end of that year, after the 500 and said, Hey, if there’s. A spot over there I’d like to switch and explore a management path of some kind, see what we can do.

Nick came back and said, how about a engineering and team logistics coordinator for our IndyCar team?

Crew Chief Eric: And here we are. You know, as you were coming up through the ranks, evolving your career from aerospace, Into motorsport, who were some of the women at the time that you were looking up towards? Who were the folks that inspired you or helped you build your career in motorsport?

Lauren Sullivan: When I look back, first and foremost, definitely my mother. She instilled the knowledge in me that I can do anything I wanted. Nothing was off the table. And she supported me with all the different things I tried over the years. She kind of taught me never take no for an answer. Just find another way. But I would say in general, what was a motivating factor for me coming up through the ranks was being other women be the only one in the male dominated field.

I was drawn to people like Amelia [00:08:00] Earhart and stuff like that and found that in motorsport engineering. And what I have learned is how much I don’t want that in terms of how much I don’t want to be the only female and how much I want other women around me. So even though What I liked seeing was like the girl with all the boys in terms of just being able to do what they say you can’t do, if you will, I realized that like that image needs to change and there are still sometimes I see it where there’s other women I’ve come in contact with in engineering, motorsports, stuff like that, that.

Want to be the only female and feel threatened when there’s others around them. I’ve just come to realize that that is not how you succeed. And to the point now that, like, it’s frustrating to me to see any situation where there’s only one token female, if you will. If I really, like, dig into my spiky, I guess.

Probably what was driving me was that I don’t want to see this only female anymore. Like we need to upset the status quo. Cause that’s all I [00:09:00] did see back then was the one female wherever I was, if it was motorsport or math or science engineering related, that was all I saw. Now I don’t see that and that makes me happy, but I want to see it even more.

I want to be seeing equal distribution.

Lauren Goodman: We are all on the same wavelength. 100%. My background before I came to Cars was the film industry. It’s the same thing. Yep. So I want you to tell me about the first time you met Beth Perretta.

Lauren Sullivan: I remember being nervous because it was Beth Perretta who like, I could already sense this is going to be big, especially when like, Cendricks come into you and like Roger wants to do this with Beth.

It’s like, okay, this is big. And I just remember the anticipation of talking to her on the phone for the first time. And after I got off the phone with her, I was like, that was just like talking to a friend. We were talking only pretty much about motorsport and a little bit about my history because she’s trying to get to know me and know what to expect out of me at the Indy Open Test and at the 500.

But it was just like, man, this is someone I can relate to. It really energized me because I was like, oh, this is, this is good. This is not a [00:10:00] dog and pony show. This is not. Someone’s seeking attention. She is genuine about this. This is in full alignment with me. And like, I have this huge passion for outreach and just taking any opportunity I get to speak to the next generation, especially girls.

Once I realized that there wasn’t any ulterior motive at play after she and I talked, I was like, Oh, this, this is good. Not only am I excited to do this, but I’m behind this.

Crew Chief Eric: And you said jokingly that, you know, you were kind of tired of planes. You want to move on to other things. As you transitioned into motorsport, how much of aerospace carried with you into motorsport?

How much of it is relatable and how much of it did you sort of just check at the door?

Lauren Sullivan: A lot of it’s actually relatable. IndyCars specifically, especially when they’re at IMS or just upside down airplanes. What’s holding them to the track downforce is the same thing that’s pushing an airplane up, which is lift.

Just a sign convention change. Honestly, at that point, cars have lifting services again, if we’re going to just focus on an IndyCar front wing, rear wing, you have those main lifting services and airplane has lifting surfaces. There’s things that [00:11:00] induce drag on it. Halo induces drag, the mirrors induce drag on an IndyCar, stuff like that.

So at a. Not even too high of a level. There’s a lot of the same concepts at play. The more you put it at a basic level, they’re almost identical. It’s just a different shape, a different form and understanding that. The only, what I would consider the biggest difference between the two is the presence of the track.

With the car and how those two interact in aerospace and wind tunnels, we call that wall effect or ground effects because when an airplane’s in the sky, there is no influence from anything around, or we hope not, at least there’s no influence from a ground, a wall or anything like that. And once you start to bring something like that close to a lifting body, an airplane or a race car, the math changes and how the forces generally react changes and the flow structures change.

So that’s the biggest difference, but there are parts of the car that are completely out of that effect too.

Lauren Goodman: This is fascinating to me because of course, as a F1 fan, ground effect is a triggering [00:12:00] word. It sends us into spasms. Don’t you know, here’s what I want to know about IndyCar specifically as its own series, when it looks at the idea of ground effect and because IndyCar is my understanding is because all of the chassis are Dallara.

A lot of that like balance of performance is really equalized across the teams. So you as an engineer, especially having a background in aerodynamics, where is it that you can find the little advantages? What parts of the car represent opportunities? That’s the elusive question.

Lauren Sullivan: Well, like you said, Since it’s single source supplier for a lot of the parts on the IndyCar, it would appear that you lose a lot of the ingenuity advantages that teams have with engineering testing and thought.

There’s a lot to be said in the margins. It’s all the same parts, but how you fit them together, how you make them together while mating two parts together seems insignificant when you multiply that across the entire car, it can be significant. And on top of that, you have very sensitive surfaces. [00:13:00] Some areas of the car are insensitive and others are extremely sensitive.

Once you can identify those areas on the car, then you kind of know where those margins matter. Then you can even get into like how you prep it. Just again, it’s in the details. It’s really bringing all the details together. One thing I do talk about a lot is like, okay, when you’re in a wind tunnel, you have an error band.

And so it’s kind of like, yeah, we said something’s 10 pounds, but it’s probably plus or minus two pounds. And so when you find something that’s like a pound, it’s hard to say with certainty if it’s worth a pound of downforce or not if your air band’s two pounds. But if you have five different things that are worth a pound, if you put them all together, now you have five pounds.

Now you’re outside that error band. It’s finding those sensitive areas and they’re not always obvious. And then exploiting them in the margins and the details. Do

Lauren Goodman: you think your background in NASCAR really helped with that?

Lauren Sullivan: I do actually, because when I was in NASCAR, that’s when the Hawkeye system rolled out, NASCAR went from checking with just templates where the name of the game was.

Okay, if the template fits here in X and if it’s here in X, whatever you do in [00:14:00] between doesn’t matter. And you had, you had a lot of room to play, I guess I would say, because it was like the template fit, but it had to be plus or minus 50 thou, which doesn’t sound like a lot. But if you like move the anchor point where that template aligns by 50 thou, well, three feet down the road, it’s way more than 50 thou.

But then they moved to the Hawkeye system where they were scanning the car. And you’re thinking like, okay, now everything’s way tighter. Well, there was a huge learning curve there too, just with how to use this Hawkeye system and what it could see and what it couldn’t see and stuff like that. So, but that’s where it got into again, the margins and the details.

And so then going over to IndyCar, where it is a single source supplier, you’re already in that mindset.

Crew Chief Eric: Lauren brought up Formula One and you know, you hear it all the time, especially the last couple of years, if only we had unlimited wind tunnel time, like we used to have. And I sort of wonder, There’s a setup for every track.

Does the aero really change that much from track to track? I can imagine in the IndyCar world, it probably does because the brickyard is going to be different than some of the smaller ovals versus running at, you know, Watkins Glen or at the street [00:15:00] courses. St. Pete. Exactly. Would it really make that big of a difference if they had unlimited wind tunnel time in Formula 1 again?

Lauren Sullivan: So it’s hard to say because I’ve seen a series go from unlimited to limited. And when I started at NASCAR, it was unlimited and we were there. All the time and now NASCAR is limited on wind tunnel testing and it was when I was there too before I jumped over to IndyCar. Yes, track to track is wildly different in some respects.

Again, there’s always parts of the car that are kind of insensitive to the track or the ground effects, if you will, especially talking about different speeds. The thing with the wind tunnel, though, is. You can’t really change that. You don’t have a wind tunnel for St. Pete. You don’t have a wind tunnel for IMS.

You don’t have a wind tunnel for Barber. What you have to do instead is understand where the car is at in relation to ground effects, or in relation to the ground, rather. When you’re at those tracks, I get some tracks, you’re sitting way lower, some tracks, you’re higher. And therefore you put the car at those averages and then get data at these averages.

And then you try to extrapolate and [00:16:00] interpolate to where the car is actually going to be when you’re at those tracks. Having more one funnel testing time helps because that database can be bigger and also more refined. You have more data to rely on and you can try more. Things where I see it start to diverge from an advantage is honestly on the business side of things.

What happens is the teams with money are the ones then producing this huge advantage and it kind of allows the field to run away from itself or diverge because then the teams without a lot of resource to do all this one tunnel testing aren’t having that same advantage. You just get repeat winners. So in a way, it’s like its own DOP.

Crew Chief Eric: In the advent of generative AI, let’s say you were to take previous data sets, current data sets, put it all together and let the AI munch it through. Aren’t there only so many shapes of the wings and the spoilers and the body itself? There’s only so many permutations there. Wouldn’t an AI based assistant be able to help you generate those numbers and those setups that you need without having to resort to more wind tunnel [00:17:00] time?

Lauren Sullivan: So it would probably help where it’s not going to help. And honestly, we’re a one time that might not even be as helpful. It’s just kind of the unpredictability

Crew Chief Eric: of weather

Lauren Sullivan: weather’s one of them, but like just on track interactions, you are talking, whether you’re talking dirt, you’re talking to car in front of you, a car beside you, and yeah, you could probably put all of that into AI, at least putting a car in front of you and stuff like that, which you’re not capturing as well is.

tire rubber buildup on some of these surfaces and any damage you happen to get or anything like that. So there’s still a lot that having a general database of data to rely on would help with. And I think AI would help probably create a Baseline. I’m not sure it can predict real life racing with all the different systems that are going on.

Crew Chief Eric: Lauren pointed out, you know, obviously an open wheel car, like a formula car and Indy car is going to be more sensitive to a lot of the things you’re talking about, but if you kind of look at a NASCAR and it reminds me of, you know, when we built RC cars as a kid, you know, you kind of slap a different body on the same.

Yeah. [00:18:00] It’s also something that we can relate to as drivers of everyday cars. It’s hard for us to relate to an open wheel car because you know, you can’t drive those on the street. But if you think about a NASCAR, it’s like, well, it’s sort of a brick on wheels. It’s not a Volvo of the eighties, but there’s these arguments to be made about design language these days that there’s only one design that cheats the wind.

And so if you look at supercars and hypercars, they all kind of look the same, whether it’s a Ferrari or the new Corvette or the NSX. Then you have Chrysler coming to the table with a challenger that looks like it’s straight out of the 70s, making gobs and gobs of horsepower. And it’s like, well, how aerodynamic do these cars really need to be on the street?

So how do we compare and contrast what we’re seeing at the racetrack to what we’re getting on a Monday morning when we go buy a new car?

Lauren Sullivan: A lot of consumer car technology starts in racing on multiple different fronts, whether it’s materials or the manufacturing process or the design process, you know, racing is a great test bed because it’s to an extent a controlled [00:19:00] environment, not always, but you know, Firestone and IndyCar has been trying out renewable rubber and the sidewalls of some of our alternate tires at street courses.

And before that ever makes it to consumer tires. They’re running it through its paces and racing same with like oils and fuels, like shell went completely renewable with IndyCar last year, even some safety things too, with how they reinforce certain areas of the chassis. There’s a lot of those fronts where you’ll see aspects of racing translate over to consumer vehicles.

And again, back into the design process, like some of that gets fed into it as well. From an aerodynamic perspective, there’s a lot of systems that feed each other. They’re like, for one, I’ve, you know, over the last several years, I’ve seen 18 wheelers evolve. aerodynamically. You see these skirts that they have underneath now, or these flaps at the back that they have, and all of those are determined in wind tunnels.

And it’s the same wind tunnels that we use in motorsport, but like the need for a rolling floor wind tunnel was kind of demanded by motorsport because we needed to find a way to [00:20:00] test our cars without going to a track. There’s other things too, just like the general aerodynamic structure of like, where to put the mirrors, what shape they should be, things that are big, like what we call needle movers for drag and stuff like that, that can also come into play, as well as the underbody form, because we call that the underwing in IndyCar, because it’s perfectly smooth.

For the most part, and now NASCAR kind of is too. And actually when NASCAR wasn’t smooth under there, and it was a lot more stock in the underbody, there was a lot to be discovered with like where you are actually getting dragged because you have a gap between your exhaust pipes and stuff like that. So a lot of that does eventually translate over to consumer cars in that respect.

That being said, the speed most. People typically go in a consumer car is not going to be the speeds you obviously see in an Indy car. And therefore a lot of this stuff can become irrelevant because some things only matter when you’re going over 200 miles an hour, which don’t try that at home.

Crew Chief Eric: How far are we away from what I like to call Star Trek technology?

And you’re [00:21:00] starting to see this on a lot of the Teslas and I’m going to single out the Cybertruck because it originally was intended. Not to have mirrors and you’ve brought up mirrors more than once. And the reason I’m bringing that up is because they’re using combinations of LIDAR cameras and other sensors.

Is that going to find its way into racing where one day you’re not going to have mirrors and maybe it’ll be in the helmet or on a heads up display?

Lauren Sullivan: That’s a good question because my next question is then if you can put that amount of technology in a race car, that’s fast enough, because I will say with something that is.

It’s transmitted, which something like that is a transmittable piece of data. It has to be fast enough for the driver to receive it and process the information as things are unfolding. So while on the road, an 18 wheeler doing 65 miles an hour, if its cameras see something and then send it to its display, that has to be able to happen faster when an IndyCar is going 200 miles an hour.

And so let’s say, okay, we outfit IndyCars with these sensors, so you don’t need mirrors. Do you need spotters then? Because at IMS. [00:22:00] We’re required to have two spotters when we’re on the oval. You know, they’re the eyes in the sky for these drivers, the human reaction to seeing something and even seeing something come together before it happens can be critical.

So that would be my next question is if we get to that point, how would it be used? Would it eliminate spotters from the industry? It’d be interesting to see.

Crew Chief Eric: Do you think it could also be used to determine if there’s like dirty air, if somebody’s running too close, where the optimal distance would be to catch the draft or something like that?

Could you see it being used as an advantage that way?

Lauren Sullivan: Press reports would see that over cameras because press reports are what are used to pick up flow and like see what you can’t see. So the camera system, if we’re going to talk about that, where it simulates your mirrors for you, I can see it more for behind the driver and like telling them what’s coming versus what’s ahead.

Cause I will also say that’s kind of why there was some chatter initially when the new halo at arrow screen came out. It has saved countless lives since it came out. There’s a huge improvement. , but the drivers could feel the air from the car in front of them and know where to [00:23:00] put their car based on the drag bubble as it’s called, or the wake that they could physically feel.

And so it’s hard to replace that. No delay there. There’s no transmitting of data that has to happen when you’re feeling it’s as fast as your brain can register it.

Crew Chief Eric: You’ve mentioned spotting and how crucial that is in how it takes two spotters at the Indy 500. I heard that you’ve also moonlighted as a spotter, so sort of other duties as assigned, and you’ve done that for Joseph Newgarden and some other people.

What does that responsibility entail? You know, we’ve never actually talked to a, an official spotter before. So what are you doing? What are you signaling to them? What are you looking for?

Lauren Sullivan: So it depends on the track ovals are definitely an IMS in particular is a much different beef than. Road course and street course.

For example, let’s say Texas and St. Louis or Gateway. From one spotter stand, you can see the entire track and you can always see the car. At IMS, with how big it is, where the spotter stands are, you cannot see the car around the entire track, which is a problem because you have to be able to pick it up as it comes out from behind a tree or something like that.

And then with road course [00:24:00] and street course, it’s even more complicated in terms of seeing your car because. None of those tracks, you can see everything. So typically you’ll stand at one of the trickier parts of the track for them or where there’s going to be a lot of passing because that’s when they want to know if someone’s gaining on them and if they’re looking to pass them high or low or something like that.

The main overarching responsibility of being a spotter is to be a second. pair of eyes for the driver on the track, but let him know what situations are unfolding around them. So you’re looking both ahead and behind them, behind them for who’s coming and ahead for any wrecks that are happening. Because if you can see a wreck and let them know ahead of time if they need to go high or low.

is crucial because they will just trust you and put their car there to know that’s how they’re going to get through if they can’t see it and register it in time. The drivers rely on the spotters to paint the picture of what’s going on on the track around them. So you give them the information, let them make the decisions with the information of what they want to do.

You know, you don’t tell them, okay, pass this guy. You just say he’s going high and just leave it at that. And he knows he can go low. You give them the [00:25:00] information. You let them decide what they want to do with it. At tracks where it’s extremely high speed, like IMS and the other ovals, it’s even more crucial to look ahead to where they’re going versus what’s going on behind them or even around them at that moment.

Because they’ll know who’s around them, especially at IMS. If they’re coming out of Turn 4 and there’s a wreck in Turn 1, it is so fast that they’re going to be there. It’s unbelievable. You honestly can’t even get on the radio and tell them, go low in Turn 1 before they’re in Turn 1 when they were in Turn 4 when the wreck happened.

Paying attention to a lot of different movements, things, information at once, deciding what’s the most critical information that the driver needs to know in that moment, and communicating it in the least amount of words possible.

Lauren Goodman: I love American motorsport. I love European based motorsport. And in Formula One, it’s all one person telling them this.

And in IndyCar, you have a spotter who’s live eyes. It is. Truly, I think almost an analog process. It is not based as it is in formula one, like just reading data [00:26:00] from whatever transmitter. It’s somebody with a pair of binoculars being like behind you in front of you. Do you think that’s superior in a way?

Because in formula one, they have problems all the time with them saying, you didn’t tell me so and so was on my rear left trying to pass me. Do you feel like just having a human element there? Is better in IndyCar?

Lauren Sullivan: I do, especially at these higher speed tracks, just cause as a human, you can multitask and like literally you can stand and be watching your car come in your peripheral and watching turn one and your other peripheral and like You’ll learn when something doesn’t look right, even though you’re not looking right at it, and you’ll know you need to jump on the radio and say something.

There’s also a relationship that starts to develop because some drivers want constant chatter and want to constantly hear from their spotter, and other drivers want you silent unless somebody’s in the wall. You have to learn their preferences and kind of what they want to know or what they need to know.

Like some drivers like, yeah, as soon as there’s another car, like 10 car lengths back, I need to know he’s there. And other drivers are like, just let me know when someone’s going to pass me. And there’s also an advantage kind of knowing [00:27:00] if we’re in our, any rivalries even exist. Sometimes you’ll just let them know there’s a car coming versus which car is coming.

So they kind of know, okay, that’s a rookie. I’m going to give them some space or I race this driver pretty well, so we can go at it. So I think there’s a lot of those subconscious decisions that go on from the spot or two, like kind of just knowing everything else that’s at play. The

Lauren Goodman: human element.

Lauren Sullivan: Yes.

The human element for sure. And it even comes into inflection in your voice. Sometimes there’s one driver, I think it was Rick Mears. Who said the best spotter they ever had was someone who had a different inflection for inside or outside, even though they’re still saying inside or outside, the word didn’t have to register because what was registering was the inflection of their voice.

Crew Chief Eric: It’s sort of like when you’re coaching at the track, you could be like, we’re going into turn one, a little too hot break. Or you can be like break, break, break. They’re going to instinctually press the brake pedal a little harder every time you get more excited.

Lauren Sullivan: And it’s funny because that’s the one thing you don’t want to do on the radio is get excited.

Crew Chief Eric: Good or

Lauren Sullivan: bad. I mean, you can get excited when it’s [00:28:00] good if it’s after the checkered flag. Especially with something bad, you literally want to be like, there’s five cars in the wall right now. They’re all sliding down, just go low. And you don’t even want to say right now that’s too many words, but you want to be as monotone as you can.

Because what’s been interesting for me to learn is how you can pass on energy and emotion on the radio just by how you say something. So you don’t want to make them panic any more than they already are just by hearing five cars in the wall. And actually, the more I think about it, you don’t even need to say that.

I’m going to say cars in the wall, again, the least amount of words possible. And that’s, What I’m still learning, what my phrases are for the same things you see over and over again, that is the smallest phrase to say it. Some people say, when they’re talking about the gap that a competitor has to you and there’s three car lengths back, they’ll either say three back or by three, which means the same thing.

I just say, whatever’s natural to me, because you don’t want to be jumbling up on the radio and you don’t want to be. Making it longer than you have to, something like that. I just now consistently say three back or five back, but there’s situations I don’t encounter all the time that I’m still learning of how do I [00:29:00] want to say this?

It’s also thinking ahead of, okay, I got a street course. I’m in this turn. This is all I can see the tracks. I’m not gonna be able to tell them anything else. How am I going to call a wreck there or how am I going to call a wreck here? What am I going to say? And like telling myself, this is what I’m going to say.

If that happens, just so I don’t have to think about it. And really it all becomes like a dance. Habit forming is what you’re trying to do with stuff on the radio.

Crew Chief Eric: You know, in all this talk of IndyCar versus Formula One and talking about your career, there’s a big question that we failed to ask you, Lauren, which is.

It’s obvious you’re working in IndyCar now, but what do you prefer working on the stock cars or the open wheel cars?

Lauren Sullivan: I prefer as an engineer, IndyCar, but I grew up with NASCAR and I think as a fan, I prefer NASCAR. Always loves the big wrecks and that hurts to say as someone who’s on the other side now and has to react to that kind of stuff.

Those big wrecks in IndyCar are not good. Whereas NASCAR ones are generally more show than damage or harm. I should say the reason I like IndyCar from an [00:30:00] engineering perspective is the amount of data we have on the cars and the amount of information we have from the cars to make educated decisions with NASCAR.

You don’t have that kind of feedback. If the driver says the car’s loose, you take his word for it, and you try to figure out what your normal knobs are, that’ll tighten up the car with IndyCar. If they say it’s loose, we can pull data and be like, yeah, no, you’re right, and it’s happening in this turn and it’s happening in this turn, and it looks like this part of the car.

We can make an adjustment here, and that typically makes the car go tighter for this part of the track. Just using the data and information available to make decisions is what draws me to IndyCar as an engineer,

Crew Chief Eric: as we all know last. year at the 100th Le Mans, NASCAR kind of shook the apple cart pretty hard with the garage 56 Camaro.

So that’s a leap and a bound when we go from the sixth generation NASCAR to the seventh as an engineer, what do you think?

Lauren Sullivan: I think it’s great. Cause I think it’s thinking outside the box and it’s situations like that, where you push boundaries, you push limits and you discover something new and that’s [00:31:00] often how new techniques, new.

Processes come about is from putting two things together. You didn’t think we’re ever going to be together.

Lauren Goodman: As a student of history and a lover of Lamont and working at a museum that has a lot of cars that went to Lamont, all I can say is Eagle Sound, Eagle Sound, Eagle Sound, because that is.

Crew Chief Eric: Having been there to see it in person, you knew where it was at any given moment on the set.

Lauren Goodman: And that goes back to Briggs Cunningham bringing American cars and Chrysler engines to Le Mans back in the 50s. And the French loved it. They were obsessed with it because where could you get that torquey, low American engine sound, except from the Americans.

Crew Chief Eric: Yeah. Wasn’t coming from anybody else. Yeah.

Let’s talk about the good, the bad and the indifferent of the racing industry. You’ve been in motorsport now for a number of years. You’ve seen it from different angles. You know, a lot of people fantasize about what it’s going to be like when they get there.

Lauren Sullivan: Cause it’s [00:32:00] funny. Cause I look at my life a lot of times and I’m like, who decided to trust me with this because I don’t trust myself with this.

Then you look around and realize like everybody else is asking themselves the same question. Some days you’re like, I don’t know how I got here and I don’t think I know enough for this. At the same time, then you look at it and it’s like, oh my gosh, we’re designing cutting edge technology. We’re racing at unbelievable speeds, right on the knife edge of disaster.

And so what to expect if you’re looking and you’re going to have probably a lot more fun than you think, and you’re going to work a lot more than you think. You know, a lot of people are relatable. It becomes a very close knit tight community for sure. Cause you’re on the road all the time with your teammates and with people on other teams, even.

I guess one thing that probably surprised me getting into motorsport. Was how much behind the scenes there isn’t the rivalry you see on the track.

Crew Chief Eric: You mean it’s not like Drive to Survive?

Lauren Sullivan: I mean, it’s, it’s interesting just, you know, the drivers is one thing, but like the crews that are just cross pollinated with [00:33:00] friends, if you will.

You know, like two teams can have a standing rivalry, but I’m going out to dinner with one of their engineers because she and I are friends or something like that. Like it’s, and you know, we won’t even talk about work. I think that’s probably what surprised me was like actually how friendly it is behind the scenes just because it has to be.

It’s a small community as it is. And What happens on the track days on the track a lot of the times

Crew Chief Eric: earlier, you talked about how things have changed in motorsport where it used to be like, you know, you were the only woman and now you want to see that change. You know, there’s more, there’s obviously a lot more women in motorsport than there used to be.

And then you talked about Peretta Autosport, which was touted as an all female team between the crew and the drivers and everything like that. That was an awesome thing for all of us to witness. There’s a lot of things that have springboarded off of that. And as a result of that, because the question is still out there looming, and it’s really not about gender in motorsport.

It’s really about making the paddock more diverse. [00:34:00] So how do we make motorsport more inviting for everyone?

Lauren Sullivan: You attack it from several different angles. I think there’s an obligation to, for individuals that are in motorsport and in particular in the paddock to make it a welcoming environment. When I see a new female in the paddock, that’s clearly on a team.

I will make a point to go up and introduce myself because you definitely get these just like we pass by each other. We don’t look at each other. I’m not sure if I’m supposed to like you. I’m not sure if you hate me already. Like that or not. I’ll just go up and be like, hi, I just wanted to say, Hey, and if you ever need to know where the bathrooms are, the good bathrooms, just come grab me.

I’ll tell you where they’re at. So just cause I wasn’t new to professional life when I joined Penske had already been in Boeing for five years, but I just remembered what it was like to be new and just kind of figure out my own way. And it’s like, for me, that’s not necessary. And if, when I see someone who’s learning again, I just tend to see the target, the females who’s new.

That I hadn’t seen the years prior, you know, I’ll go up to them. So they just have a friendly face that they can come reach out to if they need to. And so I think it even comes down to like, if we’re going to talk about [00:35:00] men, when they see new people, male or female, doesn’t matter. And I will say, if I see new men, I need to do the same thing.

Just going up and just saying hi to those people because there’s a lot of self imposed fear. This is across all lines, all gender, race, everything of I can’t ask questions because then it looks like I don’t know what I’m doing. It’s like, well, if you’re new, you’re expected to ask questions. But I think the barrier for a lot of people is feeling uncomfortable enough to do that.

One angle is just it’s on individuals to go up to it. Those who are new on their team at their work in the paddock that they see and just say hi and introduce yourself. I also think from a series perspective or a more global perspective, if you want to look at it that way, getting in classrooms sooner, I think it’s huge.

In fact, I was lucky enough to have that motor sport exposure when I was growing up, but nowhere in my academic career did I have it till I got to college. And so I actually made a point last year of going back to my high school in Southern California and giving a presentation on [00:36:00] motorsport. I started at the big top level, like you’ve got NASCAR, IndyCar, F1, NHRA, dah, dah, dah, and then dialed it down.

Sort of the different series, dialed it down into IndyCar and then dialed it into Engineering and aerospace and STEM, but then also touched on all the other careers that are in motorsport, because we have chefs that travel with us. We have doctors that travel with us. We have PTs, you have marketing, you have photographers, you have social media influencers.

It’s not just engineering and mechanics. There’s a lot more to it than that. And so try to like make kids realize if you have an interest in motorsport, but you don’t want to do the mechanical thing or the math thing, you don’t have to, you can still be in motorsport and do something else. But I wanted to do that with my high school because The only reason I knew about it back then was because of my family’s hobby.

And I think the younger we put that in front of kids and the more it’s in their thought as they’re making decisions on what high school to go to, what clubs to be in, what the college and university to go to, what to major in as they’re making those decisions and they know what those options are. And I think if they [00:37:00] see that as an option for them and it’s achievable and it’s not out of reach, like, Oh, well, I’m not going to get an engineering degree.

I’m not even going to get a college degree. You don’t have to be in motor sport. You can go to a trade school.

Crew Chief Eric: Well, what I think is interesting about this point that you’re bringing up, Lauren, is Maybe sometimes motorsport has a stigma associated with it and it keeps people at arm’s length and maybe we need to sort of change the narrative and say, it’s not about motorsport.

It’s about the evolution of mobility, moving people around. And that’s where you can bring in. The engineers and the physicists and the chemists and the artists, you know, we can talk a little bit more about steam rather than stem at that point. Right. People sometimes relate cars to appliances and it just gets under my skin and I start to boil and I’m like, do you understand that?

It’s not one person that pens a car. It’s a team of people, whether. Scientists and engineers and artists and everything that goes into that. It’s such a beautiful piece of the human element as Lauren likes to call it. There’s something to [00:38:00] behold and something to wonder, but they also give agency to the past.

When you look at how cars have evolved, they probably evolved more than anything else in the history of the planet.

Lauren Sullivan: So the A in STEAM or the art that is involved with science, technology, engineering, and math is critical. And it really is critical because, you know, I’m 35 years young or old, however you want to look at it, whatever side of that you’re on.

But I’ve done a lot of things from school sports and, you know, motorsport and engineering and the clubs I’ve been involved in. It’s pretty varied and never, never had I, have I seen success in a silo. And what I mean by that is I’ve never seen. An engineering project succeed without creativity and some form of art involved.

I have never seen a race team succeed without a marketing department. There’s this codependent relationship between art and science. If you want to just put an umbrella over science, technology, engineering, there’s a codependency and they each need each [00:39:00] other. So much so that if one exists by itself in a silo, whatever is being applied is not going to succeed because it’s not going to have this other element that it needs.

Especially motorsport. We see a lot of the arts come in through the obvious like marketing and social media stuff and graphic design and photography and so forth.

Crew Chief Eric: But it’s even in what you’re doing because aerodynamics in a way is more akin to art and engineering too.

Lauren Sullivan: Oh yeah, especially when it’s like an empty slate.

It’s how you’re gonna create this idea from nothing, if you will, and just bring in the parts and pieces together to function at like the most efficient and optimal level. You can say you need a smooth wing surface for the best performance, but it’s in how you design it, and like, also the look, because that’s another thing you have to keep in mind with these cars, too, is like, if it’s functional, but it doesn’t look like it’s going to go fast, like, there’s this whole fan base anyway, like, there’s a balance of where engineering still needs to go.

Be [00:40:00] functional and appealing.

Crew Chief Eric: So to take it back to aerospace, it’s sort of like the Concorde. It looks fast, even when it’s not moving. And it is fast, ballistically quick.

Lauren Sullivan: Yes, it is. Yes. Yeah, it looks and, you know, cause like you see an IndyCar and you’re like, that car goes fast. You don’t see an IndyCar and think, Oh man, I bet, you know, that’s just someone’s daily driver.

Like it’s how it looks. And then it’s backed up with the data.

Lauren Goodman: No one’s like, I’m going to use that to go get groceries. No,

Lauren Sullivan: no, no, no. And it’s, you know, you know, it’s an art form because it’s what a lot of consumer cars will kind of try to bring in elements of that to have that same draw or to have that same feeling they play on the art form of.

the cars that go fast.

Lauren Goodman: If engineering is about thinking outside the box and approaching a problem from a new angle, is there an example, either from NASCAR or Open Wheel, where you can illustrate this? Because a lot of people don’t think that engineers are creative.

Lauren Sullivan: Yes, I see this. And actually I have two [00:41:00] examples.

I have one from motorsport and one from my aerospace days to show the thinking out of the box. So from motorsport, I have to be careful cause I can’t reveal too much, even though this is like eight years ago now, but one of my first one tunnel tests with Penske, we were testing something on the car that I’m just going to call access doors as just an access door for right now.

And we were doing what’s called flow biz, where you put a colored liquid, usually it’s an oil all over the car. Then you turn on the wind tunnel, let it do its thing, and you’ll see the flow structure on the car. And so we did that with these access doors. I asked the question of like, okay, so now that I understand the flow structure, like what does the rule book say on these, on these access doors?

And they’re like, they just have to be there because when you have to access this point on the car, sometimes I’m like, okay. So they just have to be in these certain panels. Yeah, they just have to be in these certain panels. So I go, what if we move these doors and we could still access what we need to, but they aren’t in this spot, but they’re in a different spot.

They’re like, there’s no rule against it. I’m like, well, let’s move them. And we move them and it produced a generous amount of downforce. Fast forward about three years. Now there’s [00:42:00] a rule against it. They have to be at exactly this location. They have to be exactly this size. You have this rule book in motorsport.

I kind of liken it to a toddler who’s always like, but why? But why? But why? They go down that like list of questions. And so like as an engineer, sometimes you’re like, yeah, but, but does it say this? But what about this? But what about this? Like, it says this, but doesn’t say this. And back to even my mom instilling in me, never take no for an answer.

Like, okay, you said we have to have these, but you didn’t say they had to be here. Like that happens all the time. If you have a rule book, out of the box thinking is what’s winning races because everyone has to abide by the same rules. It’s just playing in the margins.

Crew Chief Eric: How you interpret them.

Lauren Goodman: I’m from a family of attorneys.

I fully respect this. It is looking for, where is the margin? I’m not breaking the rule.

Lauren Sullivan: I’m

Lauren Goodman: not breaking the rule. I’m just bending the definition. And if the scrutineer can’t nail me for it, then it’s legal. And I can use it. That kind of

Lauren Sullivan: stuff is going on all the time. My other example that comes from aerospace and this I see in motorsport a [00:43:00] lot as well, but this is a very applicable one to share.

I guess it paints the picture perfectly of what I see all the time in motorsport and engineering in general is really where something that was designed for a different purpose ends up having a purpose within engineering and motorsport purely because of a conversation somebody had or somebody’s hobby or something.

I was like, Hey, I use this. And this, and it could probably fix this problem over here. My example from aerospace is in wind tunnel testing, specifically in high speed, I’m talking like above the speed of sound, high mox, almost hypersonic testing. There’s a problem where you have your model outfitted with pressure tubes that’s running down the mounting hardware that’s in the tunnel.

And so it’s exposed to the flow and you need to protect it. Otherwise, like as soon as you turn the tunnel on, it’s just going to rip those pressure tubes apart. Cause they’re. Very fragile. But those tubes have to go somewhere and go down the mountain hardware because that’s how you get your data. We actually used to protect those when we were doing Mach speeds with the casting material they put on your arm if you break your bone is how we would protect it [00:44:00] because there’s no tape that can withstand Mach 5 without peeling up.

But what they cast your arm with can withstand it. And so we would wrap the mounting hardware with the cast, rub it with water and let it set. And again, that was designed for the medical field, but somebody somewhere, I wasn’t part of that conversation. That was well before my time was like, Hey, we could use this in lint tunnel testing.

Cause it’s easy enough to apply easy enough to remove and can withstand mock speeds.

Lauren Goodman: Isn’t that what’s great about racing?

Lauren Sullivan: Yep. Like that kind of stuff happens all the time. And there’s a lot of stuff we use. Like we use a lot of dental tools sometimes for kicks. Especially when it’s all testing, those are pretty handy to have, if I thought about it longer, there’s many more examples in motorsport, but a lot of that stuff comes to the surface or comes into use because it’s like, Hey, my wife is, you know, a dentist.

And she showed me this the other day. And I was like, Ooh, I can use that at work for this. And that just speaks to collaboration. And again, even if you want to take it back to steam, when engineers are talking with [00:45:00] artists and all that, that’s where these ideas come to life. And these problems get solved by things that already exist.

Crew Chief Eric: A couple of seasons ago, we had Lynn St. James on the show, and she’s at the head of the Women in Motorsports North America, which is an organization that you participate in. So I wanted to get your take on how you’ve seen it grow, its involvement in the motorsports community, the good that it’s doing for ladies in the sport.

And what’s your role in the organization?

Lauren Sullivan: So my role is I am a working group member, which means I’m available for mentorship, um, and outreach and stuff like that. And I do a lot of that through people that reach out to me on LinkedIn and so forth, just looking to connect. One of my priorities with my career is to leave the door open for the generation behind me.

Kind of a cool moment with winning the Indy 500 last year. So as you guys probably know, Caitlin Brown was the over the wall inside front tire changer on Joseph Carr. She is Penske’s first female that to go over the wall. And she is the first female in the history of IndyCar to go over the wall and win the Indy 500.

Huge, [00:46:00] huge moment. While I wasn’t on the two carves specifically for that race, I have a connection with the first female to ever go over the wall in IndyCar. And I was able to call her after the race and just be like, Hey, what you started years ago, I finally just had a female over the wall when the five hundreds.

And her name is Anita Millican. I have a connection to her actually through my husband. He was her tenant when he lived in Indy and worked in IndyCar her phone number still. And she and I connected a couple of times in the past, but for me to be able to be like, knowing Anita’s story and watch Caitlin live out her story was.

Again, a full circle moment where like, Oh my gosh, we’re doing what we said we wanted to do. And this is the progress we want to see. And it’s honestly a short timeline. The fact that, you know, Lynn St. James and Anita are still around to be there as these big milestones are happening. It’s huge. With that role with WMNA, I’ve seen it grow really fast over the last couple of years.

I was able to attend the [00:47:00] summit that was here in Charlotte in 2022. And the summit that was in Phoenix in 2023 was even bigger. And it’s reach is growing even more. The group photos is one thing that’s fun to look at. Cause you can see the group size just grow and grow and grow and grow as more people are being brought into it’s reach.

When it has a presence at a lot of the IndyCar races and then my teammates on our sports car side, they are seeing it a lot at a lot of the sports car races. There’s actually a group of us here in the Charlotte area, a group of us women who get together quarterly. To just hang out, connect, network, and so forth.

It’s kind of like its own Charlotte chapter of WMNA, if you will. And even that with every event we’re adding, Oh man, I want to say like three to five people every quarter. And like now the distros in the fifties or sixties, just for the Charlotte area. And we’ve only done like five or six events. And so to see the momentum this has, as well as it has the support and attention of some big corporations and some big sponsors in the industry that have great initiatives.[00:48:00]

It’s becoming a really good access point for women who want to get into motorsport. When I went to the summit in 2022, one of the things I took away from that was how accessible everybody was. Like I was there in a room and at tables with the CEOs of some companies and stuff like that. And they were just like, yeah, super friendly.

And we got to know each other. And now you have this connection going forward. And there’s even some college girls that came up to me. And a year later, they were emailing me asking me. For some advice and stuff like that. And that’s what it’s all about is creating these pathways for women to find their way into motorsport.

Crew Chief Eric: Some of those CEOs were probably in as much awe of you as you were of them. And it sort of makes me wonder who is like one of the coolest people you talk to at one of the conventions or heard present, who are some of these folks that you’re like, wow, I got to meet that person.

Lauren Sullivan: One of them, and I met her before WMNA, but I’ve gotten to know her more and interact with her more through WMNA is Lynn St.

James. I [00:49:00] met her through Prada Autosport because she was there supporting us and there at the Indy 500. And I remember when I saw her and I was like, Oh my gosh, you know, she was one of the trailblazers for this to happen. This is like seeing it come full circle. This is incredible. She’s probably one of the main ones that has stuck out to me, like getting to interact with routinely through events that WMNA hosts.

Crew Chief Eric: Say you’re at the 2024 WMNA convention or you’re at the next Indianapolis 500 and a little girl walks up to you and says, Lauren, why motorsports? What would you say?

Lauren Sullivan: Motorsport. Because there’s still so much to do. The frontier of it is undefined. There is no limit. I felt like in aerospace, we kind of found the limit to a certain degree in terms of commercial aircraft isn’t evolving very much.

It’s refining itself, but it’s not necessarily evolving and advancing. And same with defense, like the birds, as we call them. Fighter jets I was testing were designed in the sixties [00:50:00] and there aren’t new ones yet because we don’t need to, but it’s just one of those things that you, you kind of found a limit and I feel like in motorsport, we haven’t found these limits yet.

Things just keep evolving on many different fronts, whether it’s the car itself. I mean, even just look at IndyCar rolling out hybrid later this year, things you didn’t think you would see are coming together faster than you were expecting. But there’s still a lot of work to do in motorsport in terms of inclusion and equality and equity.

That limit’s not there. That’s why I choose motorsport. Cause there’s always something new. And like, once you cross one milestone, there’s another one right in front of you. Ironically, there is never a checkered flag.

Lauren Goodman: You’re speaking my language because working at a museum where we have race cars going back to 1903.

That’s been the party line. Racing improves the breed because the finish line is always just over the horizon.

Lauren Sullivan: Yeah. Yeah. Like it just, as soon as you cross it, it just moves again. It’s always something new and it’s the cutting edge. Cause again, like back to consumer cars, it’s influencing other industries.

It’s finding the new technologies and the new processes and the new ways. I know we already mentioned this earlier, but back to [00:51:00] like the renewable rubber that Firestone’s bringing out, we’re going to see that eventually. On consumer cars, this hybrid system that IndyCar is rolling out. We’re going to see that eventually in consumer cars.

Just being part of that is exciting. And you’re just always chasing the next finish line. I want any young girl out there, any young guy out there who’s hearing, who’s listening to this thinking like I want to get into motorsport and this is something I want to do. We’re knocking down these barriers as fast as we can.

There’s a lot of us holding open the doors as wide as we can for you to come through. And I think you would be surprised if you go to the races and you reach out to any of us of how many of us will stop and chat and make ourselves available because we didn’t have that person growing up. And a lot of the people I work with in Penske and on other teams are willing to share their journey and their path and their network.

So it’s easier for the next generation.

Lauren Goodman: And Sebastian Vettel, he’s taking care of the, um, artificial fuels. Yep.

Crew Chief Eric: Porsche too.

Lauren Goodman: Right, exactly. He’s taking care of that. What’s next for Lauren Sullivan? Oh boy. She’s

Crew Chief Eric: a [00:52:00] Penske. Are we going to see you working on the Porsche 963 anytime soon?

Lauren Sullivan: I don’t know. If I’m going to be honest about that one, I’m going to say I like garage hours.

Uh, what’s next for me? I don’t know. And I, I don’t need to know because I never set out when I was young to be in motorsport and I ended up here. I just take opportunities as they come. When I got into motorsport, IndyCar was never even on my list. And I just took the opportunity as it came. Instead of confining myself to a box, a dream, a goal, I’m just ready for whatever is next.

Crew Chief Eric: Lauren, it’s that part of the episode where I like to invite our guests. to share any shout outs, promotions, or anything else that we haven’t talked about thus far.

Lauren Sullivan: So also talking about the A in steam, there is a balance and they can’t exist independent of each other. And I even find that in myself at work, I’m always doing these highly technical things, but one of my hobbies is big gourmet cakes.

Actually, I don’t do it for money or anything. I just do it for friends, family parties, I go [00:53:00] to, and you can actually follow that on Facebook that has a page that suits my sassy. That’s my creative outlet that I have found that when I look at my life, I don’t know where that skill came from or how it got developed, but it’s the yin and yang I have in a

Crew Chief Eric: motorsport career.

But are they motorsport inspired cakes? Do they look like formula one wheels or IndyCar wheels, you know, Firestone tire?

Lauren Sullivan: No, and the reason is because I’m not good at shapes, but I can do abstract art. It’ll be like a blend of black and red, the Penske colors, but it’s just a round cake.

Crew Chief Eric: Again, the Porsche 963 cake.

Lauren Sullivan: Okay. I mean, yes, this is true. This is true.

Crew Chief Eric: Aerodynamic, right? Put your cake in a wind tunnel.

Lauren Goodman: Yeah, they are aerodynamic, perfectly smooth and delicious. Lauren holds the honor of supporting the first female Ford IndyCar team. Peretta Autosport at the Indianapolis 500 as an engineer, and to quote her directly, quote, everyone is taught the same thing in school.

Therefore, on paper, everyone looks the [00:54:00] same. What you learn outside the classroom is your leverage. And she’s living proof of that. To learn more about Lauren, be sure to log on to womeninmotorsportna. com or connect with her via LinkedIn.

Crew Chief Eric: With that, Lauren, I can’t thank you enough for coming on Brake Fix and sharing your story with us and all the young, inspiring petrolheads that are out there.

And I have to say, that whole expression of no limits. I think summarizes you. You have one of the coolest jobs in motorsport. And what dawned on me is people need to spend more time interacting with the people at the track because you never know who’s walking down the paddock and what job they hold and what their history is.

And we can all learn from each other. And I have to applaud you for what you’re doing and how you’re reaching back to young ladies and young petrol heads that want to get involved. So keep spreading motorsports enthusiasm.

Lauren Sullivan: Well, I will. This has been a great time and thank you very much for the opportunity.

Crew Chief Eric: Officially founded in April of [00:55:00] 2022, Women in Motorsports North America is an official 501c3 not for profit organization. Because of its partners, WMNA is proud of what it’s been able to accomplish. And don’t forget that each year, over 450 women and men from all disciplines of motorsports attend their annual summit.

Attendees are open to industry executives, drivers, team members, OEM sponsors, racetrack representatives, and anyone working in the sport or wanting to learn more about opportunities in motorsport. If you’d like to learn more about women in Motorsports North America, be sure to log on to www.womeninmotorsportsna.com or follow them on social media at Women in Motorsports, NA, on Instagram and Facebook, or at underscore wm NA on Twitter.

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 at [00:56:00] 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, gummy bears, and monster.

So consider signing up for Patreon today at www. patreon. com forward slash GT motorsports, and remember without you, none of this would be possible.

Highlights

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

  • 00:00 Meet Lauren Sullivan: A Journey in Motorsports
  • 01:34 Growing Up in a Racing Family
  • 02:23 From Science Fairs to Engineering
  • 04:31 Transitioning from Aerospace to Motorsports
  • 06:04 Joining Penske and the Female Forward Team
  • 07:16 Challenges and Inspirations in a Male-Dominated Field
  • 10:27 The Role of Aerodynamics in Racing
  • 23:12 Spotting in Motorsports: The Human Element
  • 29:17 The Dance of Habit Forming
  • 29:23 IndyCar vs NASCAR: An Engineer’s Perspective
  • 30:35 The Evolution of Motorsport Engineering
  • 31:46 The Reality of Working in Motorsport
  • 33:24 Diversity and Inclusion in Motorsport
  • 37:11 The Intersection of Art and Science in Motorsport
  • 40:42 Creative Problem Solving in Engineering
  • 45:05 Women in Motorsports North America
  • 49:22 The Future of Motorsport and Personal Reflections
  • 52:32 Closing Thoughts and Shout Outs

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.

Lauren admits one of her guilty pleasures, and a way to decompress after the challenges of being a racing engineer, is to create motorsports inspired… CAKES! You can check out all her delicious creations on her facebook page.

Photo courtesy Lauren Sullivan

Learn More

Support Women In Motorsports North America (WIMNA)

Women in Motorsports North America is a community of professionals devoted to supporting opportunities for women across all disciplines of Motorsport by creating an inclusive, resourceful environment to foster mentorship, advocacy, education, and growth, thereby ensuring the continued strength and successful future of our sport.

 

To learn more about Lauren be sure to logon to womeninmotorsportsna.com or connect with her via LinkedIn.

Cindric asked if she’d be interested in supporting Beth Paretta’s groundbreaking, female-forward Indy 500 team. Lauren didn’t hesitate. “I had no idea what I was getting into,” she laughs. But after one phone call with Paretta, she was all in.

“This wasn’t a dog and pony show,” Lauren says. “Beth was genuine. She wasn’t seeking attention—she was building something real.”

That experience not only deepened Lauren’s commitment to motorsports – it shifted her trajectory. She moved from NASCAR to IndyCar, becoming the Engineering and Team Logistics Coordinator for Team Penske’s IndyCar program.

Photo courtesy Lauren Sullivan, Paretta Motorsports

While IndyCar’s spec chassis might seem to limit innovation, Lauren sees opportunity in the details. “It’s all about how you fit the parts together,” she explains. “The margins matter. Sensitive surfaces, prep work, even how you mate components – it all adds up.”

Her background in NASCAR, especially during the transition to the Hawkeye scanning system, taught her how to find performance in the smallest of tolerances. That mindset translated seamlessly to the tightly regulated world of IndyCar.

Photo courtesy Lauren Sullivan

Throughout her journey, Lauren has often been the only woman in the room. Early on, she admired trailblazers like Amelia Earhart and drew strength from her mother, who instilled a belief that nothing was off-limits.

But over time, Lauren’s perspective evolved. “I don’t want to be the only woman in the room anymore,” she says. “We need to upset the status quo. I want to see equal distribution.”

She’s candid about the challenges women still face in motorsports and engineering—and passionate about mentorship and outreach. “There are still women who feel threatened by other women in the room. That’s not how we succeed.”

Photo courtesy Lauren Sullivan, Team Penske

Lauren’s versatility extends beyond engineering. She’s also served as a spotter for Team Penske drivers like Joseph Newgarden. Whether perched high above the Indianapolis Motor Speedway or navigating the tight turns of a street course, her job is to be the driver’s second set of eyes – communicating track conditions, traffic, and danger in real time.

“It’s about giving them the information they need, in as few words as possible,” she says. “They trust you completely.”


Looking Ahead: Tech, AI, and the Future of Racing

As motorsports embraces new technologies – from renewable fuels to AI-driven simulations – Lauren remains both curious and cautious. Could AI replace wind tunnel testing? Maybe, to a point. But real-world variables like weather, tire rubber buildup, and on-track chaos still require human intuition.

And what about replacing mirrors with cameras and sensors? “It would have to be fast enough,” she notes. “At 200 miles per hour, there’s no room for delay.”

Lauren Sullivan’s story is one of rediscovery – a reminder that sometimes our childhood passions are more than just hobbies. They’re breadcrumbs leading us home.

From a science fair in middle school to the roar of the Indy 500, she’s followed the flow of air – and her heart – into a career that’s as technical as it is transformative.


Guest Co-Host: Lauren Goodman

In case you missed it... be sure to check out the Break/Fix episode with our co-host.
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Motoring Podcast Network

Taylor Ferns: Racing Toward a Legacy in Open Wheel and Beyond

From quarter midgets to USAC Silver Crown, Taylor Ferns has carved a path through motorsports that defies convention and embraces grit. In this episode of the Break/Fix podcast, we dive into the story of a driver, law student, team owner, and motorsports advocate whose journey is as multifaceted as the cars she races.

Photo courtesy Taylor Ferns

Taylor’s motorsports origin story begins in Michigan, where family weekends revolved around the Daytona 500 and tales of her uncles racing stock cars in the ’80s. At just six years old, she sat in a quarter midget for the first time – and never looked back. That moment sparked a 22-year racing career that would span dirt and pavement, sprint cars and stock cars, and a growing list of firsts for women in motorsports.

Tune in everywhere you stream, download or listen!

Listen on Apple
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Listen on Spotify
Photo courtesy Taylor Ferns

After stepping away from racing to pursue her education, Taylor earned her bachelor’s and master’s degrees with honors and began law school. Her time working at a law firm not only reignited her racing career – thanks to sponsorship support – but also clarified her future: combining her legal expertise with motorsports. Her goal? To represent drivers, negotiate contracts, and advocate for racers from within the industry.

Photo courtesy Taylor Ferns

Spotlight

Synopsis

This Break/Fix episode features Taylor Ferns, an accomplished race car driver, team owner, law student, and writer. The episode, supported by Women in Motorsports North America, dives into Taylor’s expansive 22-year career in racing, her numerous accomplishments, and the challenges she faced. Taylor shares her journey from being inspired by family members who were racers, her early accomplishments in USAC, to taking breaks for education, and her eventual return to racing. The discussion highlights her love for open-wheel cars, particularly sprint cars, and her aspirations of merging law with motorsports. Taylor emphasizes the importance of mentorship, the role of diversity in racing, and how women in motorsports can continue to thrive. The episode also touches on the impact of sim racing, Drive to Survive, and the globalization of motorsport. Taylor’s narrative is a testament to her passion, resilience, and dedication to motorsports and supporting the next generation of racers.

  • Let’s talk about The who/what/where/when/how of Taylor – how did you get into Motorsports? Did you come from a racing family? Something you picked up as a hobby or by way of friends?
  • So you’re a lawyer too (or soon to be), eh? Tell us about that… Why law? (does the racing drive the law career, or the other way around?)
  • Who were the women at the time, as you were starting out that inspired or helped you build a career in motorsports?
  • The role of Sim Racing in the future of the sport. Circle/Short Track is getting some love from iRacing – does simulation help/hurt Motorsports?
  • Let’s talk about the good, the bad and indifferent of racing – the business side of things.
  • If a young girl walked up to you today and asked, Why do/did you race? What would you say?
  • What’s next for Taylor? Any spoilers? Big events you’ll be at? 

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 petrolheads 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. The

Crew Chief Eric: following episode is brought to us in part by the women in motorsports, North America, a community of professional women and men devoted to supporting opportunities for women across all disciplines of motorsport by creating an inclusive, resourceful environment to foster mentorship, advocacy, education, and growth, thereby ensuring the continued strength and successful future of our sport.

Tonight’s guest is an accomplished race car driver, team owner, law student, writer for Speed Sport, and co host of On the Drive. Throughout her 22 year racing tenure, she has won numerous races, [00:01:00] championships, awards, and set records that not only pertain to her gender. but also in a diverse portfolio of race cars on varying race surfaces.

Lauren Goodman: As a United States Auto Club USAC champion, Taylor Ferns has carved a name for herself within the open wheel ranks, including, but not limited to, being the youngest female driver to win a sprint car race. Becoming the first female to win a USAC midget and sprint car races at a multitude of racetracks.

Being the second female ever to win a USAC championship. Having the most USAC silver crown starts by a female and having the highest finish. By a female and USA sees 51 year silver crown history. She’s here with us on break fix to share her motor sports journey with you.

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

Taylor Ferns: Hi guys. Thanks for having me. I’m excited to chat with you all.

Crew Chief Eric: And joining us tonight is our returning cohost break fix. Lauren Goodman, supervising producer of media and exhibitions for the [00:02:00] revs Institute. So welcome back to the show, Lauren.

Lauren Goodman: Thanks for having me.

Crew Chief Eric: Well, Taylor, like all good break fake stories, there’s a super heroine origin story.

So tell us about the who, what, where, and when of you, how did you get into motorsports? Did you come from a racing family? Did you pick it up as a hobby? How did you get into this?

Taylor Ferns: Like a lot of people, I feel like you interact with and motorsports. A lot of them come from some forum of a racy background or parents, you know, that were mechanics or did something within the motorsports community in some way.

My two uncles on my maternal side actually raced late models and stock cars back in the eighties and early nineties. As soon as I came around, you know, I would just always grew up around it. Daytona 500s were like the Superbowl to us and kind of always had an idea at a young age that I was going to do something in motor sports as weird as it sounds like reflecting on it.

But at such a young age, there wasn’t a lot of visible females within the industry. So I never really was sure what that was going to be. When I was six years old, my [00:03:00] dad and my uncle, who had previously raced, had did some research, and a neighbor of ours had a quarter midget, which is like a go kart with a roll cage around it, and they found one for sale in nearby Lansing, Michigan, like an hour and a half away from our home.

It was like a family weekend trip. I have two younger siblings, and my parents all hopped in the Yukon, and we drove to Lansing, and as soon as I sat in the car, I just fell in love with it. I’ve been hooked ever since, 22 years on, and You know, I’m still here. You know, I did take a few years off there. I had some gap years, you know, racing’s expensive.

So it takes a lot of money, a lot of support to do this. And I knew if I was to go any further, I was going to need a lot more money than what I was already fortunate to have access to, but it was going to take even more than that. And so my dad was just kind of like, you know what, it’s time to maybe focus on the education and kind of always come back and do this.

Took some time off, went for my bachelor’s, graduated with honors. Went for my master’s, I started at law school and my job that I had, I worked for five [00:04:00] years as an operations director at the San Bernstein Law Firm. Working there is what brought me back in a way because they helped sponsor me and when I started racing again in 2019, they helped get me back on the track.

If it wasn’t for them, you know, maybe I wouldn’t be talking to you right now.

Lauren Goodman: I have lawyers coming out the wazoo in my family. My dad, my sister, my first cousin, once removed. My time in the law firm showed me that the law wasn’t for me. But what’s really, but I really like track. Yeah. The question is you who love being on the track.

What is it about the law that is still really interesting?

Taylor Ferns: When I was in high school, I was obsessed with racing. Obviously I still am, but as a teenager in high school and already missing 60 days a year, I was like, I don’t even see myself going to college. Like that was my mentality. When I started going to Grand Valley State University and I took my business law class.

I joke and say this story, but the first two weeks, the professor was like, Oh, you know, Michigan state has a special three and three program. If you’re interested, come see me. And I would just laugh. I’m like, there’s no way [00:05:00] I’m going to put my time and be done. Two weeks later, I was in professor Sanford’s office.

Like, how do I get into this Michigan state three and three program? I mean, I was just obsessed with the business law class. You know, at that time I wasn’t racing. And so, you know, I put so much time, focus, energy, competition. And to me, a lot of it, I think was the competition and the speed with racing. And so when I didn’t have that anymore, I was trying to compete with my academics.

And this isn’t a dig or anything on marketing, but I was originally like marketing and entrepreneurship major. And I ended up switching to finance and economics cause I wanted something that was just going to be super challenging for me. I think it was almost like the way of like complex thinking really challenged me.

And then I felt like I had a lot to relate to as far as like the business realm goes, seeing my parents growing up, like run their own businesses. And you know, my grandfather, the same way, there’s a lot of overlap there. You know, here I am, I’m graduating this May. So I definitely think a lot of it just goes back to the challenge of it.

You know, I love challenging myself. And so [00:06:00] I feel like. People will see that in a lot of the things that I take on.

Crew Chief Eric: Talking about the family business and sort of assessing the lay of the land and bringing your law degree with you. Have you found a way to partner together your racing career and your law aspirations?

Are you looking for a way to marry the two up?

Taylor Ferns: 100%. Actually, it was when I first sat down to take the LSAT, it was like a light bulb went off in my brain because. You know, I come from an open wheel racing background. And then when I was 16, 17, I dabbled in late models and stock cars a little bit, like with Arca and I raced with the Venturini’s for a few races because I wanted to go NASCAR racing in that time.

I dealt with a lot of contracts and, you know, sponsorships. And so I ended up. An attorney that did a lot of that work within motorsports. So, you know, when I sat down and took the LSAT, I was like, I want to do what Alan Miller does and represent drivers and work on contracts and things of that nature, and it was all business related ever since then.

It was my [00:07:00] vision from then has. almost come to fruition now because I talked to some of the sanctioning bodies I have close relationships with and that I network with and one of them was like you know what when you’re done with law school we’ll set you up with an office in Indy and you can work out of here and do a lot of the racing stuff for us.

I know I might have opportunities working in other law firms that do like contract work and things of that nature within racing as well. I’m definitely going to stay within motorsports. It’s definitely going to be the merger of two passions.

Crew Chief Eric: So let’s dive into your racing a little bit more. You’ve mentioned some of the different cars you’ve driven, and obviously you were thrown right into the arena of circle track and short track racing.

Your world is really interesting and people don’t really realize how nuanced it is and how many different disciplines exist. Dirt versus asphalt versus short track versus sprint cars and midgets. I mean, there’s so many different things going on there. What was the progression like for you? You wanted to go to NASCAR, but did it get easier as you went up?

Did it get more [00:08:00] difficult? Which cars were the most fun to drive? You know, those kinds of things.

Taylor Ferns: For someone who wanted to go to NASCAR, that was a very unconventional route that I went. I started off in quarter midgets, you know, I did bandoleros, I went 600, micro sprint racing, and then I just automatically, by the time I was 12 and 13, I started in full size midgets.

And then I got into sprint cars when I was 14, and then I started racing USEC Silver Crown when I was 16, while at the same time dabbling in late models and Arcas. Mixing up the open wheel cars with the fender cars. At a young age, you kind of go with what you know. So when I was younger, I grew up around NASCAR.

Like that was the epitome, especially for my family. So it was natural and organic for me to be like, I want to go NASCAR racing. Well, at the same point in time, I loved open wheel. When I started racing the late models and the stock car stuff, I loved it. And I took naturally to it. Obviously for me to continue on, that was going to take a lot more money.

And for me, I love any race car I can get into and drive. But as far as my [00:09:00] favorite cars to race, I will always say it’s sprint cars. And obviously, like you had said, there’s so many different variations of that. I mean, you could have a wing pavement sprint car, you could have a wing dirt sprint car. A non wing pavement sprint car, a non wing dirt sprint car.

Then obviously then you have the different engine sizes, so on and so forth. You know, I started racing sprint cars when I was 14 and I’m 28 now and I’ll still say, I make it known that I love sprint car racing.

Crew Chief Eric: You really like the open wheel cars, but what I didn’t hear in there was. Supermodifieds. Isn’t that the next step?

Taylor Ferns: Yeah, honestly, I’ve never raced a supermodified. Can’t even say I’ve had an opportunity to do it, but I’m sure if I put a blast out there, tried calling somebody, might know some people within that realm. I’m sure it’s something wouldn’t be hard to do. You never know. You might see me at a supermodified race one of these days.

Crew Chief Eric: The aspiration was to go to NASCAR. And I wonder, was that because at the time you were seeing personalities, like let’s say Danica Patrick on television as a woman in NASCAR, or [00:10:00] were there other females in motorsport that you were inspired by? And one of the names that pops out, especially in your world is someone like Aaron Crocker, Everham, which everybody knows from Winged Nation, the first woman to win an outlaw race.

Who were you striving to be? Like?

Taylor Ferns: I was lucky coming up, like there was a handful of females, like Danica obviously, and indie car, and that was someone when I was growing up that I really looked up to. ’cause I really thought she was a great indie carri open wheel driver. And then obviously she transitioned to nascar.

Didn’t see as much success there, but you know, she. still like a prominent fixture as far as like drivers that I looked up to was like meeting more of the crossover drivers, like Tony Stewart or Jeff Gordon, you know, that came from open wheel and then transitioned over to NASCAR at some point. And then that’s really where they made their name more.

So for me wanting to go to NASCAR was, it was always because. When on Sundays sell on Mondays, I feel like when you bring up NASCAR racing, like, I don’t come from a prominent racing community, so to say, in Metro Detroit. But, you know, you bring up NASCAR and people recognize it, [00:11:00] whereas, like, if you try, and I hate to say it, I become a big fan of IndyCar, but you try to bring up an IndyCar and it’s not as relative, maybe, or it’s not as, like, well known, I feel like.

As you grow, your dreams evolve at the same time, and so I think right now, I’m definitely more aiming towards the IndyCar route, maybe if I had the opportunity to do something in that realm, because as far as like the easier access goes, and then relating more to what I come from now, that might be more of a realistic goal.

Lauren Goodman: I love that just because as a student of motorsport history, looking at all the American greats who cut their teeth on dirt tracks. In midgets in sprint car and turn that into an incredible career at Indy. To me, that makes total sense.

Taylor Ferns: For me, it’s always like bringing back the nostalgia about it. I’ve become close and I’ve interacted a lot with the vintage Indy guys.

They have a shop based out of Brownsburg, Indiana, and they restore a lot of vintage Indy cars. And you learn a lot about the history of the sport, but specifically the USAC ranks and when those guys came from USAC to IndyCar. [00:12:00] You know, that’s kind of something in a way that I was hoping to bring back because I feel like it’s forgotten.

I feel like when I talk to a lot of IndyCar teams now, you almost kind of have to sell the USAC Silver Crown model to them. It’s almost like a lot of people forgot that history. That’s something that I’d like to bring back because I feel like there is so much relation and overlap there. Consider my bias, right?

But there’s a lot of the guys from, like, the USAC ranks, specifically the Silver Crown drivers, who I have a lot of respect for, but I think that they’re overlooked in a lot of ways.

Crew Chief Eric: With that said, dirt or asphalt? What do you prefer?

Taylor Ferns: Uh, this is such a tough question for me because if somebody was to ask me this when I’m running better on dirt than I am pavement, naturally when I was younger, I’d be like, Oh, dirt.

And then, you know, same thing the other way around. I love them both. I love having the opportunity to go back between both of them. I think it really creates a diverse and complete driver. But, you know, I will say right now, I do lean more toward the pavement because that’s always been something [00:13:00] that’s just come natural to me and organic.

Whereas the dirt has always been something that I’ve really had to work at. But, you know, if you think about it, like, when you go silver crown racing, there’s only, like, five dirt Silver Crown race is on the schedule. Well, you’re racing against guys like Justin Grant, CJ Leary, Brady Bacon. They race those dirt nine win cars like 80 times a year.

For me to do that only five times a year. You don’t want to show up and be already defeated, but you already know at some point to be realistic. You’re fighting for fifth through 10th. I don’t like that mentality, but you got to take into context all the seat time. Right now, I just don’t have a lot of the dirt.

I definitely try to focus more on the pavement because I know that’s my strong suit right now. But just always taking away whatever I can when I race the dirt stuff.

Lauren Goodman: When you look at other drivers you’re with, just like certain tennis players will say, he’s great on the clay, she’s amazing on the grass.

Then he’s great on, on asphalt. Do you see that in the other drivers?

Taylor Ferns: Yeah, I see that in the other drivers. Even my family’s like, you’re one of the best [00:14:00] pavement drivers. Sometimes they try to like even steer me away from messing with the dirt right now. Everybody has their thing, you know, it’s like what you said, no different than basketball or football or whatever.

So everybody’s going to have their thing if they take two more. I used to think I was a pretty decent dirt driver. Practice makes perfect and I haven’t practiced it a lot.

Crew Chief Eric: With all of your driving experience. experience. There’s comes these moments for all of us that participate in motorsport and they’re learning moments.

What’s gone wrong at the racetrack and what have you learned from it?

Taylor Ferns: So I will say this past season, so 2023 season definitely did not go the way that I wanted to in any way at all, did not meet any expectations that I had set and nor did we achieve any goals that I set for. Myself and my team. And so we had to overcome a lot of adversity and a lot of problem solving.

When I reflect on that, I say that there was a lot of growth there. And there is a quote that I like to turn to from Denzel [00:15:00] Washington. And he said, don’t view things as problems, view them as opportunities. For example, if I qualify bad and you know, I got to start towards the back, it’s like, what an opportunity I have to pass a bunch of cars, be hard charger or whatnot.

But there was one moment in particular that stuck out last season. And it was my very first Dirt Silver Crown race back in eight years. And we were out in Belleville, Kansas. We had just put together a brand new car, brand new frame, parts, engine, you name it. Everything was brand new. You don’t normally get a practice day racing.

After four laps on practice, my motor blew up. We didn’t have a spare. All my guys were like getting ready to load the trailer to go home, head back to Indiana. And I was like, nope, we’re going to find another motor. A buddy of mine had one for sale in Brownsburg, Indiana. I had another buddy go and pick it up.

Drove all night to Belleville, Kansas. We put it in and I raced. And we ended up finishing 9th or 10th. It wholly encapsulates, like, our entire season last year. But what it comes back to is just never giving up. And, you know, it’s [00:16:00] easier to give up than to keep going. To quote Winston Churchill, you know, it’s the courage to continue that counts.

We’re never out of the fight. And I definitely gained a lot of mental strength from that last year.

Lauren Goodman: If I were your magic sponsorship fairy, And I came down right now and tapped you. And I said, you could drive at any other series and any other track. What would you like to do first?

Taylor Ferns: Number one would be the Indy 500.

Obviously at MIS. That’s on my bucket list. Something I’d really want to do and something I’m really working hard towards. But on top of that, you know, I always. Say if somebody says I had my perfect scenario with a sponsor that would let me do whatever I wanted to do or whatnot, I would say winged dirt, sprint car racing all the way.

And formally it was always like when I was winged dirt, sprint car racing, when I was a teenager, I was always like, I want to be an outlaw and race with the world of outlaws. Now, you know, there’s kind of like that split field, you know, right now between High Limit and World of Outlaws. Winged Root Sprint Car Race is something that will always have my [00:17:00] heart.

It’s between those two.

Lauren Goodman: I think that’s wonderful. We can hear your passion for

Taylor Ferns: it. Thanks. For

Crew Chief Eric: sure. Going back to your aspirations for NASCAR, There’s been a lot of changes happening lately and especially last year. And I want to kind of get your take on things like garage 56 and how that really shook up motor sports.

Taylor Ferns: It’s a really interesting concept. It’s a really great marketing tactic. A brings a lot of extra attention. And as far as like globalization goes, like international influence, bringing those international fans over, because also overlaps with the whole formula one drive to survive on net. That really brought in the American fan base because the statistics prior to drive to survive and how formula one was like barely making it, or they barely got the field that they do now.

As far as like fan base goes at circuit of America is an awesome. And now they’re selling now and now added. Two American races within the past two years. That’s unheard of. And NASCAR is probably trying to do the same thing. [00:18:00] Steve Phelps with NASCAR, I’ve interacted with him a handful of times at the women in motorsport events.

And, you know, he definitely really has that corporate mindset and, you know, That I think that comes with globalization and trying to target those fans overseas because NASCAR historically was kind of like grassroots Americana. The garage 56, I think is just the evolution of NASCAR.

Crew Chief Eric: Did drive to survive convince you in any way?

Are you a fan too?

Taylor Ferns: Yeah. You know, honestly, I didn’t know too much about F1. Before that, just little tidbits here and there. I try to keep up with it now as much as I can. And, you know, it is also interesting, you know, hearing from international drivers, how much they train in their mindsets, you know, a lot of that like relates and I can connect with them in that way, as far as from a competition standpoint.

If you’re a competitor, no matter what it is, whether it’s racing or basketball or football or whatever, you know, you all have this similar mindset. I’m really interested in human behavior and so learning from other people and what makes them tick. And so I think that’s something [00:19:00] that drive to survive brought to light as well.

Crew Chief Eric: And you touched on something really important, which is the training that the F1 drivers go through. And I’m glad you brought that up because one of the other things that has changed in the last couple of years, and it’s a result of the pandemic in some ways. Is the explosion in the sim racing world.

And a lot of people are saying it’s the future of motorsport. There’s all sorts of titles out there and simulators that really lean towards formula one or sports car and endurance racing, and even rally in some respects. But there’s a little bit of love for short track and circle track out there through the iRacing community.

Do you use sims at all to practice? And do you think it helps or hurts motorsports?

Taylor Ferns: Utilize some simulator training. I have a relationship with Dallara and they let me go into their facility and Speedway, Indiana, and I’ll use some of their simulators that they have there. And then I also train at Pit Fit down in Indianapolis and they have a simulator in there as well.

For me, I’m trying to get used to some road course racing right now. And so that really helps as far as [00:20:00] adapting and getting used to the tracks, maybe breaking points and downshifting growing up. I’ve kind of always utilized. The phrasing I mind race, I don’t I race saying that I’m kind of implying that there still is a lot to getting used to when you get in the actual car and you’re on the track versus the simulator.

And I don’t think anything will be able to like really replicate that. I know there’s like three simulators in the world that are as realistic as it can get. And I know that I think Dallara has two of them. And then I think there’s like maybe a NASCAR facility, like Toyota or Chevy or something that has one also.

I’ve heard that those are pretty legit. But as far as maybe what like the common folk has access to, I think there’s still nothing comparable to getting actual seat time in a car at a track. I was at Skip Barber Racing School in September doing some road course training, and there was a student there that was in the school and he had just always sim raced.

And so this was his first time like actually [00:21:00] getting on the track, utilizing those skills that he had learned on the simulator. And it was really interesting because You know, he did have some speed, but it was funny because one of the trainers was like, Oh, you can tell he’s an eye racer based on some of like his technique.

You know, I wish I would have inquired a little bit more about what he meant as far as like his techniques and like how you could actually tell, but I just thought that was like a funny takeaway.

Lauren Goodman: I’ve experienced Only very low speeds at high performance driver education, but I’m telling you the effects on your body are extreme.

Yeah, I was not anticipating how it’s like running a marathon driving a car for long periods of time. Yeah, I’ve of course subscribed to like all the things all of like the F1 TV and the WRC plus blah blah blah and then they’ll often feature their This is our e racing, our sim racing. And like these children who look like they could not lift a twig are there.

And I’m like, there is no way you could try a sports car for a three hour stint because the conditioning you have to [00:22:00] have is like you’re a performance athlete.

Taylor Ferns: It’ll be surprising. Cause sometimes I’ll look at people who are racing the silver crown stuff will race a hundred mile races. And. For an open wheel car, like that is endurance racing, especially for what we do.

I mean, you’re seesawing at the wheel for a hundred laps. And so you gotta be in peak condition. I mean, it’s no joke. And sometimes, you know, you kind of look around at the field, like what you said, and you’re like, how is this kid wheeling that? You know, he looks like he’s like maybe a hundred pounds soaking wet.

It amazes me as well, but I know how hard I train to do it. And since a young age, you know, I’ve always worked out really hard to try to stay in the best. physical shape. And even now, sometimes at the end of a silver crown race, I’ll look around and some of those mile races will race and it’s like 100 degrees out on the dirt miles.

And you know, it gets pretty hot in there and we’re in open wheel cars. And I know like also when I used to race stock cars on a hot day, geez, it’s like 50 degrees hotter in there than it is outside. It’s pretty grueling. So you know, a lot of that not even just working out but sauna training. [00:23:00] Sometimes I’ll sit in the sauna for an hour just to get used to the heat.

It definitely takes a toll on your body. And then I’ve definitely learned over the years staying hydrated. I’m really big on the whole liquid IV packets now and staying on that. And it’s a lot. Also, when you add in all the traveling on top of that, too,

Lauren Goodman: sleeping in strange hotel rooms or motels, there’s a weird light outside and there’s a buzzing in the room you can’t get rid of.

And you can’t sleep.

Crew Chief Eric: So you’ve been to mid Ohio is what you’re saying. I got you. It’s all good.

Lauren Goodman: I’m sure all that’s going to mess with your performance. The business of racing. I’ll just bring this up because I have a degree in screenwriting. Believe it or not. When you’re in Hollywood, you discover that a lot of the business of screenwriting has very little to do with screenwriting.

And I think racing is the same way. Is that so much of what you spend your time doing is not actually being on the track. It’s the things you do. I’m bringing this up because I’m almost positive we maybe shook hands at the women of drive summit in Phoenix, but of course [00:24:00] I shook 800 million hands, which was amazing.

It was amazing to be in a big space with women who were all excited about this and wanted to help each other. There were so many incredible speakers there. I feel like I’m still digesting some of the things I learned and took from that conference. At first it was like, I’m like, Oh, am I a little out of place here being from like, A car museum and my specialty being like automotive history, but it made perfect sense as I looked at a lot of the struggles I saw young women drivers facing with the exact same struggles.

I saw women drivers from the past facing. It comes down to money because racing is a sponsorship. A lot of the famous women drivers of the past either came from money or had a connection who helped get them in the door that was almost the equivalent of money. And I think it’s still kind of the same.

And I think the conference did an amazing job for a lot of these young drivers saying, like, we’re going to give you workshops and breakouts about, okay, you can’t control this thing, what companies are going to decide to spend on [00:25:00] marketing. You can control these other things. One of the keynote sessions was about this is that companies don’t realize.

What a good deal women in sports are. I’m just curious, you know, does that reflect what you’ve experienced? Is that for companies, why aren’t they pouring money into this? Because people who follow women’s sports and women in sports, they spend the money. They’re committed.

Taylor Ferns: I was doing some testing. And I connected with an agent of some sorts and she represented a manufacturing brand.

We had conversed a lot, so on and so forth throughout the couple of days. And she ended up telling me, I get a lot of high profile brands all the time. They want to get in women in sports. And she was saying, it’s such a hot commodity right now. We’re trying to find everywhere we can to allocate money to women in sports.

So I’m like over here, raising my hand, me, me, me. But this is kind of a recent phenomenon in a way. And I think 13 ish years ago, that was maybe the early onset of it, but it was nothing then like how it is now. And the [00:26:00] reason why I bring that up, because when I won my USAC championship in 2011, when I was 15, I had won this grant or sponsorship from eBay motors.

And I think a lot of it, I had heard. From their marketing director was because they wanted a female. And I was not only that, but I was a highly competitive one. Like I had just won the USAC championship, so on and so forth. So that’s what they were looking for. So I was the ideal candidate really at that point in time.

That was the first time I had ever really heard that from a company. Granted, I was so young, but I really never heard anything like that again. Until really the past, like three years, if I would have had more access or there was larger access pools of that when I was in my late teens, before I took time off, I probably would never would have left.

And that’s a big thing with women in motorsports, North America, you close with Lynn St. James. She’s been a mentor of mine since I was 13. And I’ve worked closely with Beth Parada and Cindy Sisson. And at first we kind of came up with this theory, like the funnel [00:27:00] effect. And for me, it was like, you know, if you look around to a lot of the successful females in motor sports around the ages of like 18 to 22 to 23, you start losing them because they get to this point to where, and it’s no different with girls than it is with males, but because there’s so few females involved, especially from a driver perspective, when you already only have, let’s just say 8 percent of the school.

And you lose like your 6%, you know, when you get to that certain segment or like ladder, you’re losing a lot of your participation. We figure that, you know, girls are getting opportunities to go elsewhere, whether they’re going to get an education or they settle down and get married and have kids because they realize it’s kind of like the glass ceiling.

Like there’s nowhere to go from there if they don’t have access to. Money, not to say that’s just specific to the girls, because it does happen to the males too, obviously in greater proportions to the females, because there’s so few, now you see this big drive with women in sports [00:28:00] and, you know, a lot of people wanting to allocate money towards it, we just got to bring them to the racing realm.

There is like a certain look, you’ll see a NASCAR, like some of the girls that are in it now, they all have the look, but some of them, they’re just not performing, but they have the money. That’s where they have the upper hand. I mentor younger girls now. And what I try to tell them is like, I just try to pass on what Lynn St.

James taught me. The way you market yourself, how you present yourself, how you talk. Yeah, you can drive a car on the racetrack, but if you can’t do what it takes off the track, your chances just basically went down to almost zero.

Lauren Goodman: You’re going to be a development driver in that case. You’re going to be a test driver.

Yeah.

Crew Chief Eric: They still make a paycheck too. Everybody’s got a job.

Lauren Goodman: They play an important role. But I’m just saying from a historical perspective, as I look at some of the greats from our past, this has always been the case. This is nothing new, but you’re absolutely right. Because the racing funnel is always in Hollywood is the same way, always whittling down people.

But if you don’t have a 50 50 split at the [00:29:00] top of the funnel. Obviously, you’re not going to have a 50 50 split when the funnel gets narrower. Yeah. So it becomes a vicious circle where only the wealthy, only the white, and only the male are getting the opportunities because they can show up for the opportunity and not have to go to school and not have to raise the kids.

Crew Chief Eric: I attended a expo in Philly which catered to the circle track late model dirt world and What was really interesting about that is I went to booth to booth and teams are there, you know, they’re representing their engineering or representing the drivers. I was sort of taken aback by how many young women drivers there were in the different disciplines of short track and circle track racing.

And I was like, wow, you don’t see this in open wheel, Indy lights, even formula W is gone. Let’s just say there hasn’t been another female rally driver in like 30 years, you know, those kinds of things. And even in sports car and endurance. Other than the iron dames and a couple of others, they’re sort of few and far between.

But when I walk through those doors and I’m looking around, I’m like, there’s women everywhere. And then, [00:30:00] oh, I’m the team principal and I’m the owner. And, you know, I’m on the edge and I was like, wow, there’s a thriving community that maybe is sort of being overshadowed by the lack of women and other disciplines of motor sport.

And I feel like Taylor, you’re in the right place. To blossom as a woman in motorsport

Taylor Ferns: for sure. And I think a lot of it, you know, I credit women in motorsports, like spanning my perspective, because when I was coming up through the ranks, when I was a younger driver, I always thought that’s all I wanted to be was a driver.

So I was like, if I don’t make it as a driver, what am I going to do? So then I went off. to school. And I, at one point thought, you know, that was it. I wasn’t going to have anything else to do with racing. Then when I came back and started racing again, and I reconnected with Lynn and Beth Perretta, and you see Beth, you know, she owns her own team with Perretta Autosport.

That kind of got me thinking. It was, I didn’t always have to just be the driver. I couldn’t afford to race anymore. I could have went off and been an engineer, worked on the pit box and done something or been a team manager. It’s not like I still can’t do that stuff [00:31:00] when I’m done driving. You know, we talk about being an attorney in motor sports, really credit WMNA to that as well, because sometimes social media and stuff.

Now you kind of have greater glimpses to that. 10 years ago, the visibility wasn’t as high. You know, I credit them for expanding my perspective. And so, you know, I try to pass that on to the younger girls I work with as well.

Lauren Goodman: If you could make one change to USAC right now that you feel would expand the table.

What do you think that would be?

Taylor Ferns: Diversify their board.

Crew Chief Eric: Let’s unpack that for a second because, you know, there’s this talk about gender in racing, but there’s a bigger conversation to be had about diversity, whether it’s in ages, whether it’s in gender, whether it’s in creed, color, and otherwise. And I started to stand back from this conversation sometimes, and I like to think about it and go.

How do we make the paddock more diverse in general, more inviting for everyone that might have an inkling of interest in motorsport? And I think you said earlier, you know, drive to survive sort of invited a whole bunch of people to the table, but how do we get them off the couch [00:32:00] and on the track?

Taylor Ferns: Yeah, and I think it’s like a top down approach, right?

You know, from what I know, like I said, I have close relationships with the hierarchy at USEC. And, you know, I’ve known them for a long time. And so I think I have a lot of insight in this way to where I know some of the people on the board, but I know that a majority, if not all, is all Caucasian males, a lot of people, you know, in motor sports and ways are like minded people, who’s to say someone from a different race or a different gender.

And you add them on the board, imagine like all the greater concoctions of ideas that could come from that and how it would benefit the growth of the sport. I hold a lot of meetings with them and try to, you know, pick their brains and give them ideas on stuff to do to kind of expand as far as like the grassroots racing with the Silver Crown, the Midget, and the Sprint Cars that you set kind of overseas.

Maybe one day you’ll see me on the board. I don’t, you know, I don’t know.

Lauren Goodman: I was about to say, I will start your campaign. Do you want that right now? I will run your campaign. Yeah. Taylor for the board.

Taylor Ferns: [00:33:00] Contact Kevin Miller. I’m going to call him. I’ll make it tomorrow.

Lauren Goodman: You joke, but I will be making calls. All right.

And then suddenly Cindy Sisson is going to be on the case and then it’s all over. Oh

Taylor Ferns: yeah. I got you. You’re going to be on the case. She’ll be barking up that tree for sure.

Lauren Goodman: If young girl walked up to you today and asked, why do you race?

Taylor Ferns: Because I love it. It’s my passion. But aside from that, I’m obsessed with the lifestyle. I’m obsessed with the art of competition. The speed, the adrenaline rush, like the challenges. And I think overseeing in the long run, like how a race unfolds.

Folds, analyzing the cars around you and where you can pick up speed and how, you know, there’s just so many elements that go into making, not only making a car go around the track, but making it go around the fast and the fastest. Maybe that’s why I also am going to law school at the same point in time.

Cause it’s all the complexities. But you know, for [00:34:00] me, it’s like an all encompassing thing. I feel like with racing, you have to love it all. Otherwise, you’re not gonna be completely enthralled with it. You have to love to travel. Otherwise, I mean, there’s so much that comes into it. You’re gonna have to, at some point, interact with the business stuff and the business side.

But if you don’t have the passion for it, You’re most likely not going to go very far. Just be a weekend warrior. It’s all of it together.

Crew Chief Eric: That said, what’s next, Taylor? Any spoilers? Big events are going to be at something you want to tell us about.

Taylor Ferns: So I will be working with Skip Barber again in a few weeks.

I’ll be in Sebring testing a road course car. And then also with my podcast on the drive, we’ll be following the sprint cars. Maybe hit some late model races up and things of that nature. As far as my racing plans. Kind of saying this year, I’m going to be a little noncommittal and take it race by race.

Cause last year, you know, I put a lot of pressure on myself with all the issues that we had. And I was like, no, we have to be at every race. I [00:35:00] told them take it race by race, but you never know. Maybe I’ll pop up at a Indy car race or an Indy next race or a late model race or a wing sprint car race. Right now, you know, I’m focused on finishing up law school.

I’m focusing on my upcoming season with my sprint cars and my silver crown cars. We’ll kind of let the higher powers take it from there.

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

Taylor Ferns: Yeah. So just a big shout out. Obviously I wouldn’t be able to participate in my past couple of seasons without the support of Bradford Allen, my sponsor. So I’m super grateful for them and believing in me and just helping me grow and prosper. Mobile One, the San Bernstein law firm that I worked at for like five years for kind of helping me bring me back to the track.

And, you know, without the support of my family, like each individually, my mom, my dad, my brother, my sister, my extended family, you know, they’re all just as obsessed with racing as I am. [00:36:00] And, you know, my number one supporters, you know, my grandma and grandpa, they live in North Carolina and they’re tuned into flow racing, watching all my races.

And so, you know, it’s all about having a great support system. And, you know, I have that. With my team as well, my crew chief, Common Beesacker, and my guys that help us out at the track, like Justin Upchurch and Michael Guglomucci, and surround ourself with a positive group and, you know, the opportunities are endless.

So I’m looking forward to the season.

Lauren Goodman: Over the years, Taylor’s perspective on the motorsports world and her placement in it has evolved. She now recognizes the power and greater meaning behind being a woman in a male dominated trade. With that, she has made it a personal mission. To give back to a sport she is so passionate about by mentoring younger girls interested in racing.

Taylor is also an active member of Women in Motorsports North America, regularly taking part in professional speaking engagements, and she is a contributing writer, podcast co host, and founder [00:37:00] of the Safety Bank. To learn more about Taylor, be sure to log on to TaylorFerns. com or follow her on social media at TaylorLFerns on Facebook, at TaylorFerns on Instagram and Twitter, as well as her YouTube and TikTok channels.

And you can always connect with her via LinkedIn.

Crew Chief Eric: With that, Taylor, I can’t thank you enough for coming on Break Fix and sharing your story with all of us. And I have to say, One of the things I really noticed is your passion for motorsports as a whole, not just your discipline in motorsport. And you said something really important earlier.

It’s a philosophy that I also subscribe to. So I’m going to paraphrase what you said, which is there’s no such thing as a bad situation, just problems looking for a solution. And I see that with you and your involvement in motorsports and in WMNA and how you’re engaging with the community. And I have to applaud you for what you’re doing.

So please keep spreading motorsports enthusiasm and good luck. This season.

Taylor Ferns: Thanks guys. I appreciate the conversation and looking forward to chatting with you a bit more, hopefully down the road.[00:38:00]

Crew Chief Eric: Officially founded in April of 2022, women in motor sports, North America is an official 501 C three not for profit organization because of its partners. Women as proud of what it’s been able to accomplish. And don’t forget that each year, over 450 women and men from all disciplines of motorsports attend their annual summit.

Attendees are open to industry executives, drivers, team members, OEM sponsors, racetrack representatives, and anyone working in the sport or wanting to learn more about opportunities in motorsport. If you’d like to learn more about women in Motorsports North America, be sure to log on to www.womeninmotorsportsna.com or follow them on social media at Women in Motorsports, NA, on Instagram and Facebook, or at underscore w na on Twitter.

We hope you enjoyed another awesome episode of break fix podcast brought to you by Grand Touring Motorsports. If you’d like to [00:39:00] be a guest on the show or get involved, be sure to follow us on all social media platforms at Grand Touring Motorsports. And if you’d like to learn more about the content of this episode, be sure to check out the follow on article at gtmotorsports.

org. We remain a commercial free and no annual fees organization through our sponsors, but also through the generous support of our fans, families, and friends through Patreon. For as little as 2. 50 a month, you can get access to more behind the scenes action, additional Pit Stop minisodes, and other VIP goodies, as well as keeping our team of creators Fed on their strict diet of fig Newtons, gumby bears, and monster.

So consider signing up for Patreon today at www. patreon. com forward slash GT motorsports, and remember without you, none of this would be [00:40:00] possible.

Highlights

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

  • 00:00 Spotlight on Taylor Ferns
  • 02:07 Taylor’s Early Racing Journey
  • 03:50 Balancing Education and Racing
  • 06:11 Merging Law and Motorsports
  • 07:28 Diverse Racing Experiences
  • 14:22 Challenges and Growth in Racing
  • 16:12 Future Aspirations and NASCAR Insights
  • 19:19 Simulators in Motorsports
  • 21:24 Physical Demands of Racing
  • 23:33 The Business Side of Racing
  • 24:33 Women in Motorsports
  • 34:23 Future Plans and Mentorship
  • 35:22 Conclusion and Shoutouts

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.

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Support Women In Motorsports North America (WIMNA)

Women in Motorsports North America is a community of professionals devoted to supporting opportunities for women across all disciplines of Motorsport by creating an inclusive, resourceful environment to foster mentorship, advocacy, education, and growth, thereby ensuring the continued strength and successful future of our sport.

 

To learn more about Taylor be sure to logon to www.taylorferns.com or follow her on social media @taylorlferns on Facebook, @taylorferns on Instagram and Twitter, as well as her YT and TikTok channels and you can always connect with her via LinkedIn. 

Taylor’s racing resume is packed with milestones: youngest female sprint car winner, first female USAC midget and sprint car victor at multiple tracks, and the highest-finishing woman in USAC Silver Crown history. Though she once aimed for NASCAR, her heart belongs to open wheel – and her sights are now set on the Indy 500. She’s passionate about preserving the legacy of USAC drivers who historically transitioned to IndyCar, and she’s determined to bring that narrative back into the spotlight.

Photo courtesy Taylor Ferns

When asked to choose between dirt and pavement, Taylor admits it’s complicated. Pavement comes naturally to her, while dirt demands more effort and seat time. Still, she values the versatility and growth that come from mastering both. Her favorite? Sprint cars – especially winged dirt sprint cars, which she says will always have her heart.


Lessons from the Track: Resilience and Opportunity

Taylor’s 2023 season was riddled with setbacks, including a blown engine during her first dirt Silver Crown race in eight years. But instead of packing up, she sourced a new engine overnight and finished in the top ten. Her takeaway? “Don’t view things as problems – view them as opportunities.” It’s a mindset she applies both on and off the track.

Taylor trains at PitFit and uses simulators at Dallara to prepare for road courses, but she’s quick to point out that nothing replaces real seat time. Racing demands peak physical conditioning, mental toughness, and heat endurance – especially in Silver Crown cars during 100-mile races in sweltering conditions. Her regimen includes sauna training and hydration strategies to stay race-ready.


Women in Motorsports: Sponsorship, Visibility, and Change

At the Women with Drive Summit, Taylor connected with fellow female professionals and reflected on the evolving landscape of sponsorship. While companies are increasingly investing in women’s sports, she notes that access and visibility remain key. Her own experience with eBay Motors in 2011 was an early example of a brand recognizing the value of a competitive female driver – a trend she hopes will continue to grow.

Photo courtesy Taylor Ferns

If granted a sponsorship fairy wish, Taylor would choose either the Indy 500 or a full-time winged dirt sprint car campaign. Her passion for racing is matched only by her commitment to shaping its future – through law, advocacy, and relentless determination.


Guest Co-Host: Lauren Goodman

In case you missed it... be sure to check out the Break/Fix episode with our co-host.
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From Trade Shows to Palette Knives: Lyn Hiner’s Journey from PRI to Porsche-Inspired Fine Art

What do you get when you combine a childhood steeped in the scent of motor oil, a detour through the business side of racing, and a life-altering accident that reignited a passion for painting? You get Lyn Hiner – a professional artist whose vibrant palette knife work captures the soul of classic cars and the resilience of the human spirit.

Photo courtesy Lyn Hiner

Lyn Hiner’s story begins at the prestigious Pratt Institute, where she pursued her love for art. But like many creatives, she faced the practical challenge of turning passion into a paycheck. “My dad said, ‘No problem—just find a way to make money at it,’” Lyn recalls. That advice led her to the Performance Racing Industry (PRI), where she spent nearly a decade managing trade shows and learning the language of business.

While PRI didn’t directly influence her art, it gave her something just as valuable: the skills to run a business. “Anyone who wants to make money at art needs business acumen,” she says. “They don’t teach you that in art school, but they should.”

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After years as a full-time mom, Lyn felt the call to return to art. But she didn’t dive in blindly – she researched, networked, and sought mentorship. One pivotal figure was Rick Delante, a successful local artist who generously shared his time and insights. “All boats rise with the tide,” Lyn says, echoing the spirit of generosity that now defines her own approach to mentoring.

Photo courtesy Lyn Hiner

Spotlight

Synopsis

This Break/Fix podcast episode with Lyn Hiner captures her journey from studying art at the Pratt Institute, working in the business world as a trade show manager at PRI, to becoming a professional artist specializing in automotive art. Underlining her story is a deep appreciation for the influence of her family and mentors. Lyn discusses her transition from the racing industry to art, leveraging her business acumen to succeed as an artist. She also details a pivotal life incident involving a severe burn injury that transformed her artistic style, leading to the creation of emotionally resonant, vibrant works. Throughout, Lyn emphasizes the importance of creativity, business insight, and finding one’s voice in art. The episode also explores her views on modern car design versus classics, the importance of integrating art into STEM education, and offers advice for aspiring artists.

  • Which came first, the artist or the petrol-head? 
  • There’s so many facets to Art and Painting – How did you decide to pair the two together? What was the inspiration? Was it a race/event, a car, a photograph you saw?
  • The Accident –  “Petals” collection, initially titled “Beauty from Ashes”
  • There’s all sorts of different styles of Art – what’s your chosen style/medium, and why?
  • There’s a new trend of “photo realistic” paintings popping up all over social media; what are your thoughts on these types of pieces?
  • There’s also a conversation to be had around AI-generated art, new systems like Stable Diffusion, Dall-E, Midjourney – in your opinion where is their place in the future of Art?  
  • How do you choose what you’re going to paint next? 
  • Acquiring Lyn Hiner art: Do you work on custom commissions? Where can someone purchase one of your pieces?
  • What’s next for Lyn Hiner?

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 petrolheads 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: Studying art at the Pratt Institute in New York. Our guests ended up working in the business world as a trade show manager for PRI. You might be familiar with a performance racing industry. And for nearly a decade, she enjoyed everything about the racing industry and learn the value of good business acumen.

But those early experiences helped shape the course of Lyn Hiner’s life as she decided to become a professional artist. And she’s here with us on Break Fix to share her story with you. And with that, welcome to Break Fix, Lyn. Thank you for having me, Eric. Well, like all good [00:01:00] Break Fix stories, there’s a superheroine origin story.

So tell us about your time at PRI and how that transformed into becoming a professional artist.

Lyn Hiner: Well, I think the professional artist track was probably earlier. Established then PRI. PRI was my, Oh nuts. I need to actually make money. To be blunt and honest, one of the things my dad had said when I said I wanted to apply to art school was, Hey.

No problem. Just find a way to make money on it. And that’s what I wanted to do, but I didn’t actually finish school. So when I came out of school and I came back to California, I actually started a little road trip of my own of what’s going to be the fit and the fit happened with PRI trade show manager came as I went along and honestly, the journey has been littered with a lot of superheroes.

My dad, my mom, the guy I worked for Steve Lewis, he actually taught me so much. About business. And I would have [00:02:00] never guessed it would have affected this path that I’m on now. It did. And so I’d have to say the family who has supported and even pushed at times, but also been patient on the journey.

Crew Chief Eric: So while you were managing the trade show, which is a big to do, I mean, I’ve spent many a time in a convention center hall for other types of trade shows, including PRI there’s a lot to do.

There’s a lot of spinning plates. You mentioned that affected your art. And so were you always drawing and painting in the background? Were you doing it as a hobby? How did one influence the other?

Lyn Hiner: PRI wasn’t necessarily an influence on my art specifically. What it did was teach me how to run a business and anyone who actually wants to make money at art, you actually need to have some business acumen and some sense about you.

I don’t know why in art school, they don’t teach you that part. It’s such an important thing to know. Marketing, business, basic math, writing a letter. You know, those things are actually super important. My [00:03:00] boss, he would often say, Lyn, do you not know how to form a proper letter? Which is a little humbling to say that now, but it was true.

That was one of the things I didn’t really understand was just the language of business. And now I do.

Crew Chief Eric: So does the term starving artists? Apply to you or did you find your way to not

Lyn Hiner: know? I eat, I eat, I enjoy, I like a good bottle of red.

Crew Chief Eric: So with all of this that you learned through the business side of the autosphere, you were able to put food on the table, which is excellent.

And a lot of artists struggle with that. So what would you say is like the biggest thing? Outside of how to run a business that an artist needs to learn to really put themselves out there, maybe to market themselves, because that’s the other side, maybe the darker side of the business, especially today, when we think about it, social media and things like that,

Lyn Hiner: the professional side of doing art didn’t come to me until much later, even after I left PRI, I was mom for many years, and that was [00:04:00] my role and an important one.

And I was grateful for it. When the call came for being an artist, I didn’t go into it. Like, Ooh, I just want to do art. I hadn’t been creating in a very long time, but I knew the technical skills of it. And when I came back to it, I did a lot of research. I didn’t just wait for all that information to come to me.

I went and sought it out. Even as far as reading any newsletter, there’s an excellent, I would say shoes. Partly a mentor in a way for me, it was Maria Brophy. She reps a lot of artists. Well, specifically she reps her husband, but she trains or whatever. She comes alongside a lot of artists. She, she was writing only newsletters at the time when I came into it.

But she later wrote a book called art, money, success, and basically all the newsletters and all the podcasts and things I could hear from her, I devoured. And then any local artists, which at the time weren’t very many who would spend time [00:05:00] talking to me. I would reach out to them and ask them questions and of course, understanding business.

I didn’t do it while they were working. I would send them an email or ask, you know, Hey, can I pay you for your time? And out of the probably 20 that I reached out to, there was one local guy who is in his own right, very successful and has the most generous heart, Rick Delante. And he came over and spent hours with me.

I asked him, could you critique the work? Could you kind of take me through the process of how did you pick how much to charge and what did you do? And what do you, his generosity was that phrase, all boats rise with the tide. Reminded me that we can only be generous as far as we are willing to be generous.

And so from that, I’ve never, ever like any artist who’s ever asked me, I always will say, call me when I’m not working. Cause they’ll often ask me when they meet me while I’m working, but call me when I’m not working and let’s talk, let’s chat. And so that’s how I’ve spent more time with [00:06:00] Sam and with a handful of other artists.

I think that is the right thing to do.

Crew Chief Eric: Now we need to really peel back. Some of the layers here and talk about your petrol head side and we’re going to dive more into the artistry itself because there’s different types of art, you know, you’re not doing portraits and you’re not doing impressionism. You specifically are focusing in on automotive art and more importantly, Porsches.

Were you a petrol head before you were an artist? How did all this culminate?

Lyn Hiner: I grew up with my dad rebuilding and amateur racing Porsches. You can’t not have that influence your life. Gosh, I bet I could find it. I found it recently. There was a photo I pulled out from my high school wall and had a big Porsche with a whale tail on the back of it, and then I had a few posters on the other sides of it that I didn’t even remember I had, and there it was in this photo, and I was like, yeah, I geeked out, I geeked out on Porsches very specifically because my dad, he was the guy I.

Loved and admired. And here he was when I was very little, [00:07:00] had a Porsche, Hey, honey, put your hand on the shifter. Okay. Ready? Do you hear it? Do you hear it go? And he would have me shift. And so I would listen and I would understand and I would know. And then there were the smells and you know, your tiny little butts swishing around on the bucket seat of that car.

It cannot be undone. Those very formidable memories. Man, I loved them. I could tell you at night when they would drive by, I could hear them when I’m in my studio, my home studio, I can hear him go by and I know I immediately can see him drive by, I know the engine sound, everything. I don’t go in the engine and play around.

Let’s be fair. That’s not what I know. I know the car, I can point anything out. And as much as I love Porsches and I will always, you know, that will be my first love of cars. There are too many beautiful cars out there for me to not say. Uh, yeah, thank you. I will paint that. And yes, I would love to paint that.

I just finished two pieces for the upcoming Amelia Island Concours, DV5 and uh, Ferrari 330. They were stunning cars and I was grateful [00:08:00] to get to do them. Yeah, it’s not just Porsche in my paint world. So you asked me very specifically, how did I get there? Well, it was actually because I do other work. And in that other work, a collector asked me to do his car and it happened to be a Porsche.

And in doing that, I was like, okay, that was a lot of fun. Now, would I have put the two together when I came back to it professionally? Nope, not even a little, I never considered that to be a marriage made in heaven, I guess, because what I was doing was leaning into my fine art side. And at the point when I found my voice with knives.

Everything I knew about automotive artwork was very realistic. And so I don’t even think it was a fleeting thought until I did that car. I had fun. I had a great reaction on social media from people who saw me doing my other work. I was like, okay, is this a thing? Could I make this a thing? I don’t know if this is going to be a thing.

And all of a sudden I’m like, okay, this is the thing I’m going to do this other one and see if it’s a thing. So in the middle of prepping for another show, I put a blank [00:09:00] canvas on my easel and I pulled out a photo I had taken a year earlier at our local car show. And I started the same process I had done with that commission work that Portia, as I was putting the lines of this 427 Cobra on, I was like, I can see the whole collection.

I can see an entire body of work. I wonder if this is a thing. And as I was starting a third painting, a couple of months later, Peter McGillivray from SEMA reached out and said, Hey Lyn, If I found a spot for you, do you want to exhibit this? I like what you’re doing. Would you want to have a spot at Art Walk?

And I didn’t understand the gift he was giving me by that invite. If I had said no, I would have never had that opportunity and I would not be here now.

Crew Chief Eric: Well, you sort of walked us backwards into one of our most famous pit stop questions on Brake Fix, which is, you know, the most beautiful car of all time.

And so from an artist’s perspective, that’s quite subjective. You mentioned a few and I think it’s interesting that you did sort of cut your teeth on Porsches because especially the early Porsches are [00:10:00] unique in the car world because there’s not a seam on them. They’re very fluid in the design. They’re very round.

There aren’t any hard lines compared to other 50s and 60 cars of the time where you have big fins and angular lights and everything super futuristic looking. Maybe we put the Porsches aside or tell us what the best looking Porsche is, but what’s the most beautiful car of all time?

Lyn Hiner: Good gravy, Eric.

That’s a tough one. Cause there really are, if I’m going to go with my guttural first instinct, my first, like in my head, the car that I long to have would be a speedster without a doubt a speedster, but how do I not confess my absolute adoration for a five 50 spider, both Porsches. But if somebody is going to twist my arm, I am going to take my, I’m going to take it.

Let’s see, a 2 75 or three 30, I wouldn’t have a problem in the Ferrari realm. I would also add a Jaguar E type. No doubt in my mind, there are just too many beautiful cars and there’s my list, not [00:11:00] necessarily in a order of. Preference. But yeah, for sure. They would all be in my garage.

Crew Chief Eric: I’m glad you brought up the E type because it is our reigning champion.

A lot of people default that the E type Jag is one of the most beautiful designs. And I think second to that is the 250 Testarossa pontoon fender and a couple other cars of a similar era. It brings up a really interesting question. And this is specifically from a design language perspective as an artist, do you feel that modern car design Is on par with some of the classics.

Like, have we gone too far afield? There’s a lot of aerodynamicists that’ll say there’s one design that cheats the wind and that’s why Ferraris and NSXs and Corvettes all look the same. Now, do you think we’ve lost touch with design?

Lyn Hiner: I think we’ve lost touch with the beauty. I don’t know how else to say it.

Modern cars are aesthetically interesting. But I don’t know if I would categorize them as beautiful. And the problem for me is if it’s ever going to be part of my personal collection, the ones that I create at the beginning of the year, I almost [00:12:00] always, always lean into, I’d say probably 95 percent early sixties cars.

There are a few later sixties, but something about that. And I hate to use the word sexy because I think it’s relative, but unfortunately I just think that’s so true. There is an aesthetic that I can. Appreciate in a modern car, without a doubt, there’s some beautiful lines to them, but they’re very angular usually.

And in that angular ness, as type A as I am, if I walk into a room and I see a painting that’s not squared up, dear Lord, I don’t even know if I know the person I’m squaring it up for them because I’m like, how do you live with that? But on the beauty of a car, give me rounded lines. Give me rounded lines.

There’s something that’s so lovely about it. Maybe that’s why Porsche is such a favorite because even as modern as it gets, it stays rounded and in that they have stayed true to that beauty.

Crew Chief Eric: Well, there’s another side to this coin. The ugliest car of all time.

Lyn Hiner: [00:13:00] Oh dear. Small economical seventies cars are usually my least favorite cars I ever have seen.

But a close second are the early versions of electric cars. Holy moly. Those suckers are ugly, ugly, ugly. What were the designers thinking? You can’t make it. So it’s pretty to drive. No, you got to make it like it stands out. And it’s, Ooh,

Crew Chief Eric: yeah. Foxy seventies cars. Some of us do appreciate square bodies with round headlights.

I don’t mind them.

Lyn Hiner: I’m not talking about a beefy 70s Mustang here. I’m not talking about even a Challenger or Charger even for that matter. Oh

Crew Chief Eric: man, that is not a good era for design for me. Because there is a designer out there that is notorious for designing some of the most iconic boxy cars of that era.

Lyn Hiner: God willing, he’s not listening.

Crew Chief Eric: Giorgetto Giugiaro is not listening, but he did design cars like the iconic GTI. So I’m wondering, does that fall into the same category? [00:14:00]

Lyn Hiner: Not, not necessarily.

Crew Chief Eric: It gets a pass. It’s not a gremlin. I get it.

Lyn Hiner: Yeah. Well, and even a gremlin, you know, maybe because it’s like Beat up in this series of how awful can an awful car be a Gremlin or a Pinto is usually up there.

I get it. There’s something that’s sort of grotesquely fascinating, but not enough to make me want to have one.

Crew Chief Eric: Well, let’s drop this thing into second gear and let’s talk a little bit more about art. So there’s a lot of facets to art and painting, and we heard about your inspiration and how you got involved in this, but there’s a turning point, and you call it the accident.

It has to do with your petals collection, initially titled Beauty from Ashes. So I want to unpack that story a little bit for the audience that may or may not know what that story is all about.

Lyn Hiner: So in 2012, I was down at the beach with my daughters and some friends, and we were doing some rock [00:15:00] hunting.

And, It’s common if you live at the beach and we live in Southern California. And even if we were in the desert, we’d find interesting rocks and we’d collect small ones and put them in our pockets. And I was the only one wearing shorts. My daughters were both in their suits. We were hours into this journey and at the point when we finally got home, I was getting ready to go on a date with my husband.

We were celebrating his birthday, the rocks that were in my pocket and, uh, all the stuff And I felt an acute pain in my leg and I had no idea what it was, but the only thing that made sense in that split second was, Oh my goodness, something’s biting me, but it was hot. So I was thinking it’s something big.

So I kind of haul off to hit it. And when I looked down, I had a rather large flame coming out of my shorts. It had already burned a hole through the cargo side of my shorts. Cause my husband and I were talking at the counter. I started to back up and I said, my shorts are on fire. I wasn’t that calm by the way, but my shorts are on fire, get it off.

[00:16:00] And I’m still trying to hit it out. You know, like when you try and smoke out a fire, I’m trying to hit it out. What exactly caught fire in your pocket? It ended up being a piece of white phosphorus. I thought I was picking up a teeny weeny little bit of amber. You know, I had sea glass and I had a couple of pretty rocks.

And then there’s, Ooh, I found a little piece of amber on the beach. How cool is that? No, it wasn’t. It literally ignited like two hours later. So white phosphorus, if it is exposed to oxygen, it will ignite immediately. Well, the theory from all the investigators was. And there were a lot of them, man, it had been out there since they probably started doing maneuvers from Pendleton eons ago, decades ago, but it had probably rolled into crust of salt and sand and all that stuff that was protecting it so that when I came chomping up my stairs.

With the other rocks, it probably broke the crack and that’s when it got oxygen. It became a spurious [00:17:00] acid, had a 1200 degree flame. Plus this liquid fire that then coated all the other rocks, which then caused my floor to catch on fire because we had wool floors and it was a messy deal. We were out of our home for two and a half months while they were trying to rebuild our kitchen.

And it wasn’t like it did like catastrophic damage, but it was toxic damage. And so they had to take all that stuff out. Fast forward, it ended up being 10 days in the hospital and two grafting surgeries and a year of follow up, smaller surgeries because of scar tissue repair between my hand and my leg.

I had second and third degree burns that was. It’s a pretty trying season and you start walking around, no matter that you’re wearing compression garments and going in for another surgery in another week or two, people thought everything was fine. And hunky Dory, I had some bandages on my hand and my leg, you know, I always had to wear something comfortable with the [00:18:00] compression, but people just assumed everything was fine.

And so there’s this really weird space of challenge. Difficulty, you look fine from here down. I can’t believe it. I mean, even now, like people see my hands and you can’t tell unless you start really looking, but that hand, I was ready to have my finger cut off. The scar tissue had bent my finger in such a way.

I could not sleep at night. I was, I was constantly wrestling with it. And I went back to my surgeon who did all the work on me. And I was like. You know what, could you just cut it off? I’m left handed. This is a right finger. I don’t care. It’s impractical. It’s actually driving me a little nuts. Could you just take it from me?

And she’s like, well, no, I can’t just cut your finger off for that. Yeah. We would just start from scratch. She’s talking about taking everything off and starting from scratch with the grass. Oh, all that to say. That year was one of the hardest in my life. It was actually more than a year. The last surgery was almost a year later, but the [00:19:00] therapy and everything went for a few years longer.

And at the end of it, when I really was finished with all of it and my husband and I were kind of talking about what’s next, and I had been teaching art for a while before the accident, he was talking about in the scheme of things, what do you want to do next? And I said, I, I don’t know. Let me think on it.

After a week of praying about it and really considering what that would look like. I didn’t want to work in retail. I certainly didn’t want to go back to trade show. That was very demanding. I had done some consulting. I liked teaching, but I actually felt called back to art at that point. And when I came back to it professionally, I hadn’t created anything in literally decades.

So what was I going to do with that? I spent a year just getting accustomed to brushes and canvas and paint flowing on canvas. I was doing hyper realism because technically trained, that’s what you do. You go back to what you know, and that was what I knew. I didn’t have a lot of joy in that. So it was sort of an interesting problem, but I was having people buy some stuff, little [00:20:00] bits here and there.

About a year later, I had gone to, I don’t know, I was trying to jumpstart something and a friend of mine had said she was going to go take this class of all things on abstract and at school, it was probably the thing that bothered me the most was abstraction. I didn’t understand it. It was weird. It usually looked like somebody had lost their mind on canvas.

Those are immature thoughts, but that’s where I was at when I was going to school. At the end of it, through this class, I had to explore things and expand my consideration on a lot of things. Not the least of which is it isn’t nuts. It’s somebody’s interpretation of something. Yes, some people are intuitive.

Well, when I do intuitive abstraction, it often, at least in the early days, I’d say it was purple vomit. That was the only thing I could equate it to. It looked like junk. I didn’t like it. But as I took those paintings and I started to build on top of it, I couldn’t, practically speaking, I don’t cut off canvases when I don’t like something.

I gesso over it or I paint over it. You don’t [00:21:00] waste things, right? You just don’t waste. After I’d created Purple Vomit on canvas, which is the first piece, that’s why I call it all Purple Vomit at first. I sat with it, really had to explore why didn’t I like it? What was I going to do with it? Well, I created another painting on top of it.

And instead of using brushes, if I’m exploring everything that’s uncomfortable to me, let’s see what it looks like with knives. And so I did, I took my college knife and I took that old beat up knife that I used to use just for mixing paint. And I said, let’s see what it looks like. And I started to play with it.

And I realized, Oh my word, you use an obscene amount of paint. I kind of got a little upset about it, but I was like, no, no. We’re leaning in, we’re leaning into what we don’t know. How are we going to do this? And so the first couple of paintings I did with knives were these funky reflective water pieces.

And I was like, okay, I get it. As I moved past that and I was seeing the layers coming through from that first purple vomiting painting to this water reflective painting, that was not much of anything, but it was important. I started [00:22:00] thinking about the process of making something beautiful. And flowers came to mind and that’s where this whole idea of, okay, I see this layer, this layer that I didn’t like, but it’s part of the process.

And I see this beautiful part. And then I started to think about the florals and this whole concept of painting like this, what would that look like? Simultaneously, a dear friend asked me to paint her a large scale floral of all things. I wasn’t doing florals at the time. But as I was building on this layering process and doing things like that, I did this idea in my head, this abstraction.

And then I did this background and the background was kind of little dark, but moody and important. And then I built these really bright red poppies on top of it. And all of a sudden I was like, Oh my word. This feels important. This whole process was super important. I had allowed the drips in this purple vomit painting.

If this is important, let me, let me re explore this drippy thing I’m doing here and the imperfection of it [00:23:00] going from these tight. Perfect paintings to using knives and everything’s loose and allowing these drips, which really had a deep effect on me because as perfectionist as I was, I was allowing these things that were imperfect.

It’s a very painful process, but it was also, I, I immediately understood there was something important here. And as I finished that, I started working on a second one before I was even finished with the first, and then I started a third, and then I started a fourth. And what I realized was this was a conversation I was having with God about how my body, which had no ill issues before, was suddenly now scarred.

And disfigured in a way, not hugely, it’s not like I can’t walk, but it’s scar tissue. And it’s a big patch of scar tissue. And my finger wasn’t working for a long time. All of a sudden I realized, even though I had to go through this very dark season in my life, the outcome was I was ready to have this [00:24:00] conversation with God about something.

That was painful, actually still is very beautiful and allowing for that beauty and that joy to have a place in the dynamic of who I was, not to shove it aside, but to actually really lean into it. Here we are nearly a decade after this series started, which was in 2014. to that process of then building a collection, starting to show at shows, having a collector several years later who asked me to do a Porsche for him and that becoming part of that series.

And then they ran in tandem. Both series had a place. And so I was doing festival of arts in Laguna and I was doing big shows down in San Diego and other events that were still harnessing this conversation because people were so emotional about this. It touched people in a way I had no idea would.

Touch, but then to take that same process and apply to the cars, which I actually had, um, it wasn’t a moral issue with it. It was, it felt so [00:25:00] different. It was such a weird dichotomy of taking something that was constantly fun in my youth and taking it with something that was super emotional in my adult life and putting them together.

And then what I found was some of the people were having the same reaction about the cars. I had a guy in one of my displays having a literal emotional reaction to that’s my grandfather’s truck. And my grandma’s name was the name of the truck. I named this painting and we’re having a whole conversation about the memory of it.

And I’ll have people who come into my booth at Amelia and they will have 45 minute conversations about the car that let get away. And that’s it. There it is up on your wall. That’s my car, but it’s not so tight that it’s the car. It’s the memory of the car. And when I realized that is what was affecting people was the emotion of it.

It became so clear. It wasn’t just this frivolous thing I was painting. It was still this memory and something that was deeply important to people that. It’s kind of a cool deal [00:26:00] and I get to be a part of it.

Crew Chief Eric: But it defines your signature style. And as Kelly Telfer said, who is a guest on the show and a friend of yours as well, he said, if you want awesome palette knife work, you go to Lyn Hiner for that sort of thing.

But I think you hit the nail right on the head and it’s. Something I didn’t realize until you mentioned it, even seeing your art, when we got together during car week at Monterey, that palette knife work, when you look at even the images of the cars, it does have that hazy dream state to it, where it’s almost like you are recalling a memory.

And that’s something that other art styles don’t provide for you. And it makes it very unique. It’s very you. And that’s what is super cool about the artwork that you’re putting together, whether it’s the cars or whether it’s other things that you’re painting.

Lyn Hiner: Yeah, that is the whole point of not trying to just paint your car for you.

I’m trying to

Crew Chief Eric: evoke a response.

Lyn Hiner: Yeah. I’m trying to give you an emotion. I guess that’s the best way to say it. I want you to have the emotion. If we’re going to paint something, let’s have it be something that elicits a reaction. I want it to be a beautiful [00:27:00] reaction. I don’t want it to be the one that is reactive in a.

What the hell is that? Which actually I’ve gotten to,

Crew Chief Eric: we’ve had a couple other of your friends on the show, Samantha Zimmerman and Chris Dunlop to name a few, Samantha had high praise to say about you. And she also mentioned that you’ve mentored her and you’ve been an inspiration to her work. She has a totally different style.

She takes from some of the classic artists and masters that are out there. So have you collaborated with her on any projects or are there any other artists that we should be. Thinking about in the autosphere that had done some work with Lyn Heiner.

Lyn Hiner: I haven’t had a collaboration like that before, although all the artists that I’ve worked, not side by side with, but have shown side by side with at SEMA, we had a big idea one year and then of course COVID hit and it obliterated the idea, but the concept was really cool.

And I hope we do it at some point, which is let’s take one car and let’s all do our interpretation of it. I just think that would be beyond [00:28:00] cool for the audience to see, because we all have our preferences. I tend towards the Euro and most of the other artists who are there are clearly more in the Americana side of things and all of it has a place, but how cool would it be to see how each person interprets that car?

But other than that, no, I travel so much and my work schedule is such that it’s really hard for me to do some of those funner projects, but I’ve sort of settled. We finally got ourselves a proper studio here in San Clemente and we’re building out my wall, but on my wall, I’m going to have the special projects corner.

And that is going to be the spot where new works and new ideas start to formulate. And I’m excited about that.

Crew Chief Eric: You mentioned that during your art school training, you. Focused on hyper realism. These days, a lot of people recognize it as photo realistic art, and you see a lot of that cropping up on social media.

One of the folks that comes to mind, especially in this space, who does a lot of Porsches is Manu Kampart. Beautiful work. [00:29:00] Absolutely. And I want to get your thoughts on. This sort of Renaissance in this photo realistic art. And the question I get from a lot of folks is why would I buy that painting when I could get a blow up or a poster or a photograph, because that’s what they’re basing it on.

So what are your thoughts on hyper realistic art, especially in today’s construct?

Lyn Hiner: Well, the person that I know, and I deeply admire because he is among those photorealistic would be Ed Tilrock or Tom Fritz, both of them have. Just an incredible technical skill. What that brings to the table is a wealth of knowledge, not just from an artistic point of view, but also an engineering point of view.

And I would probably guess, I know Ed was a, uh, an architect. He has engineering in his mind. I’m thinking so does Tom. I’ve always had quotes around my home studio, but this one I brought to our new studio and it says to copy the object in a still life is nothing [00:30:00] one must render the emotion they awaken.

Now, that was a quote by Henry Matisse, like that was. An early quote I had slapped on my studio walls probably like around 2010. To know that quote was there even after I hadn’t been painting and then now painting, and to know that that’s sort of how I want to live it out, that’s important to me. Like I’ve had people call my work lesser because I don’t do realism and it’s like, dude, I can do it.

I just don’t. I choose not to do it. But the idea for somebody to say one is better than the other, it’s just a different approach. There is a place for both, but at the same time, it definitely describes how I create. It was like the essential of what I am trying to do, the essence of it. But it really is, it’s delicate territory because there are just so many gifted realists out there and I applaud them for it.

There’s just never any joy for me in it. For somebody who’s creating in the realism realm, when you [00:31:00] have that kind of skill, first of all, it’s very hard to. Pull away from that knowledge. It took me a full year of pushing out of working in that sphere in that realm. I had no joy in it. If you have joy in it, it will come through in your paintings.

So saying that as an observer, as a collector, I think there’s an understanding what goes into that. It’s. Copious hours and very small brushes oftentimes that are required and the patience that it requires. And I applaud and celebrate that. And I think it should be celebrated in the idea of why would we want everything to be so one way versus so another way, I think there is a place for all of it.

And it’s a beautiful gift that they have and they bring. I don’t personally think it’s a problem or good or a bad thing. I actually am super excited to see it all in one space. When we have automotive artists who are all showing together to see each person’s [00:32:00] style and voice come forward, I think it’s awesome.

Crew Chief Eric: This leads us into the most modern of art forms. You’re seeing this crop up all over the place. So I have to ask you about generative. Artificial intelligence or AI, there are systems out there like stable diffusion, Dolly mid journey and others. Where is your opinion on this? And what is their place in the future of art?

Lyn Hiner: I have some very close friends who have very strong opinions about it. That being said, some of them who are designers think it’s brilliant. The technology is incredible. How can you deny the technology? It is incredible. However, AI can’t put that space on the wall in that one corner of their studio.

That’s going to create something new. It could maybe put in my name or my style and say, Oh, I’m going to create like Lyn. In this moment, but it is not going to necessarily repeat how I’m going to create in the future. And knowing that, knowing [00:33:00] that that creativity is actually pulled from somebody. It’s not really intelligent in the truest sense of the creative intelligence that it requires.

It is taking somebody else’s concepts and putting it into an algorithm that feeds an idea. But it’s not going to take my ideas and make art. That’s going to be my future art, my art from when I started like this piece behind me is one of the very first out of the series, right? It is extraordinarily loose.

It has way more color. I am much tighter, which is sort of funny. I don’t know why that is going the other way. But if you were to look at this piece behind me versus a piece that I just finished. They have changed. You still know it’s my style. You still know it’s me, but it’s definitely still changing as I go in the artificial intelligence sphere of artwork.

It’s just somebody else’s idea and filtering it through this. computer. There’s no beauty in that. There’s no [00:34:00] cleverness in that. There’s no seeing that particular light and the joy that’s processed through that. I think it’s interesting, but I don’t think it has a true place in creativity. I know that there are people who are playing with it and they’re probably going to pursue that.

And that’s. Fine. Just like, how did it go? We went from vinyl to tape to CD back to vinyl and music. This is going to be the same thing. There’s always going to be a place. If you fight it, I don’t know. There’s something to be said about. Allow for the process to continue and see where it goes. But I haven’t found anyone yet who doesn’t appreciate art for art’s sake.

I have had people ask me if this is a photo that I’ve run through my computer before. To which I laughed heartily in their face.

Uh, no, pal. No. Nope. Uh, not going to be that easy. No.

Crew Chief Eric: Speaking of future art pieces, how do you [00:35:00] choose what you’re going to work on next?

Lyn Hiner: All my pieces for this year’s collection, I have two more that I didn’t get finished before Amelia, so they’ll probably come up in an event later, whether it’s Pebble or something that’s coming in.

We’ll see when the time affords me, but right easels and There’s a couple of pieces that are actually landscape. I’m doing one of Lake Tahoe right now, so that’s kind of fun. I don’t get asked to do a lot of that. And I have five automotive, one Lake Tahoe, one floral. Those are the pieces in process right now that are commissioned works.

Crew Chief Eric: So there’s a lot of talk lately about the A in STEM. People are like, wait, what? So it’s referred to as STEAM, science, technology, engineering, art, and mathematics. What’s your opinion on jamming that A in now, now that STEM has kind of found its place, and adding art to that?

Lyn Hiner: I think it’s critically important.

I helped to develop an art program for my kids elementary school. Because of that program, it was myself and two other [00:36:00] parents, two other moms who one was an architect, I was the artist and the other one was a jewelry maker. And we wanted to move away from a particular program that our school was currently using, which was academically driven and we wanted it.

Kids to have something that was creatively based. And we had kids that first year who would cry, not understanding that it was actually meant to be fun. Not there’s no grade on this. Let’s fast forward several years. That school became a steam school, a steam certified elementary school. And it was large in part due to this program, this create program that we had established.

Why do I think this is important if we do everything on one side of the brain, if everything is all left brain driven and we don’t apply what is happening on the right brain and we expect our children to be not just well rounded, but actually whole it’s half of a whole, you cannot just lean on this academic side [00:37:00] and not expect creative thought to emerge.

from nothing. You have nothing but numbers and digits and analog without the color and vibrancy of art, music, all of it. It’s half of a whole. It’s going to be bad in the future. In my opinion, talking about something I feel strongly about, this is where I feel strongly. I watched so many kids who came out of this generation, these last Decade and a half with no art.

That’s actually how I got paid for a lot of the time. I was just, just being mom. I would teach art because every parent who is desperate to have their kids learning something other than academic had to go outside the school. That was stuff we had in school. I, I remember vividly my elementary, middle school and high school, all having art as a pivotal part of our education.

And that’s why all these creative people through the 90s and 2000s, who were my age, create all these incredible things.

Crew Chief Eric: And the reason I bring it up is because we do have a propensity to talk to a [00:38:00] lot of engineers, pro drivers, things like that on the show. They talk a lot about STEM, and we talk a lot about diversity and inclusion.

I find that in the artist camp, it’s Just natural, there are so many different types of artists and so many different flavors and styles and this and that that the conversation around diversity maybe isn’t as strong as it is in other disciplines of education, but the one question that we can pull from this is.

When we relate it to the autosphere, let’s say a young lady walks up to you and says, Lyn, why paint cars?

Lyn Hiner: Why do I paint cars? Because I love them. I mean, they’re beautiful. Why wouldn’t I? I haven’t created the car. So let’s be fair. I, my artwork is an homage to the designer, the designer who took something that is mechanical and purposeful and made it beautiful.

Having said that. I’m just playing with it. I’m hot rodding it right now. Essentially a painting is my interpretation through the filter of my lens and I’m putting it onto canvas. If I can’t think [00:39:00] through how I want to make that personal to me, that might help you have a reaction towards it. Then I’ve lost all sense of.

What is emotion, feeling, beauty. Those are the things I want to evoke from you. I don’t know if that designer was necessarily doing it, but doggone it, when you look at some of the cars and the details on them, and you think somebody spent time putting that wood, they picked that wood for that dashboard, or they pick that Chrome detail right there.

Didn’t need to be there, but look at how beautiful it was. It was so thoughtful. That goes beyond just academics. That’s approaching a feeling, an experience, a guttural, like something deep. That doesn’t come from just the academics. So it goes back to, I found something beautiful. Florals are beautiful to me.

Cars are beautiful to me. I get to paint them. I’m gonna paint them. Why not?

Crew Chief Eric: So for someone that’s just starting out and trying to find their way, what’s the best advice you give them? What are some gotchas, [00:40:00] some lessons learned, things that you look back on your many years as an artist and say, if I knew then what I know now, this is what I would have done differently.

What could you pass on to a younger generation?

Lyn Hiner: Well, when I do have kids or the parents of kids who come to me, the first thing I say is let them play. Let them have fun with it. But I also say it’s not usually a straight line. It might be in some weird person’s life. I don’t know too many people who have a straight line from this is what I studied in school to this is what I do professionally.

Take all those experiences and honor them. They are part of the process. If you told me that working at PRI was going to affect the way I became an artist and. Made money at it. I would have laughed. I would have said, why would this have anything to do with it? But it does, it fully had an impact and I’m grateful for it.

So if somebody comes to me and asks about those early years, I’m like, don’t fight that you need to put food on the table, go have food on the table. It’s important. And then. As you are [00:41:00] doing this job that is putting food on the table, figure out how that is going to make you better at what you do later.

All those life experiences affect who we are and how our art comes to be. Once I found that voice, I was prolific. I probably did 150 works of art that first year. And I’m not talking about Itty bitty things. I’m talking about big scale pieces, but I also did little ones too. The idea is everything has an impact on how you can, you continue to create.

I’m now much slower in it because now I’m more thoughtful about it. But when I first started, once I allowed my life to just be what my life was, and now I was doing it professionally, there was so much to say, and there was so much joy. How do you not want to just keep doing it? It’s not like this explosive, Holy cow.

I created that look at it. It’s amazing. And you’re not doing it from a heart of I’m being arrogant, but a heart of pure joy that that came out of me, those things are because of [00:42:00] a life fully lived. So what I will always say to anyone who’s young, who’s talking to me, or the parent of somebody who’s young, who’s trying to dissuade their kid, or maybe encourage it and say, how does my kid make money at this, just keep living your life.

Do you. Do it well, don’t do it on the backs or on the heels of somebody else. Figure out your voice copying is part of the process. That’s how we learn, but then find your voice in it. If your school or whatever is not going to teach you how to make money on it. Well, then go find a real job, a real quote unquote, real job, a nine to fiver, I guess is a better way of putting it and find out.

How to make a living, understand why that guy’s marketing his business this way. Understand why a budget is important. Make sure you apply it because that’s how you’re going to make money. Know who your clients are, know who your people are, and then make sure you surround yourself with really good people who are going to encourage you and cheer you on.

I think it’s valuable.

Crew Chief Eric: So what’s next, Lyn, any upcoming projects, spoilers, anything you can share events in [00:43:00] 2024 that we should be looking out for you at,

Lyn Hiner: I am super excited to say that I just signed with some people who want to be Lyn Heiner, Japan, which is kind of this crazy idea and makes my hands sweat a little bit, but their hope and mine, I guess, is this idea that they are going to not just represent, they That they want to be my ambassadors, which is such a weird thing to me.

Kind of makes me a little weepy, actually wants to take what I do and they love it so much. They want to take it to their audience there. So that’s kind of cool. That’s happening right now. I’m not sure if we’ll be there, but the ideas will probably be there in April as they launch. But this is a three years in the making deal.

Like I met them three years ago and then we started having a conversation about this. year and a half ago. And we spent all of last year working out the details, which is not always easy with a language barrier, but we’re figuring it out. And so that’s kind of exciting. We’re going to go back to the UK this year and actually have a [00:44:00] display at Goodwood.

And that’s at least the plan. Let’s see if that all works itself out. Cause last year we thought we had it and then it fell apart. Right at the last minute, fell apart, still went and we had a great time. And now I understand their market and their requirements. They’re better. We’ll keep going from there.

Honestly, Eric, if somebody would have told me, not only that I’d make money at being an artist, I’m certain I would have laughed at them when I was younger. But even when I came back to it about a decade ago, I would have. Never known it was possible. And I sit here today saying that by God’s grace, my husband and I get to work together and do this together.

It does take more than one person to make it happen. Because if I want to create art, I cannot always be on the business side. And I was the only one doing both for a lot of years, but when he retired from his job and came working with me, I saw the value in that and that’s where we are, we’re building this thing that I want it to still be very personal and [00:45:00] intimate with the people that I get to do it with.

I have some really great clients that believe in me and that continues to grow, which I’m overwhelmed by. When I talk about these global things, it’s sort of like this, what,

Crew Chief Eric: me?

Lyn Hiner: But it’s kind of this really cool thing that is happening and I’m really grateful for it. It’s just trying to figure out how to make it all happen.

Crew Chief Eric: Well, since we’re still talking about futures, say we fast forward the clock several decades, you’ve left a presence on the world. You have to nominate a handful of your artwork to be hung, let’s say, at the Peterson or Revs or one of the other automotive institutions that are out there. What would you choose?

What would you nominate from your collection?

Lyn Hiner: There’s still more that’s coming and that’s going to be. Monumental. If you’re talking about like a retrospective, it would have to be the car. That is the homage to my dad’s car. The first piece in the series. Those are probably the 2 and I would say at least the Cobra.

So all of those have names, but the Cobra, that was the piece that I knew was going to become part of the [00:46:00] collection. The reason. Is that those are important, but there are going to be other works that I’m going to say are the pieces that I’m like, Oh my goodness. I’m so incredibly proud. I actually did that.

And there are a few of those in there, but those are the three that I feel are the most important in the collection.

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

Lyn Hiner: First of all, thank you, Eric, so much for having me on here.

And you mentioned two people who are important, Kelly and Samantha, who I adore and are doing great things in their own right. And then they’re just very talented and Chris is among them as well. There are many who are out there, but if I’m going to do a shout out right now, just personally, it’s going to be to my husband, Rob, who really that guy, he is behind the scenes.

He has just the most supportive heart and works incredibly hard to make everything happen. So I don’t have to think about that. I don’t need to think about the crates or [00:47:00] he worked tirelessly to make sure that all happens. He does that. For everything we do. And I am honestly, incredibly grateful for that.

So that would be my shout out. I will say I’m kind of stymied by this idea. We have a new studio and a lot of people have come to it and it’s become this little bit of a gallery and a place for people to come when they come to Southern California, that’s kind of becoming a cool deal for me and hopefully you’ll stay in touch because there’s more coming.

Crew Chief Eric: To quote artist Rick Delante, Lyn Heiner’s paintings express the joie de vivre that she so vibrantly embodies in her personality. Whether an abstract study of shape and color, or an emotional impression of land, sky, or sea, Lyn sees through the essence of what she observes, and more importantly, feels.

She describes the world she sees with color, joy, and sensitivity. Her artworks are real life and interpreted through a worshipful lens. To learn more about how you can acquire a piece of Lin’s work, look no further than linhiner. com or follow her on social at LinhinerArt and [00:48:00] at LinhinerCars on Instagram and Facebook, as well as at LinhinerStudios on Facebook.

And don’t forget to check out her YouTube channel or connect with her via LinkedIn. And with that, Lyn, I can’t thank you enough for coming on break fix and sharing your story with us. And I have to say as a witness to your art, to Rick’s point, I feel your passion for the autosphere coming through every piece.

And what’s important about that is for somebody setting eyes on one of your paintings. That is another way in which we can continue to spread motor sports and vehicle enthusiasm, which is really important these days. As we talked about earlier, designs are changing. The beauty is lost, but they evoke that emotion.

They keep us connected to a time gone by, but also why we love cars, why we love mobility and why we love driving. And that comes through your art in every painting. So I appreciate that and keep up the good work.

Lyn Hiner: Thank you so much, Eric. Seriously, really appreciate being on here with you and much success to [00:49:00] you, my friend.

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

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

As well as keeping our team of creators fed on their strict diet of fig Newtons, gumby bears, and monster. So consider signing up for Patreon today at www. patreon. com forward slash GT motorsports, [00:50:00] 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 Introduction to BreakFix Podcast
  • 00:27 Lyn Hiner’s Journey from Business to Art
  • 02:12 Balancing Art and Business
  • 03:50 Becoming a Professional Artist
  • 06:06 Passion for Porsches and Automotive Art
  • 14:31 The Turning Point: The Accident and Petals Collection
  • 24:32 Emotional Reactions to Art and Cars
  • 26:01 Signature Style and Palette Knife Work
  • 27:11 Collaborations and Special Projects
  • 28:40 Thoughts on Hyper Realistic Art
  • 32:04 Generative AI in Art
  • 34:57 Choosing Future Art Pieces
  • 35:33 The Importance of Art in Education
  • 39:53 Advice for Aspiring Artists
  • 42:54 Upcoming Projects and Global Reach
  • 45:20 Legacy and Final Thoughts

Bonus

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.

Learn More

To learn more about how you can acquire a piece of Lyn’s work, look no further than lynhiner.com or follow her on social @lynhinerart and lynhinercars on Instagram and FB, as well as @lynhinerstudios on FB, and don’t forget to check out her YouTube channel, or connect with her via linkedin. 

Though Lyn grew up around Porsches – her father rebuilt and raced them – she never imagined they’d become central to her art. That changed when a collector commissioned her to paint his Porsche. “I had so much fun,” she says. “I started to wonder, ‘Could this be a thing?’” It was. One painting led to another, and soon she was exhibiting at SEMA’s Art Walk, thanks to a serendipitous invitation from Peter MacGillivray.

Her automotive art, often focused on classic European cars like the 550 Spyder, Ferrari 275, and Jaguar E-Type, is anything but photorealistic. Using palette knives and thick layers of paint, Lyn creates dreamlike impressions that evoke memory and emotion. “I’m not trying to paint your car – I’m trying to give you a feeling,” she explains.


Beauty from Ashes: The Accident That Changed Everything

In 2012, Lyn’s life took a dramatic turn. A piece of white phosphorus – mistaken for amber during a beach outing – ignited in her pocket, causing severe burns and leading to multiple surgeries. The physical and emotional toll was immense, but it also became a crucible for transformation.

During her recovery, Lyn began experimenting with abstraction and palette knives. Her “Petals” collection, originally titled “Beauty from Ashes,” was born from this period. “It was a conversation with God,” she says. “Even though I had to go through this very dark season, the outcome was something beautiful.”

Photo courtesy Lyn Hiner

Today, Lyn’s work spans both her emotional floral pieces and her dynamic automotive art. Her style is unmistakable – bold, textured, and deeply personal. Fellow artist Kelly Telfer calls her the go-to for “awesome palette knife work,” and her pieces often spark emotional reactions from viewers. “It’s not just a car,” she says. “It’s a memory.”

Though she hasn’t yet collaborated on a shared canvas, Lyn dreams of a project where multiple artists interpret the same car in their own styles. Until then, she continues to inspire, mentor, and create from her studio in San Clemente, where a new “special projects” wall hints at future innovations.

Lyn Hiner’s journey is a testament to resilience, reinvention, and the power of art to connect us to our past. Whether she’s painting a 1960s speedster or a vibrant poppy, her work reminds us that beauty often emerges from the most unexpected places.

To quote artist Rick Delanty: “Lyn Hiner’s paintings express the joie de vivre that she so vibrantly embodies in her personality. Whether an abstract study of shape and color, or an emotional impression of land, sky, or sea, Lyn sees through to the essence of what she observes – and more importantly, feels. She describes the world she sees with color, joy, and sensitivity. Her artworks are real life, interpreted through a worshipful lens.” 

Photo courtesy Lyn Hiner

This content has been brought to you in-part by sponsorship through...

Motoring Podcast Network

Dedicated, Fast & Fearless: Cindi Lux

In the world of motorsports, few stories capture the grit, hustle, and heart it takes to succeed like that of Cindi Lux. With 14 road racing championships, over 90 victories, and a resume that includes being the first ALMS Women’s Global GT Series champion, Lux has carved out a legacy as one of North America’s most versatile and respected drivers. But her journey to the top wasn’t paved with privilege – it was built on determination, duct tape, and a Dodge Shelby Charger.

Photo courtesy Cindi Lux

Cindi Lux was born into a racing family. Her grandfather raced in the grueling Pan-American Road Race, her father piloted Ferrari Testarossas, and her brothers were both racers – one on the drag strip, the other on road courses. But as the youngest and only girl, Cindi wasn’t allowed at the track. Instead, she grew up showing horses and competing in sports like skiing, martial arts, and tennis.

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It wasn’t until after college, while living in Southern California and working for Toyota Motor Sales, that she stumbled into racing. A trip to the Long Beach Grand Prix sparked something deep within her. “I was like, you know what, this is kind of cool,” she recalled. “My family does some of this.” With no tools, no crew, and no real plan, she maxed out 14 credit cards to buy a beat-up Dodge Shelby Charger and dove headfirst into the world of racing.

Photo courtesy Cindi Lux

Cindi’s early days on the track were anything but glamorous. She rented a U-Haul trailer to tow her car, stored it in a makeshift garage, and often slept in her vehicle to save money. “I had no business doing this,” she admitted. “But I was going to figure it out.”

Photo courtesy Cindi Lux

Her first big wake-up call came at Riverside Raceway, where she was lapped by the second lap. The factory Shelby team, racing the same car, took pity on her and offered to help. After tuning her car and proving it was capable of much more, Cindi had a revelation: “It’s me that’s not being able to figure this out. So, all right, let’s get to work.”

Spotlight

Synopsis

On this episode of the Break/Fix podcast, Cindi Lux, a highly decorated driver with 14 road racing championships and over 90 victories, shares her journey from a non-traditional start in motorsport to becoming one of North America’s most respected and versatile drivers. Lux discusses her family background in racing, her own unconventional entry into the sport, and her rise through the ranks despite numerous challenges. She details working with major automotive brands like Toyota and Dodge, her transition to full-time racing, and her efforts in building Lux Performance Group. Cindi also highlights the evolving landscape of motorsports, particularly for women, and her involvement with Women in Motorsports North America. Throughout, Lux reflects on her dedication, the support she received, and her commitment to inspiring and mentoring the next generation of petrol heads.

  • Let’s talk about The who/what/where/when/how of Cindi – how did you get into Motorsports? Did you come from a racing family? Something you picked up as a hobby or by way of friends?
  • Who were the women at the time, as you were starting out that inspired or helped you build a career in motorsports.
  • What was your biggest oops moment (“code brown”) and what did you learn from it?
  • Let’s talk about the good, the bad and indifferent of racing – the business side of things
  • We had LSJ on the show in Season 3, to tell her story and share about WIMNA – talk about your role in the organization, how you’ve seen it grow, and its involvement in the motorsports community, but the good it’s also doing for ladies in the sport. 

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 petrolheads 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. The

Crew Chief Eric: following episode is brought to us in part by the Women in Motorsports North America, a community of professional women and men devoted to supporting opportunities for women across all disciplines of motorsport by creating an inclusive, resourceful environment to foster mentorship, advocacy, education, and growth, thereby ensuring the continued strength and successful future of our sport.

Our guest has won 14 road racing championships, more than 90 victories, over 170 podium finishes and more than 55 pole positions. Included in that are accomplishments like being [00:01:00] crowned the first ALMS Women’s Global GT Series champion. She was a Dodge Motorsports team driver, competed in World Challenge.

She’s also a NASA bronze and silver medalist, as well as the second woman in history to win the SCCA June sprints. Twice. She’s dedicated, fast, and fearless. Cindi Lux is recognized as one of North America’s most talented and versatile drivers. And she’s here with us on Brake Fix to share her story. And with that, let’s welcome Cindi to the show.

Cindi Lux: Hey, thanks. Thank you very much. I appreciate this. This is going to be fun.

Crew Chief Eric: Well, like all good Brake Fix stories, there’s always a super heroine origin. So let’s talk about your background. How did you get into motorsports? Did you come from a racing family? Did you pick it up as a hobby? Was it by way of friends?

I came from a racing family.

Cindi Lux: My grandfather raced the Pan America Road Race, USA down to Mexico. My father raced Ferrari Testarossas and a whole variety of stuff. And then my two brothers raced also. One is a drag racer and the other’s a road racer. But the key thing is actually being the youngest girl in the family.

I was never allowed [00:02:00] to go to the racetrack. I never really was a part of it. I grew up showing horses. I grew up doing other stuff. I was quite a bit younger than they were. It’s in the family, but no, I didn’t go the traditional route of kind of hanging out at the racetrack as a young kid, watching everybody race and stuff.

And so it really wasn’t until I graduated from college. Grew up out here in the Northwest and graduated and I don’t want to say unmotivated, but I took a couple months off and just went skiing and used the rest of my savings account for after graduation. And then I knew I liked cars, but again, I didn’t want to go to work for the family dealerships.

I think our first dealership was back in 1924 and my brothers were all in the family business. But again, I didn’t want to. going with that. So I graduated from college and then I actually, you know what, I want to try the corporate world. I took a flight down to Torrance, California, and that’s when all the imports, Toyota, Honda, Nissan, and all that stuff were done in Southern California.

And I just went down there and just dropped off some resumes and hung out at the beach for a little bit. On the way back to the airport, I got a phone call. I said, Hey, come back for an interview. I kind of got into the automotive aspect that way. Went to work for Toyota Motor Sales and then went to the Long Beach Grand Prix.

And I was [00:03:00] like, you know what, this is kind of cool. My family does some of this. Living down in California, I didn’t know anybody, lived in an apartment. Started talking to people and no shop, no nothing. And I was like, this is actually pretty cool. And went out and bought a race car. I maxed out 14 credit cards to get the cash to do it.

And what was that first race car? It was a Dodge Shelby Charger, like the old L body. The thing was a hunk of junk. It really was, you know, but it was the only thing I could afford. I look back on it now and I truly, I don’t know what I was thinking. I really, really don’t because I legitimately went down and read another U Haul.

Trailer to pick it up and I brought it back and I found a storage places. I can kind of stuff cars into. And again, I’m like, I don’t know what I’m doing. I was going to load it and then I’ll figure it out later. And that was back in 1987 when I was living down in Los Angeles and then kind of one thing led to another.

And it’s a weird story. I mean, even my family are just like. You’re just weird, you know, like, I

Crew Chief Eric: know,

Cindi Lux: I

Crew Chief Eric: know with your brothers influencing you and even your dad having a background in racing, but it also sounds like there was a mixed set of disciplines in there. How did you [00:04:00] settle on road racing versus maybe circle track or dirt or something else?

There’s so many other disciplines of motorsport. What drew you to road racing?

Cindi Lux: I didn’t really know there was other forms out there other than roads racing. You know, when I went to the Long Beach Grand Prix at that time, when there was still callback, I just thought everybody turned left and right. I was really pretty ignorant to the world of motorsports a little bit, but I was fascinated by sport.

I mean, I ski raced. I did martial arts competitively. I was on the swim team. I played on the tennis team. So I have a very much of a competition background. When I went there to the Long Beach Grand Prix, I was like, yeah, this is, this is kind of cool. I’m going to go figure it out, you know, saved up my nickels and went to the school up in Willow Springs, California.

And, you know, again, I had, I had no business doing this. I really, really didn’t. But again, you know, here sat this race car. I went and bought and I had again, no tools, no crew, nothing. One thing kind of just led to another. I started meeting people and they kind of probably felt sorry for me more than

Crew Chief Eric: anything else.

At that time in the eighties. There weren’t, let’s say, too many other women out there racing, especially in SECA and amateur racing, things like that. There’s some names that [00:05:00] come to mind, and we’ll talk about them as we go along. Were you starting to hear, oh, she reminds me of so and so, or oh, you know, other drivers like this and that and the other?

Were you starting to see maybe some other women in motorsport that you could look up to some other stories that you could pull from?

Cindi Lux: No, I wish I could, you know, I was out there on my own trying to do this thing. And luckily the men, you know, the other drivers and stuff, I think they kind of more admired the fact that I was out there trying, even though I was fumbling over things, I didn’t know what I was doing.

And I think they kind of, I don’t want to say took pity on me, but they kind of say, Hey, if you’re going to do this, you know, you need to at least be safe and put some air in your tires or, Hey, you need to kind of do this. Oh, really? I didn’t, you know, again, I was about as new. But when I told my family I was doing this, they were all very supportive.

This is fantastic, this is great, but you need to learn it on your own. My dad was very old school. He’s like, you know, I raced for a lot of years. You know, if you’re going to do this, you’re going to learn to do it on your own. At first, I was kind of like, geez, dad, you know, everybody else kind of gets help a little bit from family and Now looking back on it, I’m very blessed because he taught me the business side of racing a little bit [00:06:00] more and have to kind of put my big girl panties on and go figure out how to get it done without someone just sitting there stroking a check or making my life easy and stuff.

I mean, the family is very supportive, but did they go out to the racetrack with me? No, not at all.

Crew Chief Eric: There weren’t a ton of, let’s say organizations like exists today, like high performance driver education groups, HPDEs, you kind of jumped into a Barber or Roosbertal or one of these schools, and then you went club racing, right?

Or you, you went into the pro am circuit or something like that. It’s really trial by fire. And when you’re learning like that, there’s a lot of learning moments, you know, shadowing other drivers, things like that. You’re picking up their lines. What was your biggest, what we call oops moment or code Brown.

And what did you learn from it?

Cindi Lux: I just knew I wanted to do it. I was just every weekend trying to get out there and just learn from others. I think the biggest thing, I think when some of my couple of other competitors that drove the same car, when I was being lapped, probably by lap number two, during a race, kind of came over and said, okay, if you’re going to do this, we need to kind of get you up to speed a little bit more because it’s embarrassing you driving this [00:07:00] car the same as ours.

And you’re pathetic slow. And they said, Cindi, it’s not the car right there. It really was kind of an aha moment in terms of, well, if you promised me my car’s fast, Then I will learn, I will get the help, I will figure this out, I will become a student of the sport to figure out what it takes behind the wheel to make a car fast.

Right when I was beginning is when Riverside Raceway kind of closed down, I was at that event and that’s where I honestly I was like I said lapped in lap number two and I think it was the factory Shelby team that was there racing the same body style cars as myself. They said, give us the car for a couple of hours.

They went through it. They kind of changed some stuff. They put one of their drivers in it, sitting on the racetrack. It went ungodly faster than I ever did. This was before the world of data. This was before the world of other things. But at that point I said, I was excited because I knew it was up to me.

The car was good. And so it kind of inspired me. And I think that’s where, you know, like I said, I grew up on a farm, raised animals and did a lot of horse showing and competition and you got to learn how to do things right. I just got fascinated. Well. It’s me that’s kind of a wanker right now. You know, it’s me that’s not being able to figure this [00:08:00] out.

So, all right, let’s get to work. And so from there, I just studied as much as I could. I went to every single event to watch and talk to people. I wasn’t racing myself. I just volunteered and hung out and just watched. And, you know, I was just a big sponge looking for any type of a knowledge base. I mean, I was going diving through the garbage dumpsters looking for tires, takeoffs, you know, I had no money whatsoever, you know, and, and they’re just like, okay, Cindi, you don’t need to be sleeping in my car because you couldn’t afford a hotel room on a race weekend.

And people, once they saw the passion and once they saw the commitment I was trying to make, they’re apt to hear, here’s some takeoff use pieces of crap we’re going to throw away. You can have them and kind of run with them. So. I think truly that big moment of mine was once I realized my car is quicker than what I’m doing behind the wheel, then, okay, this is awesome.

And I was like, okay, that means I can fix this. I can figure this out because I have the trust in myself.

Crew Chief Eric: It’s funny how we look at motorsport and it is competitive, but at the same time, it’s a fraternity or sorority, right? We’re all there to help each other get to not only the grid, but to the finish line, right?

Because it’s no [00:09:00] fun to be out there by yourself. You want to compete with your friends. Right. It’s an interesting dichotomy, but at the same time, you develop some rivalries along the way. So who would you say were your biggest allies and maybe your biggest rival?

Cindi Lux: First starting out, the Factory Shelby team, luckily they were like maybe a mile from where I lived when I was kind of down living in Southern California and stuff.

And you hear the stories now, you know, but being a girl at that point, and I was probably maybe 22, 23. And I was still working at the corporate level at Toyota. At the end of the day, I’d run and change into my jeans and, you know, sweatshirts and whatever, and run over the factory Shelby team. And I would be picking up a broom and learning stuff.

And any other race team, you know, around there and stuff, I would just go do that. I think at that point, though, there were so many people that wanted to help, but it was never financial. It was more just, hey, let me kind of show you the ropes of this deal. Once I started getting a little bit better, well I should say better, but I mean I wasn’t embarrassing myself, I’m getting lapped on lap two at least, you know, pick up the pace a little bit and it was kind of interesting.

I remember the first time that I actually won a small little regional [00:10:00] race at Willow Springs, you know, outside of Lancaster in California. And I remember going into the, I don’t want to call it the winner’s circle, but he’s coming to impound, you know, and they, you know, look at the car and look at you and give you a flag, you know, the sticks, I call it a piece of fabric, you know, and a 3 trophy.

That was really the first time that I had an encounter, and I wouldn’t even call it an encounter, it was just more like a, maybe an aha moment where, hmm, one of the wives of one of the drivers that I just beat, you know, wasn’t a, hey, Right on. This is really awesome. Congratulations. This is really cool.

You’re a girl, you know, you’re out there do it’s more like, who are you beating my husband? And it was really weird. It was almost like, I was like, look, and I’m like, she’s mad because I actually beat her husband. And the husband came over later and he’s like, Hey, I’m really sorry about my wife. You know, she’s kind of myth that I got beat by a girl.

I’m like, Huh? Well, that’s, that’s kind of not how it should be, but

Crew Chief Eric: okay, whatever. You said the Shelby was a whim, but that was the jumping off point into bigger things.

Cindi Lux: I had the support down there, and I think that if I would have done it any other way, I think I would have probably thrown in the towel many years ago at this sport, and I think this just gives you a [00:11:00] solid base of if you want anything in life, you just got to work hard, and you just have to get used to the word no.

You know, I look back on it now and I cringe at some of the stuff that I did starting off, but like they say, you know, The ends justify the means or the means justify the end or whatever that the theorists say It was something where it was I didn’t know any other way So it’s kind of strange because I didn’t know I was doing things the hard way It’s really kind of the only way I really knew how to do it

Crew Chief Eric: As you continued, obviously cars came and went, and your first car was a Dodge, and you got deeper into the Dodge lineup as things went along.

You know, you kind of alluded to the business of racing a little bit. How did you find yourself after your first, and your second, and your fifth, and so on seasons? Did it become easier? Did it become harder? Did the money suddenly appear as you started winning more? How did all that sort of shake out?

Cindi Lux: I met a gentleman that ran the Mitsubishi race team again, just kind of hanging out, going to their paddock and I started asking him questions and we ended up going to lunch and he says, we’ll come by the race shop and he kind of realized it’s a newbie at this thing and he says, well, let me just tell you, [00:12:00] you’re going to have to learn how to get.

Money to run a program like you’re doing and whatnot. And he says, well, the very first thing is to get a tire sponsor, you know? Okay. So I made presentations, a typical five a night, terrible presentations. Long story short is I got hooked up with Toyo Tire and I think they were with me for almost five, six, seven years, but they taught me and thank goodness.

Cause it’s still a little bit today this way. You get financial support, you get product support, but it’s not just winning on a racetrack. And that’s very important. You still have to kind of win races to get ahead of life. That’s to say, but they taught me the business side. They taught me, you know, it’s making the appearances.

They taught me it’s going to the dealer openings. They taught me it’s doing this and that. So I think my very first sponsorship from Toyota really taught me, I need to figure this out. So then, then from there, I talked to mobile one oil and they’re like, okay, let’s do this and then it kind of morphed and so everything just kind of snowballed at that effect.

And so I think the business side really started taking off a little bit more, but again, I was still an amateur, still just trying to rub two nickels together to go racing on Saturday and Sunday when I was still living in California and still working for Toyota motor sales [00:13:00] because I was an employee of Toyota back then they had a corporate policy that Toyota employees could not receive any sponsorship, any type of assistance to raise a Toyota product.

Because back then that would be considered a monetary gift. I don’t want to call it a gift, but it’d be a

Crew Chief Eric: conflict of interest.

Cindi Lux: Yeah. If you and I both work for Toyota, then all of a sudden Toyota said, well, Hey, Cindi’s an upcoming, we’re going to put her in an MR2 or something like that. We’re going to give her a car.

We’re going to give her some tires, you know, when we’re going to support her. They had a concern that the other employees would consider that favoritism, regardless of the background or credentials to get this. So they made a flat out policy that there’s nobody’s going to receive any type of motor sports sponsorship.

If you worked for Toyota motor sales, I was like, okay, well, then that kind of made my life actually a little bit easier because I go race for another manufacturer without getting in trouble because ethically I had struggled because here I was making my living producing products for Toyota in the parts industry Monday through Friday.

But on weekends here, I was racing another product. I was a little bit confused by that and it was kind of the way it was back then. And so. There was a point where I actually stored [00:14:00] my Dodge race car in the tech center at Toyota’s technical proving grounds in the corner covered up. I mean, I had no place to work on it.

And a couple of guys that worked in the technical side like racing and so forth. And so they’d help me out at night or on weekends working on my car. I said, but I don’t have a place to store it. Can I shove it in the back in the corner? I said, yeah, yeah, we got room, but man, just make sure you cover it up.

I’m like, okay, so here it was, here was a Dodge sitting in the corner of all the R and D cars, Toyota stuff they brought over from Japan at that time.

Crew Chief Eric: So there’s an interesting scenario here that I would say is not common for most people, or maybe it is, you know, waiting tables by night, trying to race a car on the weekend.

You hear those stories too, but you have this corporate job where it helps to sustain the racing hobby that’s turning into a career. And it sounds like you were able to leverage that, capitalize on maybe some connections and other things that you had. Did you face any other types of adversity? What kind of challenges were you presented with trying to build your career and then eventually sort of switching over to making driving a full time [00:15:00] thing?

Cindi Lux: My career at Toyota started taking off also, which required me to travel a lot more. My job for Toyota at that time was traveling around to all the U. S. based vendors and to teach them about the Toyota production line system and the efficiencies of production and so forth. And so I was kind of moving up through the ranks and I was trained over in Japan and The whole Kaizen, you know, constant improvement type thing that was happening back in the 80s and 90s.

I was traveling a lot more, which really started to hurt my little local racing effort. But it was also affording me the financial means to pay. I can go buy used tires now versus, you know, getting them out of the dumpsters or something like that. So I really kind of had to decide what’s more important.

And luckily at that time, I always told myself I need that. I need to have a paycheck. You know, I’m not willing to jump off the deep end into the flames per se. And try to go racing when I really didn’t have the talent at that level. I was smart enough to realize that. I still had to collect the paycheck and then on the weekends to kind of work with the sponsors and so forth.

There wasn’t really any a ha. Everything just kind of kept growing more. My [00:16:00] career at Toyota started going crazy and then my racing got a little bit better. I started getting newer cars. I was always just getting, you know, used pieces of crap that I buy off people or whatever. But it wasn’t really until I moved.

Out of Los Angeles, back up to the Northwest where my family’s from. At that point, I was starting to do a lot more testing for other manufacturers on the side. Started wearing many, many hats like everybody kind of does. It really was, you know, almost 30 years ago to the day that I said, well, I’m done with the corporate stuff.

I am going to go ahead and jump into this thing because I’ve been able to make enough money doing other things besides the racing, you know, but doing product launch and, and, you know, the typical ride and drives. And I just formed my own business. And I was at that point on the road constantly. But then it also afforded me that I can.

Travel when I wasn’t racing. So I was kind of more the creator of my domain at that point. And so that was a real scary moment for me to leave the corporate world and to start my own company. And so at that point, you know, we just kind of did it and held our breath and it’s kind of worked out.

Crew Chief Eric: And that’s the genesis of the Lux Performance Group.

Correct. What does that provide? How did you take with you the [00:17:00] knowledge from Toyota and spin it into your own company? Is it devoted strictly to motorsports? Is it tied into the dealerships that your family had? How does Lux Performance Group work? So

Cindi Lux: really I just formed at that point, just a company name just so I can go off and subcontract out to these other manufacturers.

I worked an awful lot for Mercedes, BMW, you know, again, doing these product launches. And so really I just had to form more of an agency for me to go off and do all these other subcontracting world. But then really things started taking off personal life. I finally met my soon to be husband and he worked for 20 some years for Mitsubishi racing team, and we ended up getting married.

I mean, so it was kind of, I don’t see a match made in heaven, but at that point he was the crew chief for Mitsubishi’s efforts, all the Baja truck builds, all the escort endurance cars. He built all the Pikes Peak cars. So at that point it was. Hmm. Well, we might be able to team up together here and let’s expand my personal company.

And so at one point they said, well, Cindi, what does your company do? And I said, I know it sounds strange to say, but we do almost everything in the world of automotive, whether it’s racing, whether it’s doing prototypes for auto shows, [00:18:00] doing cutaways. I mean, we had a sub business, you know, within the main umbrella where we built robotics for battle bots, you know, mtv shows for many years and so forth.

So basically, it’s my husband and I, we just kind of started building race cars, and then I started getting clients that wanted to do driver training, and so my coaching career started taking off, and then from the engineering side, so it was great, because he didn’t really do the things I love, and I, you know, obviously can’t do the things that, you know, the engineering side that he does, and then basically Lux Performance started, geez, I want to say almost 25, 30 years ago, and it’s just, Kind of grown every year and we’ve always been very diversified.

We just don’t know how to say no and we’re very small. It’s not a large company. So primarily right now, you know, we build race cars. We supply, we call people’s cars around the country. We provide trackside support, coaching. We do the whole thing for them. And it’s kind of nice because we’ve gone the real big route, had transporters going to separate locations doing all sorts of craziness and stuff, but nowadays it’s kind of like we’ve pulled things back a little bit more and kind of saying, Hey, we don’t need to be big to be successful, but it was a learning curve.

It was [00:19:00] interesting starting off, but it was a lot of hard work. I loved it so much because I had more control of my racing, and I want to say that’s when things really took off. When I made the relationship with Dodge back in 2005, it really afforded us to really kick our company and also my driving career into high gear.

Crew Chief Eric: For each tipping point, You seem to move forward in lockstep, or at least it’s like a three legged race with your driving career and your personal career and everything continues to just move forward in a really interesting way. And we’re gonna get back to your time in 2005 with the Dodges. Let’s back up a second and talk about racing.

You’ve raced all over the country, as you said, transporting cars all over the place in one of what we call our pit stop. What is your favorite or worst track? And you know, they say, you know, your favorite

Cindi Lux: racetrack

Crew Chief Eric: is

Cindi Lux: the last one you win on, you know, that’s kind of boring and generic, but I love high speed tracks.

I really adore the road Americas, the Watkins Glen, VIRs, road Atlantis. You know, I, I don’t know why anything well over, you know, 170, 80 miles an [00:20:00] hour, it just seems to click for me because I think I’m able to really give technical feedback back to engineers from aero grip to mechanical grip in bigger size cars.

Once I kind of figured out. The difference between that from an engineering standpoint, I think my career from a high speed tracks really kind of evolved the least favorite. Geez, there’s kind of least favorite.

Crew Chief Eric: Well, let’s just say a track that you struggled with the most and maybe you’ve learned to overcome it.

Yeah.

Cindi Lux: I think the biggest was, I want to say Mossport. Up in Canada, that one kind of really threw me for a loop, mostly because my first race weekend in world challenge, huge rain, it was just a rainstorm, you know, and I was just struggling and it was just not a good weekend. And I just never have, I never has been able to wrap my hands around that place.

And I just think that one’s kind of been my nemesis. I love all sorts of race. I mean, it’s kind of weird. It’s there’s very few racetracks that I cringe. Had a couple pretty serious accidents and people kind of usually tend to kind of shy away from those tracks, you know, after you have that, but to me, it’s kind of like slaying the dragon.

I want to go back and I’m gonna get back on the horse at this track and show who’s boss kind of sort of, but I’m so weird. I just [00:21:00] love driving. I just love the art of racing and I just love all tracks.

Crew Chief Eric: Any bucket list tracks or events that you still want to do, check off your list. You know, I want to go do the Bathurst

Cindi Lux: 1000.

I’d like to do a little bit more racing overseas a little bit. You know, there’s some things in the works right now that we’re actually trying to do in the next couple of years to get over there to do some stuff. From a cost standpoint, this is going to seem crazy, but I’ve got several of my compadres, you know, or several of my friends in the industry.

They’re like, Cindi, I’m spending less money. I am a racing in Europe than I am in the States. And I’m like, you got to show me the spreadsheet on that, because that makes no sense. But let me just tell you, it’s like. Huh.

Cindi Lux (2): Well,

Cindi Lux: they did. So anyways, yeah, I would really like to go do a little bit more racing in Europe, just kind of maybe, you know, endurance racing.

I’ve always loved endurance racing more than a sprint driver type of a deal, but I’m just so fortunate to get into a race car all the time and I’m just so blessed. I think the older I get, the more I really realized that you just got to keep putting one foot in front of the other and keep what they call swinging the bat.

And so. My biggest bucket list from a race standpoint actually is the Australian touring cars. I would love to go down and just go compete with them. I’d probably be towards the [00:22:00] end of the pack, but it doesn’t matter. I just think it’d be awesome.

Crew Chief Eric: If you’re in a V8 supercar, it doesn’t really matter at that point.

Not at

Cindi Lux: all. Not at all. I mean, that would just be, I mean, a total bucket list.

Crew Chief Eric: Well, before we get into a conversation about Ford versus Holden, a lot of times we like to ask our guests, Porsche versus Ferrari, you know, stuff like that. But I think in your case, I want to ask you this question because you’ve been behind the wheel of both of these cars, and it is a rivalry that is often for.

Because it’s 20 years old at this point, if you look back over the days of ALMS, Grand Am, and before it all got enveloped into IMSA, it’s Corvette versus Viper. Of the two, which do you choose and why?

Cindi Lux: Yeah, you’re talking about putting my head into a snake pit. You gotta realize too though, because I used to race Corvettes.

I loved them. I mean, they’re just a different beast. I gotta kind of be a little bit careful here, but the cars require a different type of driving style. The fans are completely different. The enthusiasts for the Corvettes versus the Vipers. The cost of emissions and back in its day for a [00:23:00] Corvette was a little bit less to go racing, but I was putting a lot more parts on the car on a weekly basis.

You can just kind of read between the lines there. Back in 2005, when I was racing a C5 Corvette, loved it. I mean, I just loved the car and the cars was great, but it became very apparent. It was kind of an eyeopening deal, even on the amateur level, how much factory support was being given at that point. I was really kind of beating my head against the wall and it wasn’t until that season was just about over in 2005.

And I’m like, this is not right. And I’m not going to get mad and I’m not going to point fingers, but I’m like, I’m never going to compete with the. Quote unquote the people that get the good stuff. Let’s just say and i’m not pointing figures I’m, not saying we weren’t doing well because they had all the good stuff This is where the business side comes in i’m like well I’m, never going to be able to get into that secret handshake club Okay, and at that point I just picked up the call and legitimately it was in the end of 2005 I just googled somebody’s name and just Picked up the phone cold called that point.

It was the SRT motorsports at Dodge and introduced myself and just said, I want to meet him and here’s what we want to do. And [00:24:00] I just flew back there and met with them. And that was it. It was a hard transition because I did race for the Corvette brand for about four years. Back then it was the amateur level of T1 and we developed a lot of fans.

And when we switched over to the Viper. Oh my God, you would have thought that I ran over their puppy or something. I mean, it was, they were not happy. It took a while for people to kind of chill out a little bit and get used to the Viper. But the one that even to this day, the Viper itself, I’ve been fortunate enough to get in with Dodge and fortunate doing some testing behind the scenes for new cars, new gen Vipers have come out, gotten to know the people that work at Dodge Motorsports versus Chevrolet Motorsports truly is.

You know, about 1 8th in size, but when I’m able to talk to the head of the Dodge Motorsports on a Sunday morning, when we have a question going on versus pick up the phone and call him at home, they’re just operating a much different level, you know, stop as corporate per se.

Crew Chief Eric: And the Viper project was very much a skunk works project.

Cindi Lux: Very much so.

Crew Chief Eric: Yep. You go back into his history. And more importantly, IACOCA is actually quoted in his first autobiography as saying something along the effect that. He always [00:25:00] admired the Chrysler engineers, even when he was at Ford, because they were always thinking outside the box. But the problem was they were asked to do surgery with screwdrivers and wooden spoons, rather than given the tools appropriate to execute on their ideas.

And I think he finally got to realize some of that stuff when he crossed the threshold at Chrysler and then birthed the Viper project alongside of Carroll Shelby and all that kind of stuff. So I personally have a sweet spot for the Viper. You know, and I’ve coached both Corvettes and Vipers. I’ve driven both on track, on the street.

And I tell you what, the Viper went through a much more interesting evolution process than the Corvette did in some ways because you can tie the Corvette to these generations where they’re kind of based on each other. Where Dodge sort of took and said, all right, we’re going to rip that page out. We’re going to start over again.

The only thing that stays the same as the engine, when you get up to the fifth gens, the last ones, the ACRs, I mean, I got an opportunity to get in one of those at Watkins Glen with the gentlemen. And it was just like, I got out of the car and I was like, this thing is unstoppable with the right driver.

And you can keep [00:26:00] all your Corvettes and your GT three, nine 11s. The Viper is just an amazing vehicle. So I wax. Poetic about it being an actual pro driver of a Viper. What’s it like to run one on track? Is it as unruly as they say it is when it’s at the limit?

Cindi Lux: It is. And it’s almost scary. And I don’t mean scary.

Like I’m going to crash scary, but it’s almost like, really, you guys produce this car to be on the street in some regards, you know, you got to understand that car that you drove, that version of the Viper, the gen five Viper, which is the last one they started producing back in 17. That was the first Viper that Chrysler at that point or Dodge finally said okay legally we have to put some type of traction control System in the car, but there were four generations of Vipers that had absolutely zero what I call nannies You know or any type of assisting and I give them credit I wouldn’t want to be a lawyer at that point for Chrysler or SRT Back in its day when you have umpteen 600 horsepower with zero traction control or any type of stability control system.

So, you know, you’re talking the carbon on carbon brakes on the new gen five. You’re talking just an [00:27:00] ungodly amount of downforce on the deal. I give them credit even to the last day. I can tell you the name of the five or six guys and I still talk to them. In fact, I talked to them this weekend, even though they’re retired from Chrysler.

They still do work for us. Hey, I need you know, this I need a new ecu program for this type of a track and blah blah blah They’re still doing stuff for us But anyway, the point is I think honestly people think the viper is all about the v10 They think it’s all about the horsepower and it’s like you know what?

Even with the car that I race right now in trans am I will go door handle to door handle with any other sports car whether it be a Porsche, Corvette, BMW, whatever, and I promise you I will be able to outbreak them. So the point is, it’s not just, you know, grunt. People keep saying, especially, and one thing just still just makes me, I don’t want to say giggle, but it’s just, I shake my head and I have to leave the room.

It’s when I hear the announcers on TVs when, you know, back in the day when, you know, the Vipers were racing and, you know, they’re all like, hey, look at the horsepower, you know, coming from this car. They’re known for the straight line speed. And it’s like, God, people, The car’s got so much finesse. It’s got so much ability to go around the corners.

It’s got so much more than the straight line [00:28:00] speed. And why don’t you ask them how much of a restrictor plate is put on us, you know, in a lot of this stuff. And so I’m with you, you know, I just give them credit. I’m so blessed to be a part of that family and so blessed to be a part of it, you know, during a time that it really was a family, you know, kind of an entity type of a thing.

But I don’t think the Viper’s dead, to be honest with you. Yeah, I know there’s a lot of talk, and I think it’s a lot of, you know, changes in the guard, but I think someday the Viper will be joining us back again from a production level car.

Crew Chief Eric: I agree with that, and I think it’s also interesting, Stellantis, the parent company, which comprises Fiat, Chrysler, and PSC, and which in the halls are also Ferrari, but back in the day, Ferrari was fascinated by what was going on.

With the Viper project, there has been rumors too, that things like the Alfa Romeo 8C might resurrect itself as a viable platform for a new Viper with Fiat and Ferrari having that intrigue. And I think that’s part of the reason why they bought Chrysler on top of Jeep, because it’s the most lucrative line in the family.

There was never. A good reason to get [00:29:00] rid of Viper, but I think if a sixth generation does come, it might be a little more front engine Ferrari, but it’s still going to have that DNA in it.

Cindi Lux: I agree. And I think the covers will come back. I think the true stories will come out. What really happened with all these buyouts and all these changes and so forth was happening back at the corporate level.

You’re exactly right. There was so much fascination by the Ferrari camp regarding the Viper on so many things and especially back in 08 when the automotive industry tanked, you know, I hope they do some type of a historical story on it because, you know, let’s just say that there were cars shipped to us during that time when they were going through bankruptcy.

That all that was said is just keep these cars for us for a while. And we put them in the back of the shop, put car covers on because all the auditors is the way I, you know, I just heard of horror stories when they were really declaring the bankruptcy or going through all this stuff that everything in motor sports was being physically destroyed from an accounting standpoint.

In the skunk work department and stuff like that. So it was interesting. I yeah, I mean one viper finally left like three to four years later Finally, I [00:30:00] said, okay. Hey, we’re gonna send a truck and pick that thing up and i’m like sweet Anyway, that was just kind of a weird story. But yeah, it was just I mean legitimately on a sunday I got a text or a phone call saying yeah, I think reliable is dropping off Some cars tomorrow for you guys.

Just don’t ask any questions and just hang on to them Okay. Strange.

Crew Chief Eric: So Cindi, you cut your teeth on the third gen Viper, which I jokingly always refer to as the Mercedes Viper, because that’s when Daimler that period, you know, they kind of came in and shook the Apple card a little bit, but it doesn’t have the nostalgia of the first two.

And it doesn’t have the refinement of when Fiat got its hands into the fourth and fifth gens and things like that. So the third gen is, it has that German utilitarian. To it. And a friend of ours actually has a third gen and I’ve driven that one as well. And I mean, I love all Vipers, but do you still go back to that third gen?

Do you prefer the newer ones? What about the early cars?

Cindi Lux: Yeah. You know, it’s interesting because even back with the gen two Vipers, those cars were not easy to drive the differentials in them and then the whole variety of reasons [00:31:00] of geometry and some other stuff, I don’t want to say it where they was kind of a point and squirt type car, but at that point, your biggest concern is trying to get out of the race car without burning your.

Crew Chief Eric: The snake bite.

Cindi Lux: Exactly. Yeah. I’m trying to teach people that. But I think when we jumped into Gen 3, it was refined more so than the Gen 2. But it was still a difficult car. The geometry still wasn’t proper, let’s just say in a few things. And I just remember the differential, we could not get that out quick enough.

It was a tough car to drive, but luckily the class we ran, we were able to put the parts on it legally wise, rule wise, that were really suffering with the car. Absolutely hands down, the Gen 4 Viper, when that came out, it was truly a refined car. I think it really addressed some of the inadequacies of the Gen 3 car so much, to the point where that’s still my favorite car, even when we’re in Gen 5 right now.

From a race car standpoint, I just cannot tell you what a fun car that the Gen 4 Viper is. And it’s such a pleasure to drive, but again, they really took seriously the enhancements, the improvements, even though it’s gen three had the 8. 3 liter motor, and then it went to an 8. 4 liter [00:32:00] with the gen four, the gen four, I think started production in the 08, you know, then that went to the drive by wire versus, so there’s a lot of changes per se from a racing standpoint.

I don’t remember the first time I started racing the gen fours. I’m like, we got to reprogram this ECU. We got to do something because when you lift the throttle, you know, I can count to 30. By the time before it revs, you know, so tweaks like that, we were finally able to make on like, so we went in the reprograms and stuff, and so we made it more of quote unquote, racy, tailor made more on a racetrack environment versus a street environment.

But I just give them credit. I really do. But I think the gen five is by far. A absolute beast. It is a work of art. The fit and finish is fantastic. I mean, look what they’re bringing right now where they’re being resold in the market for God’s sakes. But I think that the stars aligned from a fit and finish the interior, the sexiness, everything about it is just fantastic.

But. I think the bang for the buck price tag for a zooted up, you know, or just a proper gen four ACRX versus a gen five. I mean, you’re talking a difference that easily, easily of over a hundred plus thousand dollars between the two. I still think the gen four, you have a hard time beating it.

Crew Chief Eric: You mentioned earlier about [00:33:00] coaching.

I commiserate with you on that. You know, I spend my weekends in the right seat teaching people how to go around racetracks. Fast, maybe not at the same level you’re at because you’re doing all sorts of diverse stuff. But, you know, HPDE is where we all sort of get our jollies off when it comes to passing down our motorsport knowledge to other people.

There’s some interesting videos on your social media, one of which I just saw recently again, and it was about heel toe downshifting and stuff like that, which is super important in the Viper. But there’s another one that I think is really, really interesting. You were teaching a blind person how to go around the track.

How did that play out? How did that even happen?

Cindi Lux: Yeah, well, again, I don’t know the word. No, this is actually a friend of mine. Who’s also in the racing industry that, Hey, there’s a gentleman here turning 70 years old. He’d lost his vision about 20 years prior. He was kind of a gear head himself and kind of a.

Hot rod guy, but the family wants to know if there’s any way that he can at least in a straight line, like on a drag strip type of environment, can he drive his car? I want to say it’s one of those police interceptors. Those things, you know, had a fair [00:34:00] amount of scoot. So long story short, while I was testing out here in Portland, Oregon on test day, I made the arrangements.

Okay. At lunchtime, I went to the organizers. I’m like, Hey, can I have the racetrack by myself, but leave medical here. Don’t pull medical, have medical there. I’ve got kind of a private thing I want to do. And, and okay. So then. I spent about I’d say 15 minutes with him in the parking lot and just kind of taught him the basics, you know, of just communication.

He was a driver before he went blind, so that was a good thing. We just set up certain cues and certain commands on how to use the wheel and just a rating system, one being light, ten being extreme or whatever. And we kind of played around in the parking lot a little bit and he was very intuitive, I mean super intuitive.

And I’m like, I got no problem. So let’s go. And so they open up the racetrack to us. And I think we did like maybe two or three laps on the racetrack. I was never physically scared. And I want to say in the backstretch, we were doing about 95 miles an hour. I was not touching the wheel. I mean, he was driving the car.

I just kind of kept him giving him cues, as you know, from your teaching experience. It takes by the time you say something to where that student [00:35:00] sitting behind the wheel processes that thought by the time it goes in Their brain by the time their brain says, okay. I need to lift off the gas the brake They say right now about 1.

6 seconds So you really have to be a lot more in front of the car with this gentleman than I normally am So once I change my teaching style a little bit It helped him out. So no, we just went around and, you know, it was a real special experience for him. And I just love doing stuff like that. I really, really do.

He just had a great time. And it was neat because the people in the paddock, the other race teams that were broke for lunch, the word must have spread. And. When we came off in the paddock area, it was kind of like not the extreme, but you know, that scene when Dale Earnhardt finally won Daytona 500, you know, not that much, but there were people clapping for this guy and it was just really a cool thing.

Yeah, I do crazy stuff like that. I never feel scared or whatnot. I deal a lot with people that get in serious crashes that have gone through windshields that have been brain trauma type of thing. Then people that. Physically can’t sit in a race car due to PSTD or whatever it may be and I work a lot with those people [00:36:00] as well.

You just talk to them, read their body language like everything else and you just kind of work. But you know, that’s the thing about the automotive world is it’s not just building cars. It’s not just racing. It’s not just drawing cars. It’s not just writing about them. It’s just Everybody has a story of some way about the four wheels or two wheels that they drive on the street.

Crew Chief Eric: It’s

Cindi Lux: fun.

Crew Chief Eric: It is a testament to your ability to teach and the types of programs that are out there. And, you know, we kind of fringe sometimes was like, Oh man, I’ve heard the same spiel at every instructor’s meeting, apex, turn in, track out, blah, blah, blah. But those simple commands helped you drive the car from the passenger seat.

And I’ve joked before a good coach can drive a car. From the passenger seat, not touching that person’s wheel, giving them the commands at the right time. And this just goes to show, I mean, with a visually impaired driver, it can be done and you did it and that should be celebrated. That’s really, really cool.

Cindi Lux: You’d have no problem doing it. You really, really would. I mean, I’ve even taught paraplegics on how to drive and stuff like that.

Crew Chief Eric: Yeah, it’s kind of crazy. One of the things I wanted to talk about [00:37:00] was the Women in Motorsports North America organization, which you’re a part of. And we were fortunate to have Lynn St.

James on the show in season three. And she came and told her story and about the organization and things like that. So I wanted to take the opportunity to talk about your role in the organization, how you’ve seen it grow its involvement deeper in the motorsports community and the good that it’s doing for ladies in the sports.

Cindi Lux: It’s a great organization, the Women in Motorsports North America, and it’s a wonderful group of people that has now expanded to the corporate level as well, is to really bring limelight but also funding or just the experience and just the avenues to teach people that there are professions for females in the automotive world.

It’s not just the driving aspect, it’s the engineering, it’s the race team type of a thing, it’s the track promoters, it’s the announcers, it’s doing podcasts, anything that has to do with the automotive world. It’s growing leaps and bounds. And when the whole thing came to the inception, I think it was like three years ago at this point, when I got a call from Lynn saying, Hey, Cindi would like to have you on the original board of directors [00:38:00] for this organization.

I’m like, Oh, really? What do we, why? I mean, she had to kind of sell it to me because again, I’m like, Lynn, you know, I don’t want to start opening up doors for females. That’s not fair to the men out there trying to make a career. I want to make sure that. This is done properly. You know, we talked about it.

We had many, many, many conversations and it’s been an eyeopening ordeal. And so I just actually signed on for another three years as one of the board of directors. It’s a who’s who, you know, in the world. And the neat thing about it is I sit on this board and I’m in awe. What am I doing on this board? I’m so humbled.

And I learned so much from the people that are on this board. I think it’s really a great organization because it’s just opening up communication, allowing people to talk more about what’s out there. It’s really gotten very strong about the last 18 months, and I think it’s going to ramp up even more so.

But as I tell them, and I’m probably a little bit more old school, I think Lynn, God bless her, you know, she probably has to Pull me off to the side and tell me to be careful. I’m like, Lynn, again, I’m just saying, male or female, we as a female, we have to do the same job as [00:39:00] good as the men. Just because we’re female does not allow us to get any more opportunities.

But we gotta learn how to keep our jaws. We gotta learn to be the best we can be. But it’s the same for the men. So I think my role, to be honest with you, Eric, on anything else on this organization is kind of a little bit more of a check and balance is to really make sure that we are providing people educational opportunities.

Whether they tell us at the racetrack or they talk to high schools, or I go talk to Girl Scouts, whatever it may be, if they have a passion towards anything, they can just do it. It’s cool. It really, really is cool, and I think you’re going to see some huge analysis coming up for 2024 on the things that we’re doing.

Crew Chief Eric: You’re talking about equality in racing, and that is really important these days, and obviously there’s the idea of, if I can see myself in the paddock, then I can see myself there, you know, that whole mantra. Going back to your origin story, when you mentioned yourself, I was the only woman. A lot of guys supported me, not monetarily, but they were helping me, those kinds of things.

Now that you’re sitting on the board of WMNA and you’re looking back over your 40 years in racing, how have you seen motorsport change for the [00:40:00] better? Maybe it hasn’t stayed the same, but how have you seen it evolve as a woman in motorsport?

Cindi Lux: Yeah, I think it’s evolved 10 times. I think it really has. I think a lot of the females getting jobs now are being more accepted.

They’re not as kind of like a novelty. We had a young lady that was interning with our team out here in Portland, Oregon. She was out with us for two years. Long story short, we got her a job with McLaren with the IndyCar team and she was the left front tire changer for the last two years for Pato for the Indy 500 and all the other races and stuff and kept in contact with her and just chatted and stuff.

And she says, Penny, it’s, I want to say the higher you get in the pro level, the easier it gets just in terms of acceptance, she says, but I’ve had to work very, very hard because now she’s oversees the dampener program for the IndyCars. And I’m like. Girl, four years ago you were pushing a broom in our shop and she says you get the opportunity and people believe in you, you go for it.

You know, and I do get a lot of young ladies and moms and dads from that matter come up and say, Hey, would you mind, you know, talking to my little girl about this? I love it, but I’ll do the same for a guy too. You know, a little 10 [00:41:00] year old boy that wants to get in the race. Come on, jump on the race car, you know, or let’s go jump on the mini bikes and let’s go out to the turn one.

I’ll kind of explain kind of what’s going on here a little bit. It’s becoming more accepting, which is great. You look at the race organizers, you look at the promoters, you look at the track managers. There’s no boundaries anymore. And I think that, you know, it’s not a them versus us type of a thing, but I think that women are just finally feeling more confident to say, no, I’d like to give this a shot, just

Crew Chief Eric: tell me what I need to do.

But that also means that the job of evolving motorsport is far from over. And so I wonder, how do we make the paddock not just more diverse in this case? Which spans a multitude of different things, but more inviting for people to come to the track. And so that motorsport continues to thrive because we have seen it on the decline over the years.

So how

Cindi Lux: do

Crew Chief Eric: we

Cindi Lux: fix that? That’s the magical question that I think a lot of people are scratching their heads. I don’t know if it’s just the world changing right now. I don’t know if it’s the whole

Crew Chief Eric: evolution,

Cindi Lux: but yeah, I mean, it might be, you know, in some cases, some of this stuff is, I don’t want to say it’s run its course, but life changes, the world changes [00:42:00] and.

We’d have to be smart enough and flexible enough and we need to adapt to the future. I don’t really have it. I wish I knew the most inviting way. I just know that I’m doing more talks. I’m doing more chats. I’m doing more presentations. I’m doing more just explaining how to get into the industry and explaining more that a car, you know, it doesn’t.

You have to be male dominated in terms of, don’t feel bad if you really like a car. You don’t need to go in the corner and play with dolls. If your brother’s over here playing with race cars, go join him. Go do whatever. It’s kind of an interesting question you pose because from a spectator standpoint or an interest, I mean, look what happened in the trade industry.

We can’t get people to work with their hands. Mechanics. We can’t get all this stuff. And so. I think it’s just really the change that we’re going to have to address at some point.

Crew Chief Eric: You mentioned before about, you know, taking kids around the track and showing them things and talking them through stuff.

That initial conversation, a young girl, maybe 10 years old, walks up to you and says, Cindi, why do you race? What would you say?

Cindi Lux: To me, it’s just a sport. It’s

Crew Chief Eric: no different

Cindi Lux: than playing tennis. It’s no different than playing basketball. It’s no place different than downhill skiing a little bit. It’s [00:43:00] a sport that I love kind of looking at it.

Well, is it that simple? I said it kind of is when you go play tennis. It’s probably more accessible You grab a tennis racket and you go to the local thing and you can start playing This one takes a little bit more so maybe to go to a go kart track but it’s just a sport and I think when you kind of put it very simplistic kind of look at you like Oh, okay.

I try not to overstate how difficult it is and the dedication that it takes. What I don’t want to do is scare people away. You want to make it achievable. It’s like this big event out at our race shop. And it truly is just people that they came to, because Portland had a big, one of the, the E race, not Formula E, but whatever the electrical Formula cars that came last year to the United States and they ran here at Portland.

That event absolutely drew people. Out of the woodwork motorsports wise and I probably have gotten 20 or 30 people that found out because I did deal with bosch For that event inviting out a bunch of people that are in the trade industry Then I went out there a day prior spoke to them and stuff We’re having kind of round two at our shop in a couple weeks And these are people that didn’t know anything about motorsports at all zero And to do a big event, [00:44:00] we’re just going to talk to them because we do a lot of EV stuff ourselves on some other stuff, but we’re having to change a little bit of our ways of doing business and our race team.

As long as everybody’s flexible and kind of addressing the fact, which is fantastic. It’s a moving target, kind of like that little book, Who Moved My Cheese? Kind of like that, we have to be very adjustable.

Crew Chief Eric: And it’s a bit of a curiosity still, right? It sort of feels like old days of going to Ripley’s, believe it or not.

You’re like, are they really going to run around a track with a battery operated car? You know, things like that, not to divulge into a whole conversation about the evolution. We can put a pin in that and talk about it another time when we get together, but you’re a hundred percent right. And I think it does draw a different crowd.

People want to see what an electric race car is all about. Is it, you know, is it. Sci fi or is this reality? But it does lead into an interesting way to look at what’s next for you. So what is coming next? What other big events? Any spoilers? What’s next for Cindi Lux?

Cindi Lux: Yeah, that’s the million dollar question right now.

We’re going to get back into the Trans Am stuff this year. We don’t know when just yet. I’ve got to go in and get a little bionic improvement here in the next couple of weeks on my knee. [00:45:00] You’ll love this. I was running to a plane, heading off to Road America for a race last fall. I swear someone took a shotgun and just blew out my knee.

It was just kind of one of those weird things. Anyway, long story short, I’m having to get my knee kind of fixed up and stuff like that. So that’s going to put me out of commission for about three or four months. I’m going to take care of that. But anyway, no, we’re definitely building new cars. We’re going to get back into the Trans Am stuff.

It’ll probably be a little bit of West Coast based a little bit, but you know, we’re going to get back into the scheme of things and hopefully the world will settle down a little bit. Prices of fuel will kind of normalize. Stuff like that and I get back on the bandwagon. So we’re looking forward to that.

I really adore the Trans Am series. I really, really do. I think it’s the best for our markets per se and our team. And I think from a cost standpoint too, you’re not having to stroke huge checks with several six, seven zeros, you know, on the backside, I call it blue collar professional series. We really love it.

So we look forward to getting back into the Trans Am portion of this summer.

Crew Chief Eric: All right, Cindi. Well, we’ve reached that point of the episode where I like to invite my guests to tell us about any shout outs, promotions or anything else they’d like to share that we haven’t covered thus far.

Cindi Lux: [00:46:00] Talking motorsports or automotive or anything that has to do with cars, bikes, and I just love it.

And I’m getting to the point in my career where I love to give back. I like to get people inspired. But then again, you know, it is pretty funny. The day someone started talking, use the retirement word. And I looked at him, I’m like, Are you serious the day I can’t drive? I will certainly, you know, hang up my helmet But you guys got to remember paul newman drove until he’s what 80 years old and i’m like, yeah, I got several years left guys You know, probably 25 years left.

So give me a break. But no, I just love the art of racing. I love the sport I love the team aspect. I tell us to everybody So the happiest person that I am is when I put the helmet on and it has nothing to do with oh I get to go race to me. It’s just As I’ve always said, it’s just me, the race car, and the track.

And we just learn to dance together, and that’s all we do. And if I happen to be out there with 60 other cars doing the same thing at that particular moment, then so be it.

Crew Chief Eric: City Lux has to balance her busy race schedule with a demanding business schedule. As one of the leading program managers in the world heading up Luxe Performance Group with her husband Fred.

She gets to premiere new product [00:47:00] lines through the automotive media dozens of times a year, and if that wasn’t enough, she’s involved in overseeing a multitude of racing school programs and a family of dealerships. To learn more about Cindi, be sure to log on to www.Cindicdiluxelux.com, or follow her on social media at Cindi Luxe on Instagram, Facebook, and Twitter, and you can always connect with her on LinkedIn.

And with that, Cindi, I can’t thank you enough for coming on break, fix podcasts and sharing your story. And I have to say, you know, we talked about your origin and women that inspired you. And you were sort of that lone wolf out there trying to make your way and find your way through this career in motor sport.

But whether you realize it or not, you’ve become one of the women that other women look up to in this industry and in this sport. So I can’t thank you enough for what you’re doing, being involved with WMNA and continuing to perpetuate and spread motor sports enthusiasm.

Cindi Lux: You’re very kind for saying that I’m no different than anybody else out there, but there’s just a lot of passion and I just look forward to tomorrow and [00:48:00] every day it’s just keep swinging the bat and see what fun we can get into.

Crew Chief Eric: Officially founded in April of 2022, Women in Motorsports North of America is an official 501c3 not for profit organization. Because of its partners, WMNA is proud of what it’s been able to accomplish. And don’t forget that each year, over 450 women and men from all disciplines of motorsports attend their annual summit.

Attendees are open to industry executives, drivers, team members, OEM sponsors. Racetrack representatives and anyone working in the sport or wanting to learn more about opportunities in Motorsport. If you’d like to learn more about women in Motorsports North America, be sure to log on to www.womeninmotorsportsna.com or follow them on social media at Women in Motorsports.

Na, on Instagram and Facebook or at w Im Na on Twitter. We hope you enjoyed another awesome [00:49:00] episode of break fix podcasts 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 Grand Touring Motorsports.

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, gummy bears, and monster. So consider signing up for Patreon today at www. patreon. com forward slash GT motorsports, and remember without you, none of this would be [00:50:00] possible.

Highlights

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

  • 00:00 Introduction to BreakFix Podcast
  • 00:47 Introducing Cindi Lux: A Racing Legend
  • 01:30 Cindi’s Early Life and Racing Beginnings
  • 03:10 First Race Car and Initial Struggles
  • 04:52 Learning the Ropes and Gaining Respect
  • 11:45 Balancing Corporate Life and Racing
  • 16:53 Founding Lux Performance Group
  • 19:32 Favorite Tracks and Racing Challenges
  • 21:04 Bucket List Races and Car Rivalries
  • 24:11 The Viper’s Rocky Start
  • 24:20 Inside Dodge Motorsports
  • 25:28 Evolution of the Viper
  • 26:08 Driving the Viper on Track
  • 28:15 The Future of the Viper
  • 33:28 Teaching a Blind Person to Drive
  • 36:58 Women in Motorsports North America
  • 39:33 Cindi Lux’s Racing Journey
  • 44:45 What’s Next for Cindi Lux?
  • 45:50 Conclusion and Shoutouts

Bonus Content

Craziest Moment on Track? 

Cindi has no fear, and she’s quote as saying “I don’t know when to say no” – but how about coaching a Blind driver around the Portland International Raceway?

Learn More

Support Women In Motorsports North America (WIMNA)

Women in Motorsports North America is a community of professionals devoted to supporting opportunities for women across all disciplines of Motorsport by creating an inclusive, resourceful environment to foster mentorship, advocacy, education, and growth, thereby ensuring the continued strength and successful future of our sport.

To learn more about Cindi be sure to logon to www.cindilux.com or follow her on social media @cindilux on Instagram, Facebook and Twitter, and you can always connect with her on LinkedIn. 

Cindi’s path wasn’t just about learning to drive fast – it was about learning the business of racing. A chance meeting with a Mitsubishi team manager led to her first sponsorship with Toyo Tires. They didn’t just give her tires; they taught her how to represent a brand, make appearances, and build relationships. “They taught me it’s not just about winning on the racetrack,” she said.

At the same time, her corporate career at Toyota was taking off. She traveled the country teaching lean manufacturing principles, all while racing on weekends. Eventually, she made the leap, leaving the corporate world to start Lux Performance Group – a motorsports business that would become a full-service racing and engineering outfit.

With her husband Fred, a seasoned engineer and former crew chief for Mitsubishi’s racing program, Cindi expanded Lux Performance into a powerhouse. From building race cars and providing trackside support to coaching drivers and even building robots for BattleBots, the company became a reflection of Cindi’s relentless drive and versatility. “We don’t know how to say no,” she laughed. “We’re very small, but we do almost everything in the world of automotive.”


The Dodge Years and Beyond

Cindi’s relationship with Dodge began in 2005 and marked a turning point in her career. With factory support, she was able to elevate both her driving and her business. Her love for high-speed tracks like Road America, Watkins Glen, and VIR became her signature, where her technical feedback and feel for aero grip made her a formidable competitor.

But not every track was love at first lap. Mosport in Canada remains a personal nemesis, thanks to a rain-soaked debut in World Challenge. Still, Cindi’s philosophy is clear: “It’s kind of like slaying the dragon. I want to go back and show who’s boss.”

Even with decades of racing under her belt, Cindi Lux isn’t done. Her bucket list includes racing in Europe and tackling the legendary Bathurst 1000 in Australia. “I’d probably be toward the end of the pack,” she joked, “but it doesn’t matter. I just think it’d be awesome.”

Cindi’s story is a masterclass in perseverance, passion, and the power of saying yes – even when the odds say no. From sweeping shop floors to sweeping podiums, she’s proof that the road to success isn’t always straight – but it’s always worth the drive.


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Motoring Podcast Network

From Fenders to Fine Art: Christi Schimpke’s Jewelry Journey

What happens when fine art meets fender benders? For Christi Schimpke, it sparked a revolution in sustainable fashion. On this episode of the Break/Fix Podcast, we dive into the story behind Crash Jewelry – a brand that transforms luxury car scrap into wearable art.

Photo courtesy Christi Schimpke, Crash Jewelry

Christi’s journey began far from the autosphere. With a background in museum education and art history, she was a self-described “frustrated artist” tired of institutional bureaucracy. Her creative pivot came after marrying Dan, a body shop owner in West Los Angeles. As she explored metalsmithing, her studio slowly migrated into one of Dan’s garages – where inspiration struck.

Watching high-end vehicles like Aston Martins, Porsches, and Bentleys roll in for repairs, Christi began to wonder: what happens to all that discarded metal? The answer became Crash Jewelry.

Tune in everywhere you stream, download or listen!

Listen on Apple
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Listen on Spotify

Early experiments were anything but glamorous. Aluminum, surprisingly tough to bend, posed a challenge. Steel was easier to shape but sharper – leading to frequent cuts, splinters, and tetanus shots. Christi’s first successful piece came from a Mercedes SL in Disegno Matte Gray. Using a bench shear, belt sander, and rivets, she created a simple cuff that preserved the car’s original paint.

Photo courtesy Christi Schimpke, Crash Jewelry

Her process evolved through trial and error: heating, bending, sanding, and grinding – all while preserving the factory finish. Today, Crash Jewelry exclusively uses car metal, leaving behind traditional silver and gold.

Spotlight

Synopsis

On this episode of Break/Fix, the guest is Christi Schimpke, founder of Crash Jewelry. Christi discusses her journey from art history to metalworking and how she began creating sustainable unisex jewelry from the metal scraps of luxury cars like Aston Martins, Porsches, and Lamborghinis. Through experimentation, she developed a unique process for shaping and preserving the metal’s factory paint, transforming it into desirable pieces like cuffs, rings, earrings, and corporate gifts. Christi’s stories include notable projects with Cadillac, Bentley, and partnerships for charitable events. She shares insights into the challenges of working with different materials and the personal connections people form with her jewelry. The podcast also introduces new co-host Lauren Goodman from the REVS Institute and highlights upcoming events and promotions for Crash Jewelry.

  • Let’s talk about The who/what/where/when/how of Christi – how did you get into cars?
  • How did CRASH Jewelry get started?
  • Where does the source materials come from?
  • Outside of the cuffs … What types of items have you been able to create from the pieces you’ve acquired
  • How has the jewelry inspired people?
  • One of the coolest features about the jewelry isn’t just the piece, but what it comes with. Can you describe that for our audience?
  • How does one go about getting CRASH Jewelry? Can someone have a piece commissioned?

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 petrolheads that wonder, how did they get that job? Or become that person.

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

Crew Chief Eric: Tonight’s guest has a background in art history and began metalworking when she discovered her passion for jewelry fabrication a few years ago. Today she makes sustainable unisex jewelry from the metal of luxury automobiles. like Aston Martins, Porsches, Maseratis, Mercedes Benzes, Lamborghinis, Audis, Bentleys, and many, many more.

Lauren Goodman: Christi Schimke’s vision for Crash materialized when she was working in her garage studio. During breaks from work, she observed the gorgeous cars that arrived for repair and wondered, what happened to the cast off metal? After many months of [00:01:00] experimentation, she discovered her own unique process of cutting, bending, shaping, and sanding scrap metal.

And Crash Jewelry started to take shape, and she’s here with us tonight to tell the rest of her story.

Crew Chief Eric: And with that, let’s welcome Christi to Break Fix.

Lauren Goodman: Hello, thank

Christie Schimpke: you.

Crew Chief Eric: And joining us tonight is our newest co host to Break Fix, Lauren Goodman, supervising producer of media and exhibitions from the REVS Institute.

So welcome back, Lauren. Lovely to be here. Well, like all good break fix stories, there’s a superheroine origin story. So, Christi, tell us about how you got into the world of cars, how you stepped into the autosphere, and how crash jewelry all started to come about.

Christie Schimpke: I was working previously in the museum field in education.

My background’s in art history, so I was always sort of a frustrated artist. I was really tired of the bureaucracy of these big institutions. When I met my husband a while back, he has a body shop here in West Los Angeles. I had never been in a body shop. I didn’t really [00:02:00] know much about cars, especially luxury high end cars.

But as the marriage went on, I started taking metalsmithing classes and just absolutely fell in love with it. I was like, this is what I want to do. This is exactly what I want to do. And I was just making more traditional types of gold, silver, metal smithing. You said your background was art

Lauren Goodman: history and fine arts.

Did you grow up in a car culture? Are you surprised by this

Christie Schimpke: new connection that you have? My brother was always into muscle cars. I never had a super nice car. I’m absolutely surprised. It was a departure for me because I didn’t really know anything about it. And then when I did start doing it. It was more about the tactile nature of it is about the paint and how it’s going to behave.

But as I’ve been doing it, I’ve learned more and more and more about cars. And my husband is great because if I have a question, even though it’s on a small scale about jewelry, it can extrapolate. And we can talk about, well, this is how, when we’re doing this particular thing, when we’re rebuilding this, we use these rivets.

And [00:03:00] then I can maybe apply that technique or whatever to the jewelry. And a lot of times it’s been very, very useful, but yeah, now the car community, I love it. I’ve met so many great people. I feel like I know so much more about cars. My life has completely changed, but after a while I moved my studio into one of the garages, which is where I am now at work.

I was still making the silver and gold jewelry, but I wasn’t making anything from the cars yet. I would see these cars come in and was always admiring them. And especially the paint. Which reminded me of enamel, I just started thinking like, you know, I wonder, I wonder where this metal goes. I wonder if I can make jewelry from it took a while, you know, it was just one of those thoughts.

So I started doing that. And after a lot of trial and error, it took a little while to get there and it’s been about 10 years, but we finally got to the point where I’m just making crash jewelry. I’m not doing. The silver and gold any longer.

Crew Chief Eric: Tell us about those early trials and errors. What was your first successful piece, especially in terms [00:04:00] of harvesting the metal from these automobiles?

Christie Schimpke: We had no idea really what we were doing. So it’s interesting because when I first started doing this, I thought, Oh, you know, everything’s aluminum practically that we’re getting in. It’s going to be piece of cake to bend aluminum, but it’s the opposite. It’s very, very, very tough metal. And that was a real problem trying to manipulate and bend that metal into a curve.

So the steel was much more malleable, but sharper.

Lauren Goodman: I’ve only had to deal with cut sheet metal working on my own car once, and it ended up with me needing like six stitches. First of all, do you have any good stitch stories? But also, this must be part of your artistry, that you’re able to deal with these materials without losing a hand.

Christie Schimpke: Just very careful. I mean, I’ve had a tetanus shot because I’ve cut myself with metal. I cut myself all the time. I pull out little metal splinters from my hands. Yeah, my hands are a mess. You know, I wear gloves a lot of the time, but it needs to be tactile. I need to feel the surface when I’m shaping and when I’m sanding.

If you’re going to wear it, I want to know that, okay, I don’t want this to hurt Lauren’s wrist. You know, [00:05:00] I want it to be easy to go on, easy to come off. So it’s very important that we get everything. smooth as we can get it along the edges. It’s just a matter of taking your time and making sure you don’t have any burrs or anything like that.

It’s either aluminum or steel, and these are new cars. We don’t work on classic cars or anything like that. It was all about preserving the factory paint, keeping it intact. So Dan would start cutting it up and he would cut up a hood and they give me smaller pieces, which I would then take. And it was very, very crude.

I mean, I had to use a bench shear, which I still do. We were using a little belt sander to sand. We were using rivets that we use the little tiny riveter with our fingers and then trying to bend things. The paint would crack. The paint would come off, especially where we drill holes for rivets. The pressure points there.

We had to say, okay, well, first of all, we can’t drill and bend. We’re going to have to drill, bend, then rivet. So everything had to be made on a curved surface, most things, the cuffs.

Crew Chief Eric: So a [00:06:00] cuff is a wide bracelet, right? So

Christie Schimpke: we make anything from a half an inch up to three inches and yeah, we leave a half an inch for the opening, which was a challenge in and of itself since nothing was really automated.

I’m very, very much of a Luddite process. So in the very beginning, I guess the first piece I made was from a Mercedes SL, a beautiful car and the color was Disegno Matte Gray, beautiful sort of a khaki gray color. Just made a real simple cuff and after that we just kept going on.

Lauren Goodman: Your harvesting was essentially, to some people, junk off of these beautiful automobiles.

The kind of work your husband does in his shop. We’re not talking about like serious accidents. We’re talking about bodywork, right? In case anyone was worried, does this come from a serious accident?

Christie Schimpke: Yeah. So we work with dealerships, Beverly Hills and Santa Monica. So we get a lot of cars that come in that had been maybe some lot damage or valet damage.

We work with concierge services. So we get a lot of beautiful high end cars that are just coming in to say, [00:07:00] have a quarter panel replaced. So if a car is It’s total, it’s not ours. We can’t touch it. It belongs to the insurance company straight away. So I see the cars when they come in, kind of look at the damage, mostly fender benders.

And again, if it’s total, I can’t touch it.

Lauren Goodman: You see an opportunity there because otherwise it goes to a landfill. So you say we could do something beautiful with this,

Christie Schimpke: right? There are people that do recycle the metal that will come around and find scrap. But yeah, to some people it could be considered like, Oh, you know, well that’s not really worth anything, you know, because that’s just.

Scrap, but to car aficionados or to even anybody really I mean when you tell the back story and you talk about it And you talk about they came from a Ferrari 360 Challenge Stradale and Rosso Corsa It’s just like their eyes just you know light up

Lauren Goodman: It’s interesting to me because this is something that goes on at Rev’s Institute in the workshop is when they look at conserving cars Some of the conservators who come in are fine art conservators.

They come from a fine art museum [00:08:00] background. In fact, one of my favorite people, Dr. Gundula Toot, she came from just a purely, like, preserving painting background. I got interested because Picasso enjoyed using auto paints in his work, and she became interested in the properties of auto paint. When she comes in, she’s looking with the eye of somebody with an art history and fine art background, but so many of those same principles are really applicable in collecting really special cars.

Christie Schimpke: Really, it is an art, but just reminded me what Lauren was saying about gaso and automotive paint. This is another story about a gentleman in Sydney, Australia, Ron Goodman. He is a really well known Porsche restorer, and he drives a lot of 356s. And he sent me parts of his car that he had an aboriginal painter paint.

Because he was taking it into the Outback to raise money for Sydney Children’s Hospital. So he gave me a part of the car with the aboriginal painting on it, and we made items for them to auction off to raise money for the hospital.

Crew Chief Eric: Having worked on my own race cars, you know, a lot of [00:09:00] times you got to pull a fender, you got to pull a hood off.

The underside of that metal

Christie Schimpke: is not the nicest

Crew Chief Eric: metal. It’s not nearly as finished as the outside. People just think, Oh, the fender, you know, it’s the same inside as it is out. And it’s not. And so I wonder, let’s say you’re talking about the cuffs. How do you treat the piece to make it comfortable, not only just on the edges, but to the wrist?

And you don’t end up having like a reaction. Some people have different reactions to metal types and things like that. So what are you doing to treat the pieces?

Christie Schimpke: It’s interesting you say that because the doors are the worst doors, hoods, there’s all this infrastructure that you have to deal with to take out, separate it.

And that in and of itself is a pain. huge pain. And then a lot of the cars have this really thick, like sound proofing, hard rubber that we try to heat slowly with a heat gun. And we basically have to take a chisel and a hammer and just get it off as much as we can. Some of it comes off easily with a chisel.

Some, we just have to keep reheating it and trying again. A lot of times we [00:10:00] just grind it off if we can, but it’s always interesting. Seems to be the same cars that use the same materials over and over again that we always hate. We get the inside, the back that touches your skin as clean as possible. We do a lot of sanding, a lot of grinding.

And we also engrave the name of the car on the inside, give it a VIN, not an actual VIN, but it’s our VIN so that we have a reference. If you wanted to reorder, I’d say, Hey, you know, what’s your VIN? And then I would know what size you want.

Lauren Goodman: It looks like almost everything has to do with the body parts that are made out of aluminum or sheet metal.

Have you thought about incorporating or planning to do anything with carbon fiber or other kinds of. Hard materials that come out of the car, be they interior or exterior. I can’t

Christie Schimpke: work with carbon fiber. It just breaks if you try and bend it. Can’t really work with that.

Crew Chief Eric: What about ABS plastics, like bumpers and stuff?

Christie Schimpke: Nah, it’s just nasty. I, I have worked with Corvette Museum. They sent me a bunch of C8 panels.

Crew Chief Eric: Which are fiberglass.

Christie Schimpke: I, I said, I don’t think this is going to work because it can’t bend it. [00:11:00] So everything was going to have to be flat. So the way we got around that was grinding everything down. So it’s just a very thin layer of this stuff on the back and the paint on top.

And then I would set it in resin because you don’t want that next to your skin. Sure. That’s as good as I can get with Corvette. So, and I, I have tried bumpers before. It’s, it’s not much fun because it is plastic and it’s the same concept. I can’t bend it. It’s just, it’s gotta be flat.

Crew Chief Eric: To Lauren’s point.

Have you thought about maybe branching into using, let’s say. Convertible tops or the leather from the seats or door cards or something like that from a wrecked car.

Christie Schimpke: I did use some upholstery in the beginning to line the insides. It was just so intensive to get the leather inside and to get it perfect that if I was going to charge what it cost me to make it, nobody would buy it.

But yeah, as far as other things, other bits of the car, I haven’t, Oh yeah, I did use a window sash from my box. It’s aluminum and I’ve made some things with that and I’m [00:12:00] making some earrings now. So that’s been really great. There’s not a whole lot other than the car panels itself because it’s about preserving that paint.

However, we are branching into fashion. We’re making butterflies. that are made from a Porsche, two different Porsches, and we’re going to put pins on the back and then we’re going to bend the wings up. And then I am wearing these on a special suit that I’m having made for me to the motor car cavalcade.

So it’s going to be my butterfly suit. I love that. That’s amazing. Yeah. And I was thinking these would also be good on shoes. Like you could put them on shoes if you add a little clips too.

Crew Chief Eric: Or maybe for your hair as well.

Christie Schimpke: Absolutely. Like a comb.

Crew Chief Eric: Mm hmm. Talking about bending the metal. A lot of times the paints will crack.

There’s different paints out there. Do you have to apply a lot of heat in order to get the paint to stay together? And how are you protecting the edges? Is there some sort of again, urethane or something that’s keeping it from peeling back? Without giving away any secrets.

Christie Schimpke: Yeah, we are using [00:13:00] heat, but very slowly.

It’s a very slow process. We heat it for a little bit. Then we start to bend it. We heat it. We bend it. We heat it. We bend it. What we’re doing now is we’re using a laser engraver. I have a guy that works with me, Brian Bischoff, and he is an engineer and he’s figured out how to use a very powerful laser engraver to actually.

burn through the paint and expose the bare metal underneath. So what we’ll do a lot of times is we will burn the shape of the cuff. So it creates like a little divide. So then we, when we cut it out, we make sure we cut outside that little line so that the paint can stay within the boundaries of that laser line.

So that when we are bending it or sanding it, it doesn’t crack. It does sometimes. Red paint is the worst. Absolutely the worst. I think it has a lot of iron oxide in it. After we bend it, then we grind it again along the edges. It’s a grinding, sanding, heating, bending process over and over again.

Crew Chief Eric: Who’s got the best paint?

Christie Schimpke: It [00:14:00] depends. I could probably tell you guys the worst paint.

Crew Chief Eric: Okay, and we’ll go there too.

Christie Schimpke: I’ll get in trouble. Some of the Lamborghinis are great. Some of the Ferrari is good, not all. It also depends, I think, on the age of the car and where it’s coming from on the car. How many millimeters it is in thickness.

For example, I have a lot of metal from a 599 GTO in this pearl white. It is so incredibly thick. And then I have the Rosso Corsa, which is brittle and not very thick. So it doesn’t make much sense.

Crew Chief Eric: Well, yeah, to hear about a white Ferrari is pretty rare, because I always joke they either come in ketchup and mustard, and that’s the only two colors they have, you know?

Christie Schimpke: I know, I know.

Crew Chief Eric: So, I guess in fairness, I’ll ask this then. Who has the best color palette?

Christie Schimpke: I would say between Porsche and Lambo. Bentley also has nice colors. I wouldn’t say their paint’s very good, but just from what I’ve been working on.

Crew Chief Eric: You know, it’s really interesting you mentioned that, considering the parent family is BW of all those brands you mentioned.[00:15:00]

So since this isn’t your conventional jewelry, how does one service these pieces? Meaning keeping them clean. Do you wax them with Meguiars or Turtle or something like that?

Christie Schimpke: I do. I use detail spray and I even put them in the dishwasher like they’re going to the car wash. So you can do that. No, they’re easy to clean.

You can use Windex even, but I just use detail spray.

Crew Chief Eric: It’s a very valid point about Washington because all the modern metals on the cars, everything’s galvanized and treated. So it’s all really waterproof and it won’t rust, which is really, really nice.

Christie Schimpke: Right. And I think you mentioned that earlier about sensitivities people may have to metal, and that’s one of the things I’ve never really met anybody that’s.

had an issue with the aluminum. It’s usually always has a primer inside. You have a protection between you and the metal.

Lauren Goodman: And I will say I know that we carry some of your things at the gift shop at Rev’s Institute, which we love to feature them there. So I’ve seen you do cuffs. I’ve seen cufflinks, earrings.

Christie Schimpke: I think [00:16:00] necklaces, too. Mm hmm. Yeah. And then we’re also doing rings. We do some corporate gifting things where we’ll do keychains, dog tags. I made a series of desk clocks for the La Jolla Concord elegance and Hilton head. So that’s real nice because what I did was each judge got a clock made from the metal of the class that he or she was judging.

It had a personal meaning. So they were thrilled. When I come back, the judges still come up to me and say, this is the best gift I ever got. So that makes me feel good.

Lauren Goodman: Because people have a connection to their cars unlike anything else. I bet you found this making jewelry for car people.

Christie Schimpke: Oh my God. Yeah.

Yeah. I get people contact me all the time. People send me metal from their cars. A particular woman who had this beautiful BMW M5 competition. Oh my God. It was a European delivery. Somebody hit her and they totaled it and she was just devastated. So she sent me part of her car and we keep making jewelry for her.

Crew Chief Eric: You have all these different grades of cars. [00:17:00] And when you got to go buy a car on the. car lot. Obviously, Ferraris are worth more than Mercedes and so on down the line. Does the jewelry scale that way too, or does it matter where it came from?

Christie Schimpke: If it’s something that is really rare, then yes, but it’s mostly labor.

If we put gemstones or minerals or anything like that, any sort of embellishment that’s going to enhance it will increase the value, but it’s mostly labor.

Crew Chief Eric: When you give somebody this, As a gift or it maybe it came from their car, you know, long lost rack or something like that How has the jewelry inspired people

Christie Schimpke: for some people?

It’s aspirational. There’s a young woman who bought a Porsche cuff from me. I think it was last year right at christmas time And she was telling me how much she really wanted this particular Portia, everything she was looking at was way too expensive and she really was gonna keep working hard. And the next time I saw her, which is at Amelia Island, she came up to me and she was wearing the cuff and she said, I got my Portia.

It’s exactly what I’m wearing. And she goes, I just can’t help but [00:18:00] feel that somehow there was this connection.

Crew Chief Eric: Have there been any other folks that have reached back out to you about stories? about receiving the jewelry or other things that were tied to the piece itself?

Christie Schimpke: Yeah, for example, there’s a young woman, stunt driver and a drifter.

She lives in Malibu and she had a beautiful BMW. She called Sophie. She used it for all of her drifting and other things. And she was away during the Woolsey fire, which was a few years ago. She lost everything. She lost her home. She lost her cars. Everything burned to the ground. Sophie was just this burnt.

Husk unbeknownst to her, her friends went and cut a piece of it out and brought it to me from that. I was able to make a special cup with sort of the burnt patina because there wasn’t any paint. And then from three other cars, I was able to do the empower diagonal stripes and we engraved a really nice note on the inside and wrote Sophie and she just broke down, [00:19:00] you know, she couldn’t believe it.

So they have lots of stories like that, you know, and it’s a keepsake for them. And she wears it all the time when she’s driving, when she’s doing her stunts or drifting. And she feels like it keeps her safe, too.

Crew Chief Eric: What do you think’s the most important piece you’ve ever worked on, or the one that meant the most to you?

Or your favorite?

Christie Schimpke: Just recently, we partnered with Cadillac, and they reached out and said, it’s the 20th anniversary of the Black Wing, and we were wondering if you could make Something like an ornament or a keepsake that we could sell on our site. So I was like, well, sure, but I don’t work on Cadillacs traditionally.

So they sent us a vendor of a prototype color chartreuse metallic, and they were amazing to work with because the head of marketing there, she said, I just want you and your team. To come up with some ideas and let’s see what you come up with. It just gave us free reign to do what we wanted. And so we came up with this incredible ornament and it’s a spiral and it’s got all the Cadillac marketing assets [00:20:00] lasered on the inside and there’s only 50 of them, so they’re marked one of 50, two of 50 and so forth and sold out.

Like within two days, that was like one of the most. Interesting ones we’ve done, we’ve done a lot of other things. Like we partnered with Lynn St. James to do a cuff for her and her nonprofit, which helps young women in the racing industry worked with her. We created a speedometer from two different Mustangs.

The numbers represent her qualifying times. We did a limited run. We did only 90 because that’s her number. So again, you know, that was great because a big part of that went to her nonprofit.

Lauren Goodman: Which is Women in Motorsports North America. Yes. And I was privileged to be at the last conference and got to hear Lynn speak, which is really special.

And I’d looked at the bracelet, the cuffs too are also beautiful. And I thought, what a cool idea. And I’m really glad that connection there with Lynn, you’re able to express something that’s just really important to me personally. And I think to everyone in that room.

Crew Chief Eric: And we’ve been very fortunate to have Lynn on Break Fix, fortunate to be able to [00:21:00] work with them over the years as well.

So it’s pretty cool.

Christie Schimpke: I love that. And I’m so glad to see so many more people getting involved with it. I think it’s going on. It’s what, Third or fourth year coming up.

Crew Chief Eric: You know, I’m super excited about this. I think I know what I need to get my wife for Christmas this coming year. One of the things I noticed when I was shopping on the website is that one of the coolest features about the jewelry, and you alluded to this earlier, isn’t just the piece itself, but what it comes with.

Christie Schimpke: So for example, this is from an Aston Martin. Once you get it, you get it in a logo box. Inside is a crash registration card. Basically, we list the name of the car, the make, the model, its crash VIN, the color, any other information that we have, like if it has gemstones or whatever, we’ll list those. So you actually do have this really cool registration card that looks like a DMV.

card.

Crew Chief Eric: Again, I’m psyched. I’m interested in acquiring some of this jewelry and I’m sure some other people are too. So other than just going to the website, that’s pretty on the nose [00:22:00] in terms of order it and get it. As you’ve mentioned, you can have pieces commissioned. Can you also seek out source materials from specific cars?

Let’s say I don’t have a Lamborghini, but you can. Get it from the new Kuntosh.

Christie Schimpke: If I have it, I wish I had that, but yeah, I get a lot of people, especially this last year with Porsche’s 75th anniversary for very, very specific about what they want. If we have it, that’s great. If not, I’ll just put you on a list.

And if something comes in, I’ll let you know, but it’s usually great. If somebody can send me metal too. We get a lot of that. Sometimes race car drivers, for example, a Ferrari, uh, Challenge Evo and, uh, Giallo Modena. So it’s beautiful yellow color. They sent it to us from road Atlanta because they crashed into the wall.

That’s an example of somebody who’s like, Can you please make me something from this? You know, this is my car.

Crew Chief Eric: And that process isn’t going to be on the website, fill out a form or a shopping cart. That’s pick up the phone, talk to Christie and get that set. Yeah.

Christie Schimpke: Just get it set up. And depending on what it [00:23:00] is, it’s easy to ship it super easy.

And a lot of times we don’t even need that much. It depends on what you want. I’ve even had somebody send me a gas.

Crew Chief Eric: And how long does it usually take to get a piece made if you have the materials?

Christie Schimpke: Not that long. I mean, it depends on what it is and what time of the year it is. But usually I think I say four or five business days just to be safe.

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

Lauren Goodman: In that case. What is next for you and Crash Jewelry? Big events coming up. Any bucket list items you have on the docket for the next couple years?

Crew Chief Eric: Yeah, some spoilers.

Christie Schimpke: Yeah, well, I’m getting ready for Miami that I mentioned. Motor car cavalcade. I’m the featured artist this year, so that’s exciting. I get to do a lot of fun things that I’ve never done before, like Participate in the rally on Saturday morning. So I’m looking forward to that. And then we have the Amelia coming up.

I’m going to be in two different places [00:24:00] there. I’m going to be inside and also outside. So that’s going to be big this year for me. I’m going to be there like four or five days selling. And then back to California, there’s more concourse, La Jolla, San Marino. And of course, Pebble beach is the Zenith. For me anyway, that’s the hype.

I did it last year. It was amazing. Actually a bucket list would be going overseas to do Le Mans, but we’ll see.

Crew Chief Eric: And when you were at car week last year, where I ran into you, you were at Concorso and a couple other places, or where do you plan to be this year?

Christie Schimpke: This year, I’m just going to stick to one place last year.

It was crazy. I’m going to do retro automobile again.

Crew Chief Eric: Oh, nice.

Christie Schimpke: Yeah. That’s a great one. That’s Thursday through Sunday. Yeah. Last year I did three events. During car week, trying to maximize my time there, but it’s just too hard. It’s too difficult.

Crew Chief Eric: Well, it’s easier if you stay in one spot, we all come to you, right?

Then we know where you’re going

Christie Schimpke: to be. Absolutely. Well, you know how it is. Just getting around that area during the week is a nightmare. So we don’t really have any promotions. [00:25:00] However, we do offer to our customers first time and returning. A 15 percent discount. So if anybody is interested in that, just get in touch with me.

But as it does take us a little while to make things, we suggest getting your orders in early and you can just come to our website, crashjewelry. com. Super easy to remember. I’m very accessible either by text, email, pick up the phone, happy to talk to anybody. about their ideas or what they’re looking for.

Lauren Goodman: Christi Schimpke, the founder of Crash Jewelry, came up with the idea to create fashion jewelry from cars when she moved her studio into her husband’s Los Angeles body shop, Beverly Coachcraft, which specializes in collision repairs for late model European cars. To learn more about Christi and Crash, be sure to log on to CrashJewelry.

com or follow her on social media at Crash Jewelry on Instagram and Facebook, Twitter, or Pinterest. And you can connect with her.

Crew Chief Eric: With that, Christi, I can’t thank you enough for coming on break fix and sharing your very [00:26:00] unique story about your place in the auto sphere. I am intrigued by this. I’ve seen these pieces in person.

I think they’re gorgeous. They’re amazing. And they’re so different. And if you’re a petrol head. Or your significant other is a petrol head or maybe wants to be, this is a great way to be engaged and be able to carry it around, like you said, and remind people like, Hey, this was my BMW, this was my Porsche, this right on your wrist or right under your ears or whatever it is.

So I think this is super cool and keep doing what you’re doing. And I’m really looking forward to seeing what comes next. Cause you never know what car is going to come in the shop.

Christie Schimpke: Absolutely. Well, thank you so much. I thoroughly enjoyed myself and I feel honored that you asked me to be on your podcast.

Crew Chief Eric: We hope you enjoyed another awesome episode of Brake Fix Podcast brought to you by Grand Touring Motorsports. If you’d like to be a guest on the show or get involved, be sure to follow us on all social media platforms at GrandTouringMotorsports. And if you’d like to learn more about the content of this episode, be sure to check [00:27:00] 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, gummy bears, and monster.

So consider signing up for Patreon today at www. patreon. com forward slash GT motorsports, and remember without you, none of this would be possible.

Highlights

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

  • 00:00 Meet Christi Schimpke: From Art History to Metalworking
  • 00:47 The Birth of Crash Jewelry
  • 01:29 Christi’s Journey into the Autosphere
  • 03:54 Early Challenges and Successes
  • 05:12 The Art and Technique of Crash Jewelry
  • 07:47 Special Projects and Collaborations
  • 16:34 Customer Stories and Personal Connections
  • 23:19 Future Plans and Upcoming Events
  • 25:27 Conclusion and How to Connect

Bonus Content

There’s more to this story…

Check out the Behind the Scenes tour of the CRASH Jewelry facility given by founder Christi Schimpke. For more behind the scenes, Pit Stop minisodes and other goodies, check out our Patreon.

Learn More

To learn more about Christi and CRASH, be sure to logon to www.crashjewelry.com or follow her on social media @crashjewlry on Instagram & Facebook, Twitter, or Pinterest; and you can connect with her on LinkedIn. 

Christi’s work is more than just upcycled metal – it’s storytelling. Each piece carries the legacy of its vehicle, complete with a custom “crash VIN” and registration card. Whether it’s a cuff from a Ferrari 360 Challenge Stradale or earrings made from a Porsche hood, the emotional connection is real.

One standout story involved a stunt driver who lost her beloved BMW “Sophie” in the Woolsey fire. Friends salvaged a piece of the car, and Christi crafted a cuff with the burnt patina and M stripes. It became a talisman of resilience and remembrance.

Photo courtesy Christi Schimpke, Crash Jewelry

Crash Jewelry isn’t just about cuffs anymore. Christi has experimented with window sashes, resin-set fiberglass from Corvette panels, and even fashion accessories like butterfly pins made from Porsche metal. She’s also collaborated with Cadillac on a limited-edition ornament and with Lyn St. James to create a speedometer-inspired cuff supporting Women in Motorsports North America.


Where to Find Crash Jewelry

Christi’s creations are available at www.crashjewelry.com and select locations like the REVS Institute gift shop. Custom commissions are welcome – whether you’re salvaging a wrecked race car or dreaming of a cuff from a Lamborghini you don’t (yet) own.

She’ll be showcasing her work at upcoming events like the Motorcar Cavalcade in Miami, Amelia Island Concours, La Jolla, San Marino, and Pebble Beach. And yes, Le Mans is on her bucket list.

Crash Jewelry proves that beauty can rise from the wreckage – literally. Whether you’re a car enthusiast, a fashion lover, or someone chasing a dream, Christi’s story is a reminder that creativity knows no bounds.


Guest Co-Host: Lauren Goodman

In case you missed it... be sure to check out the Break/Fix episode with our co-host.
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Revving the Rostrum: Lydia Fenet’s High-Octane Leap into Car Auctions

When Lydia Fenet first stepped onto an auction stage, she wasn’t selling million-dollar Ferraris or rare Porsches. She was auctioning off puppies at 11 p.m. charity galas, often to rooms full of distracted, wine-soaked guests. But that’s exactly where she found her voice – and her power.

Photo courtesy Lydia Fenet, Broad Arrow Auctions

In a recent episode of the Break/Fix podcast, Lydia joined hosts Crew Chief Eric and Lauren Goodman to share her remarkable journey from a curious college student in Louisiana to becoming the principal auctioneer for Broad Arrow at Monterey Car Week and Amelia Island. Her story is one of grit, reinvention, and the kind of confidence that only comes from years of showing up, night after night, and learning what works.

Tune in everywhere you stream, download or listen!

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Lydia didn’t grow up dreaming of wielding a gavel. In fact, she stumbled upon the world of auctions through a Vanity Fair article about Princess Diana’s dresses being sold at Christie’s. Intrigued by the glamour and global reach of the auction house, she cold-called her way into an internship – literally. “I called every day for two weeks,” she recalls. “I just wore her down with persistence.”

Photo courtesy Lydia Fenet, Broad Arrow Auctions

That persistence paid off. Lydia landed the internship and never looked back. Four years in, Christie’s opened up auctioneer tryouts to the entire company. Lydia jumped at the chance, made it through four grueling days of cuts, and found herself on stage in Kansas City the following week.

Spotlight

Synopsis

This Break/Fix episode features Lydia Fenet, a renowned auctioneer and author, discussing her career journey and experiences. Lydia shares her unique path into auctioneering, beginning with an internship at Christie’s and culminating in her role at Broad Arrow. She highlights the challenges she faced, particularly as a woman in a traditionally male-dominated field, and how she found her authentic style through practice and self-awareness. Lydia also talks about her podcast ‘Claim Your Confidence,’ her books, and her role in women’s empowerment. Additionally, she touches on adapting to the car auction world and providing advice for young women aspiring to similar careers.

  • Let’s go back to the beginning. No one goes to school to become an auctioneer, or do they?
  • You didn’t start off in “car auctions” – take us on that journey. How did you end up at Broad Arrow?
  •  The “classic” or Hollywood auctioneer 50-50-50-do I have-55-do i hear 55… and so on; that’s not your style, how does it differ, and why?
  • You’ve also branched out into podcasting, though we won’t count this as an official crossover episode, tell us about Claim Your Confidence.
  • n your recent book, you cover practical ways to combat the dreaded imposter syndrome. You’ve got a great mnemonic for it, “SLAM”. What is ‘SLAM,’ and why is it so key to acting with confidence?
  • If a young woman walked up to you at the next Broad Arrow Radius event as asked “why do you do this? How can i be you?” what would you say? 

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 petrolheads 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: Using skills honed over two decades, performing in front of thousands. Our guests understands what it takes to engage, motivate, and inspire an audience. She speaks on topics ranging from women’s empowerment and leadership to motivating sales teams to perform at their highest level.

Her speaking style is inclusive, engaging, and witty, keeping audiences learning and laughing at the same time.

Lauren Goodman: Since leading her first auction in 2001, Lydia Fennett has taken the rostrum for over 1500 auctions, gracing stages and engaging [00:01:00] audiences all over the world. Car lovers will recognize her as Broad Arrow’s principal auctioneer at Monterey Car Week and Amelia Island.

And we are very flattered that Lydia has joined us to share her road to success. And with that, let’s welcome

Crew Chief Eric: Lydia to Break Fix.

Lydia Fenet: Thank you so much, Eric and Lauren. I’m so excited to be here.

Crew Chief Eric: And joining me tonight is our newest co host, Lauren Goodman, supervising producer of media and exhibitions from the REVS Institute.

So welcome to the show, Lauren. Thank you. Happy to be here. Well, like all good break pick stories, there’s always a super heroine origin story. So let’s talk about the who, what, when, and where of Lydia. Let’s go back to the beginning. And I’ll preface that by saying no one goes to school to become an auctioneer.

Lydia Fenet: Well, in my case, I did not go to a school to be an auctioneer. I read an article in college in Vanity Fair magazine about a place called Christie’s Auction House in New York City. I grew up in Louisiana. My parents were not art collectors. I was not aware that there was an art world where things were not hung on a [00:02:00] wall like they are in the museum.

You know, I didn’t realize that people transacted art in much the same way they transact many things. And so I read this article about Princess Diana’s dress is being sold at a charity auction in New York City at this place called Christie’s. And everybody who worked there was glamorous and traveled the world and had access to this incredible art.

And I became completely mesmerized by this world. And as a result of that, I really started to dig in and try to learn more. And again, this was before the internet. I know many of your listeners are probably quite youthful and perhaps that was not the way that you went to college, but the internet was just coming out when I was.

Graduating from college, frankly. And so I really use a lot of word of mouth marketing and question asking pretty much anyone I came in contact with to find out more and more about Christie’s. And eventually I was able to secure the information for the internship coordinator. And I called her. Almost every day for two weeks to try to get an internship, which at that time was completely full because in New York city, people start looking for internships a year out.

And I was about two months out before the [00:03:00] summer and I was just wore her down with persistence. I just kept calling day after day and I did not take the answer that the internship was full. I took the answer that the internship was full, but eventually I was able to seek for that summer and I really never left.

About four years into my time at Christie’s, auctioneering tryouts were open to the entire company for the first time. Up until that point, it had only been officers in the company. Pretty much everyone there ended up being sort of in their thirties and forties. They had families, they had lots of commitments.

And as a result of that, there were times where they couldn’t make it to auctions, especially charity auctions at night. And because this happened a lot in my fourth year at Christie’s. They opened it up to the entire company and I marched myself right downstairs for tryouts and spent four days doing exactly what everybody else was doing, sort of pretending to be an auctioneer, like the auctioneers that we had seen.

And at the end of four days, I was one of four people still standing. They passed all four of us. And I was on stage, I think the next week in Kansas City crying out what I learned in those classes. And that was kind of how it all started.

Lauren Goodman: Does every auction house have their own class, their own [00:04:00] style that they teach the people that there are part of their organization?

Lydia Fenet: Yes, there are two types of auctioneering and an auction house are two types of auctioneers. There are auctioneers and charity auctioneers. And when I was training, it was pretty much guaranteed if you were an art auctioneer that you were a charity auctioneer, but it was not the same if you were a charity auctioneer.

So the stakes to become a charity auctioneer, frankly, were a lot lower. And that was kind of how I got my entree into the world of auctioneering the time. I think there were maybe two female auctioneers and they were taking the sales that Seemed really underwhelming to me, the sort of book sales in front of maybe two or three people.

It was like a half to completely empty sale room versus the big blockbuster evening sales that you see on the cover of the New York times where people are selling a billion dollars. Those were never women. Whereas the charity auctions, those stages were kind of open for anybody who would get up there.

And I got on stage and I started doing everything auctioneering class, which was selling things that nobody wants at 11 o’clock at night. Like you would sell a Picasso and as you can imagine in a room of [00:05:00] crowded people who’ve been drinking all night when you’re acting really serious and trying to sell a puppy at 11 o’clock at night the way that somebody would try to sell a Picasso, you’re going to get a kind of muted reaction to say the least, but because that was the way I had been taught and frankly, Because I was a woman and I felt really uncomfortable doing a job that most of the people were like, wait, who’s the real auctioneer?

I have to sort of laugh like, I’m really the only person here who’s going to be able to do it. So if you want an auctioneer, I’m your only choice. You know, that was really my attitude for about eight years of my auctioneering. Nope. It’s yeah, I’m still the person. It’s going to be me. Sorry. There’s no one else coming to save you.

About eight or nine years in, you know, I was taking at that point, 50, 60, 70 auctions a year. I mean, I was on stage pretty much every night during auction gala season just because nobody else really wanted to take them. And I just didn’t feel like I was good and I wanted to be good. And for me, that always equates to practice just learning what is it that makes an audience pay attention.

What is it that keeps them coming back? How do you push an underbidder a little bit harder? That’s all learned from practice. That’s learned from standing on stage and having people talk over you and realizing that maybe this [00:06:00] joke will make them listen. Or maybe if I say this, or perhaps silence is the answer.

I was probably almost a decade into my charity auctioneering career. So if you can imagine somewhere between like five and 700 really mediocre charity auctions where people just talked over me. I had a night where, frankly, I felt terrible. I wasn’t feeling good, and I called all the other auctioneers, but it was a Saturday night, and they all sort of said, listen, you take the auctions nobody wants, and nobody wants to take an auction on Saturday night, so nobody’s taking your auction.

And I remember rolling into the Central Park Boathouse, and I was so sick. I was sitting next to the podium, like, literally dying from what felt like the worst flu ever. And I didn’t have that adrenaline boost that put me back up to the place where I pretended that I was an older British gentleman selling Picassos at 11 o’clock at night.

And I just became kind of a sassy late 20 year old woman, which is who I was at the core. And I started tearing into the audience just with total abandon the way that I would with my siblings, like making jokes about people making, you’re just having fun. And in a way it was the first time I’d ever seen an audience pay [00:07:00] attention.

And I’d ever seen them react in the way that I had always wanted them to react. And I realized that just because I’d already seen something done in a certain way didn’t necessarily mean that it had to be done that way. For me, that night was such an aha moment, and I never looked back. Honestly, if that had been it, you know, if I’d done that night and that had been it and nothing had ever come of it, that would have been fine.

I would have had that great night on stage. But what happened was that quite quickly, the chairman of Christie’s called me and said, I got a call from somebody who was asking for that woman they saw. And that must be you, because nobody else is taking auctions at 11 o’clock at night, except for you. Would you want to go take this one?

And then it got to the point that The senior guys who never really felt comfortable charity auctioneering, because they were really established art auctioneers and they loved the formality of the increments and they loved the roster where they stood. Whereas I loved the big stage where I could walk and grab a microphone and, you know, call people out.

All of those things I realized became this differentiator for me. And it was making a difference for the charities. You know, they were making twice as much as they had the year before [00:08:00] just by having something completely new and different on stage. And I really found my footing and I just accelerated into it.

So the auctioneering tryouts that I was telling you about, the sort of four days of survivor where you just get cut day after day until a few people are left. I taught that class for over a decade at Christie’s and I got to handpick the charity auctioneers out of them. It really is amazing to me. And still, even as I entered into car auctioneering, which for me just happened this past year.

Is that same feeling of doing something differently and showing people that it can be done differently and it’s not good or bad. It’s just different.

Lauren Goodman: It almost sounds like you had the education of a standup comic, which is you have to go out and bomb for years and years and begin to learn through practice.

How do I personally, how can I authentically manage an audience, which is for you, you learned how for 10 years, how. It wasn’t working. And when you tried something new, you said, Aha, something feels natural here. Something feels like almost not work, even though it definitely is work. Is there anything else that you found besides just the practice and the bombing?

Another [00:09:00] discipline, let’s say, that helped you hone that particular approach that felt

Lydia Fenet: authentic to you? One of the most important things is self awareness about your performance. When you get on the stage, I talk about in one of my books, Really having this feeling constantly of seeking the approval from the audience.

I can remember so many times getting off stage and somebody would grab my arm as I walked past their table, completely deflated after a really mediocre auction. And they would say, Oh, it was a tough crowd. And I would think to myself, Oh, my God. They know how badly I did. Like, and it was just this spiral.

I would leave in tears, just, Oh, I couldn’t control the audience. It was so bad. And now when somebody grabs my arm and says that I usually grab their own back and say, I’m a charity auctioneer. There’s no other crowd. Like there is no crowd. That’s easy. This is what I do. The skill that I’ve established over this time is this discipline of assessing how my performances grow.

You know, I can tell you when I get off stage on a scale of one to 10, where I did that night. I will give it my all every single time, but I can always look back on a performance and think, I could have said that at that moment. [00:10:00] I should have said that at that moment, or I’m going to use that in the next one.

That joke really worked kind of like an improv standup. I have a whole group of jokes that I can go into when things aren’t going well. And I have a whole group that I can lean into when they are going well. depending on how the crowd is doing, how to encourage them, how to maybe give them a nudge, how to give them a nudge with a hood and a wink, you know, what it takes to really get them to come back to me, especially when they’re tired and they don’t want to be there anymore.

Crew Chief Eric: We are here to talk about cars as well as auctioning. And so part of your journey goes from Christie’s. To broad arrow, why don’t you take us on the rest of this trip and explain how that came to be?

Lydia Fenet: I can’t tell you how surprised everyone was. And no one was more surprised than me. I’ll be honest. So in the beginning of 2022, I was transitioning from a full time role at Christie’s into an ambassador position, meaning I wasn’t going to be running a full time team, which I’d been doing for the company for over two decades.

At that point, I was just going to be a charity auctioneer for them. That for me was really about being able to create this platform and to [00:11:00] continue building it outside of the four walls of the company that I grew up in that I love so much. The beauty of that was that I was going from a full time role to a consultant role, which really cleared the deck for anything else that I wanted to do.

As you can imagine, having worked at a company for so long, it’s weird to lose that part of your identity because for so many years, I mean, really since college, everyone’s like, well, Lydia works for Christie’s ex. And it was always about Christie’s. What I really wanted to see was what happened as I started to drop that and to shed that identity.

And so I had the ambassadorship. I could continue taking auctions as a charity auctioneer from Christie’s, but that left a lot of room. I’m a big believer in business that we’re always looking for the white space. I never say no to anything. I don’t really think of anything as failure. If it works great.

If it doesn’t, it was a learning lesson. And so as I left Christie’s, there was a gentleman who knew Ian, who is the head of marketing for broad arrow and broader, it was really just launching at this point. I mean, they were. Gearing up for their first sale at Monterey during the pebble beach week. And I didn’t really know that much about it, but I got an email from this guy named Ian and just asking if I would have breakfast with [00:12:00] them.

They were thinking about trying something new from an auctioneering standpoint. They’d watched a lot of my videos on YouTube, which by the way, I didn’t even know I had videos on YouTube. So the whole thing was just kind of making me laugh. And I honestly was laughing as I left that morning. I was laughing at my husband.

I was like, yeah, can you even imagine like a car auctioneer? You know, what is that? We went out for breakfast that morning. This is why I will say to everyone who is listening, like you should always take a meeting because timing is a really weird thing. And Ian and I sat down and I think we spent almost two hours talking.

At first, I was like, this is not something I would ever consider. And by the end of breakfast, I was, I couldn’t stop thinking about it. As I left Christie’s, I’d also had conversations with Sotheby’s, and it was a little sticky because Sotheby’s, RM, and Broad Arrow had parted ways. And so that in itself was its own thing.

Did I eventually want to go to Sotheby’s if I left Christie’s full time? I mean, these were all just things going around in my head. There were so many different components. And I will say one thing that I have loved about the Broad Arrow team since the beginning is They are very forthright. [00:13:00] There’s no ambiguity.

They were like, we want you. You tell us what you need to make that happen. I kept thinking of things that I could throw in there that maybe would make them say no. And they just never said no. I think when you realize that somebody really wants you for what you do, there’s nothing as flattering. And they had nothing but faith in what I did.

And that to me, after so many years was just such an incredible moment of clarity. I was like, you know, I’ve created something that somebody really wants. And here we go. We’re on the same page. And I’ll tell you, I walked into that sale in Petal Beach or at Monterey in August of 2022, and it really could have gone either way.

I stood up on that stage and it didn’t feel like every single person in that audience really wanted me on that stage. I can tell you just looking into the audience, it felt a little bit like my first charity auction. I feel like the guys at Broad Arrow knew that they could not have been nicer. It was anything I could think of.

They were like, what do you need? They know I drink Diet Coke. Do you need a Diet Coke? Do you need more water? I mean, it was like anything. At one point, I think we were selling a princess carriage. I was like, if you guys could just get the princess carriage, I think we’d be all set. I just [00:14:00] need a new car to be your auctioneer.

That’s all I need. And at the end of that sale, I think we both felt like it was a fit. Over the past year, I took five sales with them from year over year, Monterey to Monterey. I think every single one, we just got closer and closer and closer to a lockstep this year at Monterey. I mean, I was on stage for two days, five and a half hours each day without a break.

And there was never a point where I felt like either one of us didn’t know what was happening. You know, we figured out every one of our hand signals, you know, it’s all, it’s its whole language, car auctioneering. It’s been such a blast. I cannot even tell you how much I love working with the team, and I’m so excited to be with them.

I just flew out this past weekend to take the Peterson Museum, and they all showed up to support it, and it’s just great. I love it. I love the car world. I love the people in the car world. I love learning about cars again.

Crew Chief Eric: Who knew? And I was kind of thinking to myself, you know, charity auctions, art auctions at Christie’s, you couldn’t be any more diametrically opposed to

Lydia Fenet: cars

Crew Chief Eric: in a way.

Has there been a huge learning curve? How are you preparing for these auctions? How are you studying? Do you have [00:15:00] somebody coaching you on what to say? And not just, it’s a red Ferrari from 1968. Like, how are you prepping for these versus what you’re used to in the past?

Lydia Fenet: It’s amazing. I mean, it really is, as I said, and you just said this too, it is its own language.

So there’s a ton of prep work that goes in. The catalogs are sent to me in advance. I pour through them. I’m basically reading all of the essays and everything about the provenance, but a lot of it similar to the art world just comes from osmosis. You know, walking around with a specialist during the specialist meetings.

We were laughing during one of the early interest meetings before the sale where we were flipping through the cars and I saw this one car and I was like, Oh, this must be like, you know. The car that’s not going to sell. And everyone was like, Oh, there are 11 people who are interested in buying this car.

And I said to Alan, the reader from broad arrow, I kind of whispered. I was like, really? I thought this was like the dump of the sale. I didn’t think anybody, he just started laughing so hard. And he had to tell everyone at broad arrow that I’d said that because they just thought it was so funny. Every single one, if I say something like that, they’re like, let me tell you why, you know, they’ll laugh, but then they’re like, but no, let me explain to you why this is [00:16:00] important.

Let me explain the provenance. Let me explain what makes this type of car, this curve, this angle. And it’s really incredible to understand more. And I find myself every time I’m with them, looking at a car. And thinking to myself, Oh, that’s the reason that that one is going to sell for more. Or I understand that because of this part of this history of this car, this particular year is going to be the one that’s going to sell.

It’s like wine or art. It’s all a similar pattern in many ways, but at the same time, it’s completely different.

Crew Chief Eric: So I’m going to take the opportunity to ask you a pit stop question with respect to the fact that now you’ve been through two Pebble Beach seasons. Is there a sexiest car? of all time, or most beautiful, however you want to phrase that.

Lydia Fenet: I took a sail down at the Porsche Center in Atlanta. I think as a result of that, I’ve kind of fallen in love with that car. I don’t know if I’m going to get completely alienated by the car community for saying this. I don’t know what a good car is versus a bad car. I can just tell you, I think that a 1960 Porsche is a very sexy car.

And if anyone is giving those to auctioneers, please know that I would be [00:17:00] a grateful recipient.

Crew Chief Eric: You mentioned earlier, as part of your origin story, this Idea this picture that was painted about what auctioneering would be like, and I think many of us might have that same sort of fallacy about the world that you live in and you work in.

And for most of us, it’s that, you know, classic, you know, Johnny Cash, 51, 52, 53, and we’re going through the numbers and it’s like a rodeo auction in a way. But I take away this illusion that it’s like the red violin. If you’ve ever seen that movie, very sophisticated, very high brow and those kinds of things.

Is it really like that? What is the auctioneering world like for those that have never attended one?

Lydia Fenet: I think it all depends on what type of auction you go to. You know, it even depends on the auctioneer who’s on stage. I worked with a broad arrow auctioneer up in Gloversville when we were selling the collection of Jim Taylor, who he is trained as a traditional car or cattle auctioneer.

I mean, he is ripping through the increments. Everything is a chant. It’s a completely different style than the style that I use. I think at Christie’s it [00:18:00] is very Red Violin esque. There’s so much that goes on behind the scenes. There’s so many things that you would never even imagine when you watch an auctioneer.

There are mathematical increments that are flying through your head. There are reserves that are set by the buyer that you can’t exceed. There are so many things to think about, and I think a really talented auctioneer would never show you that. So to that extent, I do think it’s a little bit like the Red Violin.

I think the car auctioneering is a little different, but at the end of the day, it’s all the same. You as the auctioneer are essentially the conductor of the orchestra and everybody’s looking to you to ensure that it’s going well. And one thing I’ve always said about training auctioneers, it doesn’t matter if the sky is falling, keep a smile on your face because nobody knows that things are going wrong unless you show them.

And I truly think that that’s really what auctioneering is about. It’s like, you’re figuring it all out. You’re the duck with their little feet paddling as fast as possible underneath, but on the top, it’s supposed to look elegant and seamless and beautiful.

Lauren Goodman: Speaking of which, when you’re talking about the preparation, especially for something like [00:19:00] Amelia Island and Pebble Beach, those are momentous occasions.

Those really are anchors in the calendar. It is a lot of pressure. Some of the press that came out about this past year’s Monterey Car Week was a little bearish about, oh, like maybe sales are kind of down. But I’m also wondering a little bit if when you’re looking at your audiences and maybe because cars is a newer thing for you, you don’t have the years under your belt to be able to compare.

But maybe also the audience you’re talking to is changing. It’s something we’re talking about with cars. And maybe what they’re into is also changing. So just like the status quo, like, oh, auctioneering means you talk like this. But wait, why does it have to be like this? Maybe also looking at the market.

Okay, the kind of people who come to the car auction are this. Well, maybe they’re actually moving a little this way or a little that way. Is that a

Lydia Fenet: trend that Broad Arrow is talking about? Like all companies right now, one of the most interesting things to consider is the online market. You know, I think that that’s in any auction business is crazy not to look at the online market and think, how can you push [00:20:00] boundaries?

How can you entice new bidders? Because the more bidders you have, whether online or in the room or coming in, frankly, on the phones. The more chance you have to get an underbidder and it was the auctioneer. That’s all I’m looking for. I’m looking for the person to push ultimately the person who wants it.

I’ll probably get it, but how far can I push them up? You know, I think that the markets are changing. I think to be savvy, you have to keep up with that. There does still seem to be an appetite in the car community. As far as I can tell when you’re in, in the community around it, people want to be there for the rallies.

They want to be there for the early morning donuts. You know, they want to be there for all those moments. In the calendar to see one another and to bond over something that they all love, which in this case is the car community. Again, I come from the art world. It’s a very similar thing in the art world.

You know, if I was in Hong Kong, London, or New York at a certain time of the year, I would always bump into people because they were there for the sales. I do think that that’s the beauty of these communities. And hopefully the answer is you’re bringing in younger, more energetic buyers, as well as courting the people who’ve been there for a long time.

And that knowledge is being passed down generation over generation.

Crew Chief Eric: Not [00:21:00] only have you been an auctioneer, you’ve run your own agency. Now you’re involved in the car world. You’re also into podcasting. And though we won’t count this as an official crossover episode, tell our audience a little about your show, claim your confidence in what it’s all about.

Lydia Fenet: During COVID, I, like many people, was a little stir crazy. I’m a complete extrovert in every sense of the imagination. And so it was really difficult being at home without anyone, except my kids and my husband in four walls and homeschooling and running a team and all the different things that we were all juggling at that point.

And a nonprofit that I had worked with for a long time reached out to me called the River Fund. And said, listen, we can’t do our auction this year and we need cash. There’s a food pantry line that is going around the block four times. It’s dire. Is there anything you can do? And I’m just sort of sitting there and I was like, listen, I could start interviewing people and ask people to donate to the river fund if they were interested in listening as just something to do.

And my first book [00:22:00] that I wrote was called the most powerful woman in the room is you. And in that book, I have case studies from different women who. Just basically gave knowledge about things that had happened in their life. People like Martha Stewart, Barbara Corcoran, Arianna Huffington. So I just emailed every single person I could think of and said, listen, if I was to set up this Instagram live 4 PM every afternoon during COVID, would you come on?

And I can just ask you questions about what you’re doing because we’re all kind of struggling and I’m sure tips could be used COVID.

And then Rockefeller center had seen that happening. One of the women who worked in Rockefeller center. And so when they opened a podcast studio, they called me and said, listen, we have this podcast studio. We would love for you to bring the most powerful woman in the room is dot, dot, dot to Rockefeller center.

And I actually sold my first book to Netflix. So I don’t own that name anymore, but I just written my second book called claim your confidence. My podcast idea was really simple. I live in New York. I bump into powerful women all the time. I thought, why not just interview them and ask them what it was like and what they are like as it [00:23:00] pertains to confidence.

If they’re confident now, if they grew up that way, what it took them to get there. And a lot of times you find that people may have had confidence. They might’ve lost it along the way, but we hear those stories on the podcast. So I’m coming to the end of season one, January 31st, and I’m opening up season two to men and women.

Henryk Blundquist, the New York Rangers goalie, is going to be my first guest on season two. So we’re going to start it in a new direction and talk about confidence with men and women, which I think will be really interesting and open the conversation to a new audience as well.

Lauren Goodman: Well, speaking of confidence in women, is that how you came to Slam.

Lydia Fenet: The slam. Slam your imposter syndrome. Yeah. You know, I, I’m a writer. I write to a white space. I write about everything that’s going on in my life. I mean, it’s almost like a diary that just keeps going. And because there have been so many seismic shifts in my life in the past five years, those all become fodder for chapters.

And imposter syndrome was something that I felt so much when I was younger. All the time. I can remember sitting in meetings and walking in and just being like. I’m never going to [00:24:00] open my mouth because everyone’s going to be like, who is that woman sitting in there? He doesn’t have anything to say, or she’s not saying the right thing.

And I say a lot in the book, like nobody thinks that it’s what we think about ourselves and how we fill our minds with who we are and the space that we take up. And so slam your imposter syndrome was really just about. Stopping those negative thoughts about ourself, listening to what people say, accepting, as I said earlier, that we give ourselves a gold star.

Nobody else gives you a gold star for living the life you want and making our point and not backing down when you know you’re right about something. And it seems intuitive, but sometimes just hearing somebody else say it is all you need, that and having a gavel and being able to slam it down. Those two things are always very helpful for me.

Lauren Goodman: I do need more gavels in my life. I think that’s going to help me a great deal at my own job. So I’m going to adopt that.

Lydia Fenet: Well, Lauren, I will tell you as a salesperson that today I launched a gavel charm necklace called the strike method to give you confidence when you don’t have it. So for those of you who are out there and you want a gavel to wear on days when you don’t feel so [00:25:00] great, or you just need a little confidence boost, I literally launched it today.

And I would say for all the. Dad’s daughters out there as well. I launched it on both of my daughters because I want them to feel confident and ready

Lauren Goodman: to

Lydia Fenet: go at anything for anything.

Lauren Goodman: Oh, that’s wonderful. I love that. I love that. I do want to touch on though. I really liked the, what really stuck out to me in slam was listening to what people are saying, not what you think.

They’re saying, and I felt personally attacked by that advice, but thank you for calling me, calling me to the front like that. But could you just expand on that a little bit for our listeners?

Lydia Fenet: So I had three children in a row as some of us do in life. I had them all within four years. I had been working at Christie’s for 13 years when I had my first child.

It was definitely on my mind. I didn’t even tell anyone I was pregnant with my first child until I was well into my fourth month, just because I didn’t want to be counted out. This was 10 years ago. So it wasn’t the conversation that is taking place today. And I really can’t tell you how many times [00:26:00] people would say things to me and I would take them in the worst way possible.

And I say in the book, really good guy friend of mine who I’d worked with forever. And I have a really, really, like, I love a sense of humor. I have two brothers and a sister, and really all we do is just make fun of each other all the time. So I’m always down for being made fun of. I’m always down for making fun of other people.

But my guy friend, as I walked in, said something about, I can’t even remember what the exact sentence was, but it was something like nice to see you back here or something like that said in the most innocent way possible. And the spiral of negativity that came out of that comment to me, all I could think of was.

Oh, he means that I’m not here all the time because I have three kids at home. He must be thinking that I’m not here anymore and that I’ve taken all these maternity leaves and what a slacker and just on and on. And so I say in the book, listen to what people say. And also if you’re going to have a narrative.

Make it a good one, right? Why do I go down that negative spiral? I say in the book, what I should have said to myself is like, he said to you, like, how are the kids at home? Like glad to see you back or something. [00:27:00] And what I should have said was Lydia, great to see you back here. God, three kids at home and you’re still put together and getting into work on time.

Like, here’s to you. What’s wrong with that story? Why give myself the opposite one? So if you’re going to make up a story, Make it a positive one. But first and foremost, listen to what people say and don’t assume based on where you are, what you’re thinking that what they’re saying is not nice or negative.

Crew Chief Eric: I think that’s actually the perfect segue into this next question, which we have reformulated for different guests on the show, especially women in the auto sphere to ask them. a perspective for a younger version of themselves, or my daughters, or your daughters, or anybody else’s that are out there. So if a young woman walked up to you at the next Broad Arrow Radius event and said, Lydia, why do you do this?

And how can I become you? What would you say?

Lydia Fenet: First and foremost, send me a video and I can either Help you learn how to be an auctioneer or I can represent you as part of my auctioneering agency. No, I’m kidding. You know, I would just say to them, listen, if this is something that you’re passionate about, [00:28:00] there are definitely auctioneering schools that you can go to.

Most importantly, start public speaking. That, for me, is always the key to good auctioneering. Take an improv class, get comfortable being on stage, and then start learning about cars. Start educating yourself about this industry that you want to be in. Same with the art auctioneering. If it’s something that you want to do, do the work.

Because at the end of the day, there is absolutely no substitute for doing the work. And once you do it, you’ll realize that the more you do, the more successful you’re going to be. So if you want to be an auctioneer, I would say start taking some public speaking classes. Take a couple of improv classes, start taking an auctioneering school.

If there’s one close to you, if not, just start watching videos. None of this is rocket science. It’s just practice and getting comfortable on your feet in front of people.

Crew Chief Eric: Well, with that, Lydia, any shout outs, promotions, or anything else you’d like to share that we haven’t covered thus far?

Lydia Fenet: Well, I say to everyone, I am busiest on Instagram, which I, Live on because I think it’s such a fun thing.

And also my mom watches it in that way. She always knows where I am, which is [00:29:00] helpful. I have two books, the most powerful woman in the room is you and claim your confidence, which are both available on Amazon. And as you mentioned earlier, I have a claim your confidence podcast. So be sure to tune into that, but otherwise you will see me back on stage with broad arrow and Amelia in March and next year in Monterey as well.

And I think we have some other sales 2024. So if you’re looking for me in the car world, that’s where I’ll be.

Lauren Goodman: Lydia Fennett is the founder and CEO of the Lydia Fennett Agency, a boutique agency representing best in class charity auctioneers. Over her two decade long career, Lydia served as the Global Managing Director of Strategic Partnerships for Christie’s and reshaped the fundraising landscape as the world’s leading charity auctioneer.

She has single handedly raised over 1 billion for more than 800 organizations and broken down countless barriers for women in the auction industry. To learn more about Lydia, be sure to pick up a copy of her book, Claim Your Confidence. Visit her website at LydiaFennett. com or tune into her podcast of the same name everywhere you [00:30:00] stream or listen.

You can also follow her on social media at LydiaFennett on Instagram and threads or connect with her on LinkedIn. And if that’s not enough, catch up with her at the next Broad Arrow Radius auction near you.

Crew Chief Eric: With that, Lydia, I can’t thank you enough for coming on BreakFix and sharing your road to success story with us and any women in the autosphere or petrolheads that are out there that are interested in this corner of the automotive world.

And one thing that I’ve noticed about this conversation and you exude it every time we’ve gotten together and talked, it’s that old adage. Do what you love and you’ll love what you do. And you epitomize that statement. And for those that haven’t seen Lydia in an action, I highly recommend it. So thank you again for what you’re doing and inspiring other automotive enthusiasts out there.

Lydia Fenet: Oh, thank you, Eric and Lauren for the opportunity and thank you to all the listeners for tuning in.

Crew Chief Eric: We hope you enjoyed another awesome episode of Brake Fix Podcast, brought to you by Grand Touring Motorsports. If you’d like to be a guest on the show or get [00:31:00] 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.

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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 Meet Lydia Fennett: Auctioneer Extraordinaire
  • 01:33 Lydia’s Journey to Becoming an Auctioneer
  • 03:57 The Art and Challenges of Auctioneering
  • 10:27 Transition to Car Auctioneering
  • 21:05 Lydia’s Podcast and Personal Insights
  • 28:46 Final Thoughts and Farewell

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.

Learn More

Auctioneer & Author! 

Photo courtesy Lydia Fenet

To learn more about Lydia, be sure to pick up a copy of her book Claim Your Confidence, visit her website at www.lydiafenet.com or tune into her podcast of the same name everywhere you stream or listen. You can also follow her on social media @lydiafenet on Instagram & Threads, or connect with her on LinkedIn. And if that’s not enough, catch up with her at the next Broad Arrow/RADIUS auction near you! 

But it wasn’t all smooth sailing. Early on, Lydia mimicked the traditional, buttoned-up style of her male colleagues – many of whom were British and decades her senior. “I was pretending to be an older British gentleman selling Picassos,” she laughs. “And I was selling puppies.”

It wasn’t until a fateful night at the Central Park Boathouse, while battling the flu and too sick to fake it, that Lydia dropped the act. “I just became kind of a sassy late-20s woman, which is who I was at the core,” she says. “And for the first time, the audience paid attention.”

That night changed everything. Her authentic, witty, and engaging style resonated with audiences – and with clients. Soon, she was in high demand, not just for her ability to move lots, but for the energy and humor she brought to the stage.


Shifting Gears: Enter the Car World

After two decades at Christie’s, Lydia transitioned into an ambassador role, opening the door to new opportunities. One of those came from Broad Arrow, a then-new player in the collector car auction scene. A breakfast meeting with Ian Kelleher, Broad Arrow’s head of marketing, turned into a two-hour conversation that would change her trajectory.

“I was laughing as I left,” she says. “Can you even imagine me as a car auctioneer?” But the Broad Arrow team saw something in Lydia’s style – something fresh, dynamic, and perfectly suited to the evolving world of car auctions.

Her debut at Monterey in 2022 was a leap of faith. “It felt a little like my first charity auction,” she admits. “But the team was incredible. They believed in me.” Since then, Lydia has become a fixture on the collector car circuit, bringing her signature flair to the rostrum and helping Broad Arrow double down on its mission to modernize the auction experience.

Transitioning from art to autos wasn’t without its challenges. “It’s its own language,” Lydia says. She dove into catalogs, studied provenance, and leaned on Broad Arrow’s specialists to understand what made each car special. “It’s like wine or art,” she explains. “There’s a pattern, but it’s completely different.”

Her curiosity and humility have made her a quick study – and a fan favorite. “I love the car world. I love the people. I love learning about cars. Who knew?”

Confidence, Community, and Claiming the Stage

Beyond the auction block, Lydia is also the host of the podcast Claim Your Confidence, where she interviews powerful women (and soon, men) about their journeys with self-assurance. The show was born during the pandemic as a way to connect, inspire, and raise money for the River Fund, a nonprofit food pantry in New York.

Her message is clear: confidence isn’t something you’re born with – it’s something you build. “I write to the white space,” she says. “I write about everything going on in my life. Imposter syndrome, seismic shifts, all of it becomes fodder for chapters.”

And when it comes to auctioneering, Lydia’s advice is simple: “You’re the conductor of the orchestra. Even if the sky is falling, keep a smile on your face. Nobody knows things are going wrong unless you show them.”

From the art world to the automotive elite, Lydia Fenet has proven that authenticity, resilience, and a little sass can take you anywhere – even to the driver’s seat of the collector car world.


Guest Co-Host: Lauren Goodman

In case you missed it... be sure to check out the Break/Fix episode with our co-host.
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