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Blind Logic – The Ralph R. Teetor Story Celebrates the 11th Annual “Wine, Wit & Wisdom”

Los Angeles, CA – April 10, 2026 – Blind Logic Productions proudly celebrates the 11 Annual “Wine, Wit & Wisdom” event, benefiting the Rochester Hills Public Library (RHPL), taking place on Saturday, April 25, 2026.

Blind Logic Productions is honored to participate in this prominent fundraising event hosted by The Friends of the Library. The evening will feature dinner, entertainment, and a lineup of distinguished guest speakers. Proceeds from the event will support RHPL programming, collections, and essential library services, further strengthening the library’s connection to the Rochester community.

The Friends of the Library is a dedicated organization committed to fostering a relationship between the library and its patrons while ensuring continued access to educational and cultural resources.

Filmmaker & guest speaker Jack Teetor shared, “We are honored to be a part of this prestigious event supporting a distinguished library with more than 100-year history of service to the Rochester community.”  Betsy Raczkowski, Head of Communications and Engagement at RPHL added, “We’re excited to share this story and grateful for the unique opportunity for our patrons to screen this documentary alongside the filmmaker.”

In addition to the fundraiser, The Friends of the Library will host a special screening of the award-winning documentary, “Blind Logic,” on Monday, April 27, at 6:30pm, followed by a Q & A session.

Blind Logic: The Ralph R. Teetor Story” chronicles the inspirational life of Ralph R. Teetor, a blind American visionary and automotive pioneer who overcome unthinkable odds to leave a lasting impact on the automotive industry. As Ralph Teetor famously stated in 1945, “I am not handicapped because I never considered myself so.”

The documentary features Emmy Award winners Jeff Daniels and Mike Rowe, along with Emmy nominated Barry Corbin. This film features renowned trailblazers Lyn St. James, legendary race car driver and 1992 Indy 500 “Rookie of the Year;” Franz von Holzhausen, Chief Designer at Tesla, Inc.; Sarah Cook, President of the Automotive Hall of Fame; and Leslie Mark Kendall, Chief Historian at the Petersen Automotive Museum.

The film’s award-winning creative team includes editor Derek Tow, composer Jim Andron, photo editor the late Daniel Teetor, and sound editors Darren King, Nikola Simikic, and Amanda Roy. Written, directed, and produced by Jack Teetor, this documentary is based on the book “One Man’s Vision – The Life of Automotive Pioneer Ralph R. Teetor,” by the late Marjorie Teetor Meyer.

The motion picture about Ralph Teetor is currently in development entitled “One Man’s Vision,” reuniting the creative team behind the acclaimed 2024 biopic Reagan to bring his extraordinary life to a new audience. https://onemansvision.com/

Registration link for screening: https://events.getlocalhop.com/blind-logic-the-ralph-r-teetor-story-documentary-screening/event/CiKRukrLnm/


MEDIA CONTACT: Deborah Gilels

LA Media Consultants

Email: gilelsdeborah@gmail.com

Cell: 818-648-9513

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

Leipert Motorsport’s 2026 Lamborghini Super Trofeo Line Up!

Leipert Motorsport is heading into the 2026 season of the Lamborghini Super Trofeo Europe with a strong and versatile line-up. The Wegberg, Germany-based team has secured two full-season entries with cars #44 and #88 and also plans to field additional cars at selected events.

Additional entries throughout the season have already been confirmed for cars #56, #70 and #99. This once again underlines Leipert Motorsport’s ambition to play a defining role in Lamborghini’s long-established one make series this year as well.

#44 PRO – Månz Thalin (SWE) & Axel Bengtsson (SWE); Photo courtesy Liepert Motorsport

For car #44 in the PRO class, the team is fielding an all-Swedish driver duo: Månz Thalin and Axel Bengtsson. Thalin returns to the Lamborghini Super Trofeo following a convincing rookie season and has already celebrated another success with Leipert Motorsport this winter: together with his team-mates, he won the GTX category at the Dubai 24-hour race. Bengtsson is moving up from the ADAC GT4 Germany to the Lamborghini Super Trofeo in 2026. He gained his first experience with Leipert Motorsport back in December 2025 at the 12 Hours of Malaysia.\

#88 PRO-AM – Henri Tuomaala (FIN) & Matias Salonen (FIN); Photo courtesy Liepert Motorsport

In the PRO-AM class, the #88 will be driven by the Finnish duo Henri Tuomaala and Matias Salonen. Tuomaala brings extensive experience from various GT series and has most recently competed in the Porsche Carrera Cup Benelux, the Italian GT Endurance Championship and the Porsche Sprint Challenge Southern Europe, amongst others. Salonen is one of the most promising young drivers in international GT racing. Having competed in the DTM Trophy and ADAC GT4 Germany, he has already gained valuable racing experience and is now set to embark on his first season in the Lamborghini Super Trofeo.

Leipert Motorsport will receive additional reinforcement (see photos above) for the races in Barcelona and Monza. There, car #70 will be fielded in the PRO category. With Brendon Leitch (NZL) and Nicolas Stati (AUS), two familiar faces are returning to the team; they will bolster the line-up at these events as well as at the Lamborghini World Finals and are likely to be among the title contenders in the battle for the world final. Fred Roberts (CAN) and Jeff Courtney (USA), who already competed for Leipert Motorsport last season, will also be back in action later this year in the #56 car in the LB Cup class. Both have extensive experience in international GT and endurance racing and will be in action at Leipert’s home race at the Nürburgring as well as at Monza.

Furthermore, additional race entries with guest drivers are planned. Leipert Motorsport will announce the final driver line-ups for the other cars at a later date. “We are delighted to start the 2026 Lamborghini Super Trofeo Europe season with a strong mix of new and familiar drivers. The pre-season tests were promising and have shown that we are well positioned competitively. Our clear goal is to build on the successes of recent years and to fight for titles again this season.” – Marc Poos and Marcel Leipert, Managing Directors of Leipert Motorsport.


About Liepert Motorsport

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

A Victory Lap for Days of Thunder

Dearly Beloved … we gather here tonight not in sorrow, but in awe.

While the world will remember Robert Duvall for movies like: The Godfather, Apocalypse Now, Tender Mercies, and a resume that reads like the Library of Congress had a baby with the Oscars… we know the truth!

His real masterpiece — his Sistine Chapel, his Hamlet, his Mount Rushmore – is carved from pure American horsepower … Yes!, I am referring to Days of Thunder: a film where Duvall didn’t just act – he laid hands on broken race cars like a Southern-fried automotive shaman. Where he delivered lines with the gravitas of a man who had seen the face of God — and God was drafting at 200 mph. Where he taught a young Tom Cruise the sacred art of “rubbing is racing,” and somehow made it sound like scripture.

So tonight, as we celebrate the life of Robert Duvall, we honor the role that defined a generation of gearheads, romantics, and people who think NASCAR pit strategy is a spiritual practice.

We salute the man who could whisper to an engine like it was a wounded soldier… who could diagnose a blown piston ring with the same emotional weight most actors reserve for death scenes… and who proved, once and for all, that the greatest special effect in cinema is saying, “Let’s build a race car.”

This is not a goodbye…

This is a victory lap!

A checkered flag waved for the man who gave us the greatest racing mentor in movie history.

Ladies and gentlemen… start your emotions. Because tonight!, we remember Robert Duvall the only way that makes sense: through the roar of engines, the smell of burning rubber, and the eternal glory of Days of Thunder.

Tune in everywhere you stream, download or listen!

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READ THE FULL REVIEW ON THE GTM CLUBHOUSE

Synopsis

Gran Touring Motorsports and Everything I Learned From Movies team up for a comedic crossover episode reviewing Days of Thunder while opening with an extended tribute to Robert Duvall’s role. The group discusses our nostalgic rewatches and the film’s cast and creators (Tony Scott, Simpson/Bruckheimer, Tom Cruise, Nicole Kidman, Michael Rooker, Randy Quaid, Cary Elwes). They recap major plot beats: Cole Trickle’s rough start, Harry’s mentoring and “rubbing is racing,” sponsorship, the crash and hospital storyline, romance with Dr. Claire Lewicki, rivalries with Rowdy Burns, Russ Wheeler’s rise, Cole’s fear and comeback, and the Daytona finale – while comparing the movie to NASCAR culture and later parodies like Talladega Nights. They share fun facts, Rotten Tomatoes scores, box office, and wrap with plugs for their podcasts and the Motoring Podcast Network.

Steve & Izzy from Everything I Learned from Movies Podcast return to join us in reviewing the 1990 Film “Days of Thunder” starring Tom Cruise and Robert Duvall (1931-2026). 

  • 00:00:00 Duvall Tribute
  • 00:02:38 Meet The Crossover Crew
  • 00:05:57 Cast And Filmmaker Roll Call
  • 00:16:16 Opening Montage NASCAR Nostalgia
  • 00:18:30 Rowdy Burns And Race Day Setup
  • 00:21:11 Building The Car And First Races
  • 00:25:50 Rubbing Is Racing Reality Check
  • 00:28:29 Wreck Montage And Ice Cream Scene
  • 00:32:55 Trust Talk At The Bar
  • 00:35:38 Trailer Pullover Chaos
  • 00:37:53 Smoke Cloud Full Throttle
  • 00:38:54 Nicole Kidman Arrives
  • 00:42:21 Wheelchair Hallway Race
  • 00:47:27 Rental Car Road Duel
  • 00:51:08 Russ Wheeler Steps In
  • 00:52:50 Sweet N Low Drafting
  • 00:56:14 Rowdy’s Hidden Injury
  • 01:00:53 Taxi Fight Reality Check
  • 01:02:38 Rowdy’s Daytona Request & Daytona 500 Chaos
  • 01:11:18 Movie Verdict Debate
  • 01:13:50 Commercial Break Promos
  • 01:16:02 Fun Facts vs True Stories
  • 01:25:25 Wild Production Trivia
  • 01:28:54 What We Learned? Segment
  • 01:33:49 Next Movie Picks
  • 01:36:36 Final Sign Off

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Motoring Podcast Network

B/F: The Drive Thru #66

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Break/Fix’s monthly Drive-Thru News episode mixes banter with automotive and motorsports headlines: Porsche’s EV plans for Boxster/Cayman remain unclear amid broader VW/Porsche EV backpedaling, while VW faces a U.S. class-action lawsuit over oil consumption in 2018+ EA888 2.0T engines. The hosts react to a new BMW 3 Series reveal, discuss “peak” driver’s cars (largely the ’80s/’90s), and note a court blocking efforts to force BMW and Mercedes to stop selling gas cars by 2030; BMW tuner AC Schnitzer closes citing German bureaucracy. Toyota teases a new Celica, Subaru debuts the Trailseeker EV, rumors swirl about a limited Hyundai N Vision 74, and Alpine may pursue U.S. crash certification for the A110. Other items include a $24k Bugatti bicycle, Austria dropping EV police cars, Florida-man stories, a 2026 Le Mans entry list update, Bob Tullius’ passing, and a Lemons Ford Focus build update that shifts the first race to NJMP Thunderbolt in June while seeking parts and support via Patreon.

Tune in everywhere you stream, download or listen!

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Listen on Spotify

News from Our Network Partners!

This is your fast lane to the latest in automotive culture, powered by a coalition of passionate publishers and insiders. From the vintage elegance of Garage Style Magazine to the high-octane listings of Exotic Car Marketplace, and the deep historical dives of The Motoring Historian, our coverage is enriched by voices that live and breathe the motoring world. Whether it’s the eclectic archives of Motorcopia, the endurance grit of Enduroverse, or contributions from other trusted partners, each segment delivers sharp, informed perspectives straight from the garages, paddocks, and showrooms that shape the scene.

SL in a Name

Few cars hold the mystique, the panache of the Mercedes-Benz SL. Beginning life in 1952 as the W194, it was a true racecar, a spacey-looking coupe with Gull Wing doors that took home a number of victories including the 24 Hours of Le Mans, the Carrera Panamericana, and Bern-Bremgarten to name a few.  ... [READ MORE]

What is "Peak Car?"

Jon Summers & Mark Gammie discuss "Peak Car" and what that means for enthusiasts.  ... [READ MORE]

Motoring Historian EP57: CES 2026 – Xiaomi Kebab

On this episode of The Motoring Historian, Jon Summers summarizes a Western Automotive Journalists recap of CES 2026 led by chair Charlie Vogelheim, arguing that major auto innovation has shifted from traditional auto shows to CES. He frames the industry around electrification, autonomy, connectivity, and shared mobility, noting huge spending since 2010 largely from outside traditional OEMs, and discusses how autonomy remains harder than early forecasts. ... [READ MORE]

Great Buy…Maybe? This Safety Red Bricklin SV-1 Is Testing the Market After Mecum Glendale

A few days ago, Bricklin had a moment. ... [READ MORE]

Artcurial’s €5 Million Fritz Neuser Sale Confirms the Power of Single-Collection Auctions

Artcurial Motorcars achieved the sort of result auction houses like to call magical: a white-glove sale, €5 million in total, and every single lot sold from the Fritz Neuser Collection. ... [READ MORE]

McLaren Racing’s Zak Brown, IMRRC’s 2026 Membership Chairman

 ... [READ MORE]

Unfocused Performance: Status Update!

Our 24 Hours of Lemons build is officially back in our hands, which means it’s time for the next chapter in the saga of Unfocused Performance. And if there’s one thing we’ve learned so far, it’s this: building a race car is easy… until you try doing it with a Ford. ... [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.


Show Notes & Supporting Stories

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

Domestics

Formula One

Ferrari "new spoiler"

Japanese & JDM

90's Toyota Celica Commercial w/ Eddie Murphy

Lost & Found

Lower Saxony

BMW reveals the new 3-series

Motorsports

Rich People Thangs!

VAG & Porsche

Track Side Report

Our 24 Hours of Lemons build is officially back in our hands, which means it’s time for the next chapter in the saga of Unfocused Performance. And if there’s one thing we’ve learned so far, it’s this: building a race car is easy… until you try doing it with a Ford. The biggest challenge hasn’t been the cost of safety gear (which is already absurd), but simply finding parts. After years of being spoiled by ECS Tuning, FCP Euro, and the endless aftermarket support behind German cars, diving into the Ford ecosystem has been a rude awakening. Unless you’re ordering from Advance Auto, RockAuto, Jegs, or Speedway Motors, you’re basically out of luck. For a car as common as the Focus, the lack of performance‑grade parts is baffling. Thankfully, one of our teammates unearthed FSWerks, which feels like the closest thing to a Euro‑style tuning shop for Ford owners. We’re still hunting for more sources, so if you know where the good Focus parts are hiding, send us a message or drop into the Discord.

CHECK OUT THE BUILD UPDATE ON THE GTM CLUBHOUSE SITE.

Because of delays in fabrication and the ongoing parts chase, we’re officially missing our first planned event at Mid‑Ohio. The car simply isn’t ready — there’s still a clutch to install and a long list of reliability items to knock out before we trust this thing to survive more than 20 minutes on track. For everyone asking how they can help, the answer is simple: come hang out, turn a wrench, or toss a few bucks toward fuel, tires, or whatever breaks next. Our Specials Tier on Patreon is the easiest way to support the team and help get this car across its first checkered flag. With Mid‑Ohio off the table, our new debut will be NJMP Thunderbolt in June, followed by Summit Point, and — if the budget gods smile upon us — a December run at Road Atlanta. Maybe even Nelson Ledges if the stars align. One way or another, Unfocused Performance will hit the grid this season, and we’ll bring you every chaotic update along the way.

Would you like fries with that?


Behind the Scenes

There's more to this story!

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

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

TRANSCRIPT

Executive Producer Tania: [00:00:00] Welcome to Break Fixes, drive-through News, your monthly recap for everything fast, fascinating, and usually four wheeled. We’re serving up a fresh batch of automotive headlines, motorsports madness, and car adjacent curiosities, all with zero wait time and maximum flavor from Formula One. Drama to concept car debuts with garage built legends.

To the Quirkiest stories rolling out of the state of Florida. We’ve got your fix. So grab your coffee, buckle up, and let’s cruise through the latest in the world of wheels with a side of entertainment and just a dash of tire smoke.

Crew Chief Eric: Well, hello.

Crew Chief Brad: Hello.

Crew Chief Eric: Spring is here.

Crew Chief Brad: Spring has sprung.

Crew Chief Eric: We have a new season Has Riz.

Crew Chief Brad: I wonder where all the cars is. Is

Crew Chief Eric: that’s terrible.

Crew Chief Brad: I feel like that’s a greeting card. We need g team greeting cards now.

Crew Chief Eric: Ah, we would be terrible at Hallmark. Like you get fired like the first day.

Crew Chief Brad: Well, I mean, we’re terrible at everything else.

Why not just keep it going?

Crew Chief Eric: That’s true. [00:01:00] So he, so Brad, how are, how are things going for you now in the new season

Crew Chief Brad: since the jet started? Great. Things are amazing. I’m well prepared. I’m just, I’m ready to go. I actually watched some races. I’m eager to, to get started.

Crew Chief Eric: I detect a hint of sarcasm there though.

No.

Crew Chief Brad: What are you talking about? Not at all. No. I am terrible at sarcasm.

Crew Chief Eric: Let’s hear from Kathleen Turner,

Crew Chief Brad: Katie Curry. Wow,

Executive Producer Tania: thank you. I know I’m several octaves lower than normal. I got that sultry sound.

Crew Chief Brad: Sultry

Executive Producer Tania: coming at you.

Crew Chief Brad: When is the 900 number come out?

Executive Producer Tania: This is like Delilah in the evenings. Delilah,

Crew Chief Eric: oh my God.

Crew Chief Brad: I think Tanya needs to just do the rest of the drive through, just like that.

Crew Chief Eric: But you seem like you’re a little down in the dumps. What’s going on?

Crew Chief Brad: You know, this is the dilemma of the car person. You know, you’ve got these really cool cars that you like [00:02:00] to put money into and fix up. You know, you buy all these mods and stuff. But then your uncool car, your daily driver, it gets sad that it’s not getting any attention.

So it manufactures a reason for you to spend money on it.

Crew Chief Eric: Oh, do tell.

Crew Chief Brad: It’s nothing crazy. I just need to do brakes and brakes and brakes, and brakes along the tundra. So new pads and rotors are en route

Crew Chief Eric: to get something special. Cross drilled, ventilated. Slotted, anti glaze, super blacks,

Crew Chief Brad: because it’s Toyota Tundra, I obviously went with Ferrari, carbon ceramic.

The entire brakes cost more than I paid for the truck, like five times over. No, I, last time I did this, which granted it was about 60,000 miles ago. 50,000 miles ago, so they, they’ve lasted really, really long. Tire rack had a hawk, you know the LTS or whatever the, the, the truck kit is with

Crew Chief Eric: Yeah.

Crew Chief Brad: Cross drilled [00:03:00] rotors and everything.

So I just did the same kit again.

Crew Chief Eric: Are you seeing the after effects of tariffs and other bureaucratic nonsense?

Crew Chief Brad: I don’t remember how much it cost last time, so maybe I just know how much it cost me now. And my wallet is almost $800 lighter. Oh,

Crew Chief Eric: oh

Crew Chief Brad: oh. But that’s pads and rotors. All four corners.

Crew Chief Eric: And you’ll be able to do the work yourself.

So you’re gonna save some money. Theres

Crew Chief Brad: yeah. Yeah. In my apartment parking lot. That’s gonna be great. Or I’ll save it ’cause I’ll, the parts will be here. I’ll do it that weekend that come up and it’ll just be one of the things we do. And yet pumpkin spice gets pushed to the back yet again.

Crew Chief Eric: You know,

Crew Chief Brad: I gotta be able to stop though.

It’s kind of important.

Crew Chief Eric: All it does is slow you down. I mean, it seems like a waste of time.

Crew Chief Brad: All breaks. All they do is slow you down. Yeah.

Crew Chief Eric: That’s the olem right there. Remember?

Crew Chief Brad: Yeah.

Crew Chief Eric: What good or breaks, all they do is slow you down.

Crew Chief Brad: Exactly.

Crew Chief Eric: Well, you know what’s not slowing down the news? The automotive industry, the auto [00:04:00] sphere, it just keeps turning and churning and burning.

We don’t really have a formal showcase for our season kickoff, so why don’t we dive right into your favorite segment, not Lost and found, Porsche News.

Crew Chief Brad: Porsche News. Great.

Crew Chief Eric: You’re a PAR man at heart. You love those Porsches?

Crew Chief Brad: I, I do, I do. I do.

Crew Chief Eric: The hokey pokey with the boxer and the Cayman continue. So this social media post Porsche is secretly meeting to decide if the boxer and the Cayman EVs live or die.

Ah, hype, click bait. Ah, flashy light, AI generated pictures, the whole nine yards.

Crew Chief Brad: So this says the drive can exclusively report a meeting is currently underway. So which meeting is more important? The Federal Reserve’s FOMC meeting about rate cuts or this meeting about the Porsche Boxter Cayman.

Crew Chief Eric: This is more interesting than the treasury meeting by a mile.

Crew Chief Brad: I could see that. [00:05:00] Yes.

Crew Chief Eric: I think this is all bs. There’s an article that I found in doing some research ’cause I wanted to follow up on the social media post that had come out a bit ago. ’cause this isn’t new news that Porsche’s been meeting about the fate of the boxer and the Cayman. Truth be told, the take can is being scrapped.

They’re kind of backpedaling on a lot of their EVs. The new Macon that was supposed to be ev, they said, Nope, we’re gonna put a six cylinder back in it. We’re just gonna sell it the way people want it. By the way, the new Macon, I thought looked like the ID four. It’s pretty ugly.

Crew Chief Brad: That is a novel concept, selling vehicles the way people actually want to buy them.

I wish more car manufacturers would do that.

Crew Chief Eric: You know, there’s so many other options with your Porsche. Do you want it purple with yellow stitching or with white stitching? All this customization stuff, right? Maybe you could make it optional to say, I want the electric power plant, or I want the fossil fuel power plant.

And that’s something you choose. And the car’s basically the same because at the end, does it really, does it really have to look different? It should perform the same. It [00:06:00] should handle the same. They need to figure out a way to put the electrics in the place of where the gas motor is. Now granted, that’s not always the easiest thing to do because of packaging, ’cause of batteries, ’cause of this.

’cause of that. I just go back to the original Tesla Roadster where they figured it out without modifying that El lease too much. But you know, we’ll leave that where it is.

FLORIDA MAN: Yeah.

Crew Chief Eric: But I did find an article to sort of follow this up. I was like, what did Porsche decide about the fate of the Cayman and the boxer?

And the only thing I came up with was an article from MotorTrend where a gentleman from Porsche of Australia said he drove. The electric boxer and that the electric boxer was not dead yet. So I’m sort of like, well, uh, okay, but there’s no other indication. And even the MotorTrend articles like, well, if once we learn more, we will post more about this particular topic.

But there’s really no news. But it has been confirmed that the other Porsche models, because of their poor sales in China, VW suffering, Porsche’s having money [00:07:00] problems. So they’re backpedaling on a lot of these EVs because they’re trying to make take hands as an example that nobody wants to buy.

Crew Chief Brad: It seems like people don’t even go to Porsche dealerships to buy Porsches anymore.

FLORIDA MAN: Oh,

Crew Chief Brad: if you look at the article that I just put in the chat, I don’t know if this is rich people things or it’s P car adjacent, but somebody just bought a brand new Mustang GTD, which is a $300,000 car, which makes it qualify for rich people things. Why don’t you just take a guess at where they had it delivered?

Crew Chief Eric: Well, because we’re talking about Porsche’s. Did he have it delivered to a Volkswagen dealership?

Crew Chief Brad: He had it delivered to a Porsche dealership so he could take delivery of his $300,000 Porsche Killer Mustang, right in front of Porsche.

Crew Chief Eric: Why?

Crew Chief Brad: Well, because nobody wants to buy a Porsche.

Crew Chief Eric: It’s just to show off.

Hey, check out my

Crew Chief Brad: Mustang. Yeah, it’s just to show. Just because he could.

Crew Chief Eric: That’s weird. That’s very weird. Well, so, so speaking of weird, [00:08:00] Lamborghini is putting out yet another car without an R eight as a sibling to it. So Lambos continuing to do what Lambo does, but in the same breath, the CTO from Lambo is going to Audi.

How does this work? Does this mean we’re gonna get an R eight? Because if this guy’s been behind Lambo, just pumping out more cars every couple of years, does that mean Audi? He’s gonna have a supercar again,

Crew Chief Brad: but he’s just the CTO. He’s not the COO or the chief engineer or anything like that. I don’t know where I was going with that, but I, I feel like it, it’s like the c No, it is like the CFO going somewhere, you know, the, the head bean counter.

Crew Chief Eric: Well, aren’t the bean counters the ones in charge of all the designs now anyway,

Crew Chief Brad: for places like Chevy and you can clearly tell

Crew Chief Eric: to me it’s all that C level juju that, that voodoo, that I don’t understand, like what those guys do other than get really big bonuses at the end of the year.

Crew Chief Brad: They make a [00:09:00] ton of money for themselves and their shareholders.

That’s what, that’s what they do.

Crew Chief Eric: If that’s the case with the CTO coming over from Lambo, shouldn’t he use a little leverage and say, Hey guys, work for us at Lambo. Maybe you should build a supercar again

Crew Chief Brad: maybe. But did you also hear, and it’s not in the notes here, but the Audi is discontinuing the A eight.

Crew Chief Eric: That doesn’t surprise me. It hasn’t sold well in years.

Crew Chief Brad: It hasn’t looked good in years.

Crew Chief Eric: No, it looks terrible. Oh yeah. It’s like an old Mercedes almost. It’s super blocky and just, ugh.

Crew Chief Brad: Yeah.

Crew Chief Eric: Super terrible.

Crew Chief Brad: So yeah, if there’s no R eight sibling and then they’re getting rid of the A eight, what are, well, you know, they have to fund, as we’ve talked about multiple times, they have to fund that F1 team

Crew Chief Eric: somehow,

Crew Chief Brad: you know, that they’re doing so well with, they’re actually not doing too bad, but yeah, they have to fund that program.

Crew Chief Eric: Well, there’s a little wrinkle in that plan because first we had Dieselgate. Now we have Turbo Gate.

Crew Chief Brad: Oh, turbo Gate.

Crew Chief Eric: Oh [00:10:00] man. Have you read about this?

Crew Chief Brad: Uh, no.

Crew Chief Eric: So there were problems with the two liter turbos already a while ago. Chain guide issues and other stuff that they had. I mean, this goes back to like the Mark five GTIs, like that far back where there were always sort of issues with the two liter turbo and you know, and much like the 180 T, they sort of figured them out over time.

Recalls do this, do that. Well, unfortunately, with the newer motors, the EA 8, 8 8, I gotta say that right, they are being hit with a class action lawsuit over oil consumption because the motors are basically blowing up and they have defective piston rings and high oil consumption and they use this motor in everything

Crew Chief Brad: in a point of clarification.

Even though the motor did come in cars all the way back to 2008, the lawsuit specifies 2018 and newer,

Crew Chief Eric: correct? Correct. There’s a statute of

Crew Chief Brad: limitation, so that gives them a little bit of relief.

Crew Chief Eric: Yeah. But then you [00:11:00] gotta go back and look at the production numbers of vehicles that use that motor. From 2018 forward, that’s still an absolute ton of cars.

So anything with a four cylinder from VAG has the same power plant in it, and this is their new diesel gate. This is gonna cost them billions with a B.

Crew Chief Brad: Are they gonna buy back all these cars? Are people gonna do, is it gonna be like Dieselgate all over again where people like removed doors and windshields and basically, as long as the vehicle could still drive into the lot, they were able to trade it back in.

Crew Chief Eric: I don’t know that it’s gonna get to that point, but what it does bring up is an interesting dilemma that they have on their hands. Do you go the Toyota route like they did with their twin turbo sixes and all that stuff where it’s like, well, you’re gonna have to wait in line to get your new motor and then we’ll swap out the motor for the defective one.

That kind of thing. But if they have to do that for all of these cars, going back to a certain point, they’re not gonna be able to produce enough motors for one and for two it’s gonna cost them a mint.

Crew Chief Brad: Are you kidding? Of course, they’re gonna be able to, to [00:12:00] produce no motors. They didn’t sell that many of this shit.

Crew Chief Eric: But there’s four cylinders in everything, right? It’s in the VWs.

Crew Chief Brad: There are, there are,

Crew Chief Eric: you know, it’s in all of ’em. The thing is, if you were to do a fix, it requires an engine rebuild. So now you gotta tear the whole thing down. So where is the point of no return? Where Audi and Volkswagen, and even if they used the four cylinders and the Porsches, which at one point I, they were rumored that they were gonna try to use the same two liter turbo for some project over there too.

But let’s just say the VAG family as a whole globally, don’t forget, right? Because they’re selling these motors in Brazil. They’re selling ’em in Australia, they’re selling ’em in Germany. They’re sell ’em everywhere. Now granted, the class action lawsuit is in America, but that doesn’t mean it won’t be like Dieselgate, where it’s more widespread.

Again, where is the point of no return? Where do you cut your losses and say, yeah, we’ll just buy back the car, or we’ll give you a trade in value that’s decent towards a new one, or you just don’t, and people run ’em till they explode and they’re worth nothing. So I wish them luck, [00:13:00] but I think that’s gonna cut into their financial plans for Formula One.

That’s all I’m gonna say.

Crew Chief Brad: Yeah, that’s okay. They won’t be missed. No, that’s Cadillac. Sorry.

Crew Chief Eric: Well we’ll get, we’ll get to that. A recent social media post that I threw up on Discord from the Automatic, pretty much sums up everything I have to say about VW these days. And I thought it was spot on. The caption says VW claims drivers wanted, but stop making drivers cars.

Executive Producer Tania: It’s pretty disappointing. I think they have a lot of problems drivers wanted. They really do want drivers, but they’re not making anything drivers want. That’s the problem. I don’t know what to say. I mean they’re really expensive. And to option out A GTI at 50 or $60,000 to have it eat oil off the lot at zero miles is insanity.

Crew Chief Eric: Yeah, it’s ridiculous.

Executive Producer Tania: I don’t know who’s in charge charge.

Crew Chief Eric: And that was one thing you [00:14:00] could count on in the old days, was that German build quality and that has just plummeted. It’s just not there anymore. Yeah. And breaking news

mentioned before about the new Macan, the new ID four will be rebadged as the Tiguan. Oh, I’m sorry Brad, did I put you to sleep?

Crew Chief Brad: Oh, not you, Volkswagen did.

Crew Chief Eric: Oh yeah. So boring.

Crew Chief Brad: You know I am a huge Volkswagen fan as you know. I love Volkswagen cars. I recommend anything. Mark four and older and my friend just ball one and she, not a Volkswagen, she was looking for a new car.

She needed to replace her, like 13-year-old Jeep. And I was like, oh, why not a Volkswagen? She said, Nope, nope, not gonna happen. She went to the dealership and what did she end up with? A Mazda CX 50. The new Volkswagen, the new driver’s cars.

Crew Chief Eric: A hundred percent.

Crew Chief Brad: Yep. But [00:15:00] I think that’s an issue across all the German cars, Mercedes and BMW, you know, the, the brands we love to talk about.

And Audi even too, like all their quality has been going down for years.

Crew Chief Eric: Well, I’m glad you opened the door to talk about BMW and Mercedes. ’cause I know we try to avoid it. We sometimes we just can’t, Brad that we have news coming from Lower Saxony this month. I know we talked about this design and we were like, oh man, rendering, this is some AI nonsense.

Well, guess what? It ain’t AI rendering anymore. The new three series has been revealed.

Executive Producer Tania: I’m sorry, I don’t know what that is.

Crew Chief Eric: I think it’s a Geely. Brad is speechless.

Executive Producer Tania: I don’t know what that is.

Crew Chief Brad: Uh, that’s the new BMWI three.

Crew Chief Eric: That is the three series. That’s what they’re gonna look like.

Crew Chief Brad: But it So it’s the three, it’s the I three though.

So does this replace the regular three series? I guess It does say, yeah. Uh, it says right there, right in front of me reading, [00:16:00] you know, comprehension, everybody reviews all new three series. Yeah. So yeah. What, what it looks like a Corolla.

Crew Chief Eric: It also kind of looks like a five series. It looks really big.

Crew Chief Brad: Which the five series are super ugly too.

Yeah.

Crew Chief Eric: Yeah. To their credit, they got rid of the big carp grills.

Crew Chief Brad: They were growing on me. I actually really like those on the M three. I saw an M three today on my way home, and I saw, I, I actually kinda like that.

Executive Producer Tania: You think you couldn’t make it uglier? And then they managed to figure out how,

Crew Chief Eric: see this is the Subaru thing.

I keep talking about it. Every time the new Subaru comes out, you’re like, man, is it ugly? Ah, until the next one comes out. And then you look at the old one, you go, you know, it’s not that bad. And you can do that with every Subaru, especially the Impreza that’s come out since the 2.5 Rs body style, like the Colin McRay one from the nineties, which was actually a halfway decent looking little shit box.

But after that, they just got with a bla eye and the Hawkeye and the this eye and the da, and then they just got uglier and uglier ugly, [00:17:00] and BM BMW’s doing the same thing. Same thing.

Crew Chief Brad: And I read an article about this car and they, they were talking about how it’s supposed to be like a really, it’s really fast and it’s gonna have a lot of power and everything.

But it got me thinking, and I don’t know if we’ll answer this question now, but like what was the best decade for actual driver’s cars?

Crew Chief Eric: So this is something that John Summers and his co-host Mark Gammy debate quite a lot on the motoring historian these days. I was talking to John even this week and he was saying how he sort of settled in to how the cars from the eighties and nineties are probably what he calls peak car.

Crew Chief Brad: Yeah, totally.

Crew Chief Eric: Because you had the beginnings of a BS, but you didn’t have all the nannies. And in some cases some cars were better off having a BS than without. But then they were still very analog. Suspensions were very simple. Designs were things that people liked and you could get in, flog the crap out of the [00:18:00] cars and enjoy the experience of driving.

But after a certain point, and I think that’s the mid two thousands, like 2005, six timeframe, they all, because those cars are sort of left over from the nineties, they were developed in the nineties and carried in. You know, we’ve had these discussions on the, what should I buy episodes. But after the mid two thousands, it all just starts to fall apart.

It aligns exactly with the Bengal period at BMW. As soon as Chris Bengal stepped in as a designer, just to kind of highlight them at, because we’re talking about them, that’s when it all began to fall apart

Crew Chief Brad: to stick with bmw. I mean, people would argue that like the E 46 series of the BMWs and even the E 39 were like the best.

Most well-balanced fun cars.

Crew Chief Eric: Yeah.

Crew Chief Brad: Their slogan back then used to be the ultimate driving machine, and then it got me wondering like, what was the, I think also around that time there was a, that’s when the, the really big horsepower wars started.

Crew Chief Eric: Yeah.

Crew Chief Brad: And I think that [00:19:00] ruined cars now. It’s it. Yeah. I, you can have a car with 7, 800, 900 horsepower or whatever off a deal or lot.

Fantastic. That’s amazing. What’s it like to drive? What is it like to drive a Hellcat? Probably Bing sucks.

FLORIDA MAN: Yeah. Yeah.

Crew Chief Brad: It’s probably a terrible car to drive. So like what were, what was the best generation or the best decade or time period for an actual driver’s car? I, I, I’d like to hear actually if she’s up for it, what Tanya thinks the best generation or time period of driver’s cars.

’cause she’s got something. Very, very modern. And something in that time period we were just talking and then something in the eighties, she’s kind of got

Crew Chief Eric: Yeah. A,

Crew Chief Brad: a plethora.

Executive Producer Tania: When the question was first asked, what I thought of in my head as the answer was eighties and nineties.

Crew Chief Brad: Mm-hmm.

Executive Producer Tania: Which then you went on to say that John Summers said the same thing.

Crew Chief Eric: Yeah. I mean, if you’re discounting all the muscle cars and the [00:20:00] malaise and all that stuff, you know, the people like,

Crew Chief Brad: they were all terrible to drive.

Crew Chief Eric: They were, they were not great.

Crew Chief Brad: Yeah. I, I think you’re right. Like the, the, the, the nineties and early two thousands was the best combination of safe, fun to drive, had enough power that you could, you know, get into a little bit of trouble, but not too much trouble.

Crew Chief Eric: And they were still stylish.

Crew Chief Brad: I think that’s, that’s the period. And they, they, and they looked good. Yeah.

Crew Chief Eric: Now I will say to your point about the horsepower wars, I think that started with the C five Z oh six. When they came to the table and said 400, 400, everybody stood back and said, whoa, we’re going 400 horsepower now.

Because if you look at the cars, up until that point, 247 horsepower was, you know, the by turbo S four and the M three and even the Nissan GTR, they were all like sub 300 horsepower because of insurance.

Crew Chief Brad: And, and in Japan they were all 2 76.

Crew Chief Eric: Yeah. Right. And then Porsche was like, oh three 30 in the nine 11 turbo and it was like right around 300 horsepower.

And, you know, [00:21:00] everybody was creeping around that number and 300 was like, whoa, that’s a lot. And then Corvette said. Y’all 400. And then from there it was like to the stratosphere. Now we have 1100 horsepower gas motors and we got 1900 horsepower equivalent EVs. But the driving capability of people does not match the ability of the vehicles either.

Right,

Crew Chief Brad: right. And And that’s the thing like the, you mentioned the Corvette, I mean, yeah, 400. They were so proud of the 400. They even stamped it right on the zero six badge Z six. Yeah. They did 400 horsepower. But the flip side of that, with that particular car is not only did they advertise 400, 400, they also advertised one G.

One G because it could pull a G and turn. Yes. A lot of the, most of the other cars that were started with the horsepower war and definitely the cars. Now they can’t do that.

Crew Chief Eric: No. And this generation of pony wars. That’s gone on is just absolutely insane. The stuff that they’re producing, and again, I’m not knocking people’s ability to drive, but you know, the standard driving test that you get [00:22:00] does not necessarily say, oh yeah, you’re ready to go drive an 1100 horsepower demon tomorrow.

That’s just, no, that’s a whole different caliber of driving.

Crew Chief Brad: Even though you can roll up to your driver’s test in one.

Crew Chief Eric: Yeah, a thousand percent. I’m sure it’s been done, but you know, hey, whatever.

Executive Producer Tania: While you all were talking, was perusing a list of, ah, just outta curiosity. Coolest and probably best nineties cars ever.

It’s a very long list, and you read down the list and it’s like. The Acura legend, all of the different Audis. The coop, the 100, the 200 wagon, the Z 3M coop, BMW was in that timeframe. You had the Rado, you had whatever other golfs, you had the Miata coming out. Obviously there was Borsch

Crew Chief Eric: Viper. You had the Viper.

Executive Producer Tania: You had the Viper, you had the Eagle Talon people. The Eagle Talon was there. You had, if you were into Vans, man, the Aerostar wagons, vans, the minivans. You with

Crew Chief Brad: all wheel drive and Emanuel. Yeah,

Executive Producer Tania: the F 40, yeah.

Crew Chief Eric: [00:23:00] Yeah,

Executive Producer Tania: the NSXs. Even Mercedes with the C-L-K-G-T-R was that time. Yeah. The The eight 50 BMW, the 300 ZX Twin Turbo.

If you’re into American, you had the Firebird TransAm, you know the RX seven? The Celica, yeah, the Skylines.

Crew Chief Eric: Yeah. It goes on and on.

Executive Producer Tania: I mean, it goes on and on the launches. If you’re in Europe, the Delta was that time period. My God. Yes. I mean, so many things out of this list, the SL Mercedes, the little two door, there was a ton of good stuff back then

Crew Chief Brad: and they were all unique and different looking and they, they all had their own personalities.

Yeah,

Executive Producer Tania: exactly. You could tell them apart, that’s a Toyota, that’s an Audi, that’s an Acura. It wasn’t like, I’m sorry, is that a BM BMW three series or is that a Toyota crawler,

Crew Chief Eric: right.

FLORIDA MAN: Yeah.

Executive Producer Tania: Or is that the new Civic

Crew Chief Eric: And, and I think that’s why John calls it peak car, because we’ve crested the peak. We are on the [00:24:00] other side of that slope, and it’s not getting any better anytime soon.

Executive Producer Tania: You’re, you’re probably right. Start teetering off. After the mid two thousands because in the early two thousands you still had like the A four was really nice. You had the TT that was coming out right there at the cusp of the end of the nineties into the TUR two thousands. You had the resurgence of the Beatle take that for what you will, depending on your fandom.

The peak of golf.

Crew Chief Eric: Yeah.

Executive Producer Tania: Was the mid, the early to mid two thousands, the Mark IVs and even the Jettas. Right. And then slowly, I think after that time period, you couldn’t play that game anymore when you were a kid at night looking down the street or riding in the car and going like, oh, those headlights, that’s a whatever.

That’s a whatever. Now it’s like, I don’t know. Is that a cop behind me? Is that a Kia? Is that Hyundai? Is that an Altima coming to take me out? I don’t know. Maybe it’s a pickup truck.

Crew Chief Eric: It’s a cyber truck. Yeah. And we’ll get to another iconic [00:25:00] car. I don’t wanna take the cat out of the bag for lost and found just yet, but there’s another one on this list that everybody forgets and it might be the, the most iconic of iconic cars, but we’ll, we’ll get there.

So let’s put a pin in that and get back on track and talk about BMW and Mercedes. ’cause I found this next thing really, really amusing. I’m gonna just read the headline. Court blocks attempt to force BMW and Mercedes to stop selling gas cars.

Executive Producer Tania: They block an attempt, so someone’s trying to stop them from making gasoline cars, but the courts said no.

No,

Crew Chief Eric: yes.

Executive Producer Tania: Okay.

Crew Chief Eric: An environmental group sought in court to halt BMW and Mercedes sales of new combustion engine vehicles by 2030, but to no avail. That’s the subtitle there.

Crew Chief Brad: You know who heads up the group?

Crew Chief Eric: Who’s that?

Crew Chief Brad: Christian Horner

Crew Chief Eric: protesting the wrong thing. That man is Unhirable. [00:26:00] No one will give him a job.

Oh Lord. Yeah. So there’s that going on for BMW and Mercedes. And Oh, by the way, Tanya, you talked about I, we got together at the end of the season. We’re talking about things that were closing and things that were dying. We missed one. After 39 years in business, AC Schnitzer, the BMW tuner has closed its doors.

Executive Producer Tania: Oh, okay.

Crew Chief Eric: But the reason they’re closing, I thought was really interesting. Unlike everybody else, whatever excuses they use for going out of business, AC Schnier came to the table and they legitimately said it was German bureaucracy that forced them to close. Because they’re a tuner. Every change they make to A BMW has to go through like regulatory compliance and all this kind of stuff with their version of the DOT.

And they said it was taking upwards of nine months to get changes approved for highway use on the BMWs that they [00:27:00] were tuning and that they were modifying that left buyers wanting to go spend their money elsewhere. To which I thought probably Porsche.

Crew Chief Brad: So who’s going to support? Any warranty claims for ac schnitt or parts and products?

Crew Chief Eric: I think that’s a five minute, five mile warranty from the word go. I think as soon as you sign that pad and tandem your credit card, it’s, it, it’s over

Crew Chief Brad: because they, they, they all have stamped on ’em. Race use only not to be used on public rec.

Crew Chief Eric: Yeah. Not approved by German DOT.

Crew Chief Brad: Yes.

Crew Chief Eric: Some those cars will find their way out to bring a trailer just like everything else. Alright, so let’s get, let’s get out of this BMW Mercedes. Thank

Crew Chief Brad: god

Crew Chief Eric: funk and let’s talk about Japanese stuff in Asian domestic news. This is exciting stuff here After 20 years.

Toyota has unveiled the new Celica and you know where they did it on the world rally championship stage?

FLORIDA MAN: Yeah. [00:28:00]

Crew Chief Eric: The celicas coming back. So that means if Gazoo has their way, we’re gonna see we proper Celica. Supra. Not that BMW thing they gave us.

Executive Producer Tania: Oh. Nobody’s gonna have their way. They put the bean counter in charge.

Crew Chief Eric: Uh, why you got a rain on my parade?

Executive Producer Tania: Reality because we really think the MR two that they said is gonna come, is gonna come out.

Crew Chief Eric: I remain hopeful and steadfast the Gazoo will continue to produce cool stuff. Notice I didn’t say Toyota Gazoo will continue to produce.

Executive Producer Tania: So this like, is this gonna be like Scion?

Crew Chief Eric: Yeah. Yes, exactly. It’ll be like Scion. It looks cool though. It’s big for a two-door coupe, let’s call it that. It’s big now, granted, it has the big rally flares, just like the Yaris and all the other rally Toyotas have, and it’s all jacked up. So it’s hard to tell what it would look like as a streetcar, but this is exciting.

The Celica could be coming back,

Executive Producer Tania: mine’s gonna drive it.[00:29:00]

Crew Chief Eric: And it also sort of boggled my mind that it’s been 20 years since Celica went out of production. That’s a long time. The last sica was sort of crap, wasn’t it? I mean, no offense Ron Sheri if you’re listening, but it was sort of crap.

Crew Chief Brad: That’s funny that you think you would be listening.

Crew Chief Eric: Thank you for your continued Patreon support.

Crew Chief Brad: Yes.

Crew Chief Eric: I don’t know. I think that’s exciting. Selica. It’s coming back. Alright, so you remember before we were talking about BMW and how there’s the Subaru effect, I like to call it. This next one is case in point of what I’m talking about. Please take a look at the 2026 Subaru Trail Seeker

Executive Producer Tania: Subaru can.

FLORIDA MAN: The what?

Crew Chief Eric: The trail seeker.

Crew Chief Brad: What the, [00:30:00]

Executive Producer Tania: it seeks trails. I don’t understand what this, is this like a wagon?

Crew Chief Eric: Is it a van?

Crew Chief Brad: It’s owners are blonde.

Executive Producer Tania: Well, it’s like a really smooshed van. It has like lines of a van.

Crew Chief Brad: It looks like a 94

Executive Producer Tania: A two. What?

Crew Chief Eric: They all have that same rear light. Now, did you notice that with the long light bar, just like the Porsches and the Audis have, why is that a design thing now?

Executive Producer Tania: Because they all copied.

Crew Chief Brad: Why is the fog light integrated into the plastic co cladded fenders?

Crew Chief Eric: That reminds me of the, what was that Jeep that had the three headlights?

Crew Chief Brad: Oh, that was the Cherokee

Crew Chief Eric: like 10, 15 years ago, right?

Crew Chief Brad: Yeah.

Crew Chief Eric: Got it. How much plastic did they put on this?

Executive Producer Tania: This is terrible.

Crew Chief Eric: And the windows are tiny and the doors are huge.

It’s all wrong. Was this designed by chat, GPT?

Executive Producer Tania: I mean, it has the lines of a minivan, but it’s too short. So then it’s like, well wagon, but then it’s not,

Crew Chief Eric: I bet if you saw this in person, it’s [00:31:00] massive.

Executive Producer Tania: Probably

Crew Chief Eric: this is the trickery of these things. They never put an object next to the car. So you can gauge how big it is, right?

Because if you put a six foot male next to this, you kind of go, oh shit, it’s as tall as he is, it’s six feet. That’s huge. So you got a perspective. It’s like stand, you know, person standing next to a redwood tree. But this, this thing is, I don’t know, this is what people want.

Executive Producer Tania: No, I think might be the size of a Tahoe.

It’s noise.

Crew Chief Eric: In

Executive Producer Tania: real life,

Crew Chief Eric: I could care less about the cubic foot of storage that it has. It has towing capacity. Apparently it’ll do zero to 60 in 4.3 seconds because it’s electric. I’m like, it’s still ugly. It

FLORIDA MAN: is.

Crew Chief Eric: Cloth is the new thing, right? There’s no more leather or vinyl in cars. It’s all this cloth, like it looks like a dentist’s office.

Executive Producer Tania: No, that’s a very Subaru thing and I don’t know why.

Crew Chief Eric: Looks terrible.

Executive Producer Tania: It’s part of that rugged appeal. [00:32:00] Apparently leather’s not rugged, but cloth is

Crew Chief Eric: until,

Executive Producer Tania: because that way when you’re dirty from your hiking adventures and you get in, then you can get the seat dirty and then not be able to clean it. And it just adds to the ambiance of outdoor trail seeking.

Crew Chief Eric: What is that television? In the middle of the dashboard. It’s that 17 inches. It’s huge. God. Nothing about that says awesome.

Executive Producer Tania: And you know what? The driver’s era of cars didn’t have computer screens in them.

Crew Chief Eric: They barely had cassette decks.

Executive Producer Tania: They barely had CD players. They had cassette decks

Crew Chief Eric: continuing with Asian domestic news.

Guess what, Tanya? The rumor mill is humming. Hyundai is expected to make 21 examples of the vision N 74 concept at the low, low price of $350,000 a piece. You gonna get one?

Executive Producer Tania: I don’t know. I haven’t seen that confirmed anywhere, but

Crew Chief Eric: except social media, that’s the only place. It’s where the best [00:33:00] news comes from.

I think it’s BS because I don’t, I don’t think they’re gonna make it. It’s hydrogen powered for one. Then what are people gonna do with it? Use it as a model car. I mean, unless they’re making it back to the future reboot movie. That would make sense.

Executive Producer Tania: You’re selling it for three 50,000. You’re only selling it to rich people who aren’t gonna drive it.

Crew Chief Eric: So it doesn’t matter if they can get hydrogen or not. So it’ll have like 12 original miles. But on the same token, not necessarily Asian news, but the French connection.

Alpine, yes. Alpine. The same. Alpine is in Formula One is reportedly going through US. Crash certification for the one 10.

Executive Producer Tania: That is true.

Crew Chief Eric: That is exciting. The Cayman killer could be coming to the us.

Crew Chief Brad: Well, Porsche is the Cayman killer. Oh,

Crew Chief Eric: oh, REM shot. [00:34:00] Now granted it’s gonna cost a quadrillion dollars. I mean, I’ve seen these in person, especially I’ve seen the A one 10 R old team.

They call it, which is like the GT three version or whatever fan freaking tastic. I would love to have one of these. They are amazing. Oh, and, and I never would I have ever thought that Alpine would be like, oh yeah, we’re gonna bring cars to the United States. There’s still a possibility that they’re not going to, but the fact that they’re going to crash testing means they might be making a push.

Because unlike Audi, who’s in denial, Alpine needs to sell cars to fund their Formula One program. They’re probably a good idea to expand their market a little bit, don’t you think? I dunno. I’m excited. I think those cars are awesome. The downside, much like the alpha male four C because of its mono co and all that other stuff that they did will never come with a manual transmission.

But with a car like that, do you really want it? Do you really care? Left foot break in and some paddle [00:35:00] shifters. Let’s go. Let’s go. This is a weapon. This is a proper sports car. Let’s go. Tanya, as we close out this segment, this thing says commercial.

Executive Producer Tania: Since last time we were doing Super Bowl commercials,

Crew Chief Eric: Uhhuh.

Executive Producer Tania: So I’ve dug back into the historical archives.

Crew Chief Eric: Oh boy.

Executive Producer Tania: Find some old car commercials. And this one featuring celebrity Eddie Murphy.

Crew Chief Eric: And look at that. The Toyota Celica. How on point.

Executive Producer Tania: Bringing it full circle.

Crew Chief Eric: Did you look at this Sica commercial with Eddie Murphy?

Crew Chief Brad: I have not. Let’s see.

Crew Chief Eric: Alright. How bad is this one?

It’s only 30 seconds. How good could it be?

Executive Producer Tania: There’s like a series of them, but yes,

FLORIDA MAN: Sean, talking of town in New York, it’s almost popular as I am. I look at the

Crew Chief Eric: glamorous

FLORIDA MAN: style,

Crew Chief Brad: glamorous styling.

Crew Chief Eric: Take out the dual MO four wheel steering.

Crew Chief Brad: Giving it a little rub down.

Crew Chief Eric: What is he doing to the car?

Executive Producer Tania: So weird.

Crew Chief Eric: Was he like fondling it?

What was [00:36:00] that?

Crew Chief Brad: Watch it.

Crew Chief Eric: That was almost Burgess Meredith level. Weird. Ah, so weird. Tanya, where do you find this stuff

Executive Producer Tania: from? The depths of YouTube.

Crew Chief Eric: It’s a place I don’t like to go very often. Switching gears to lost and found your favorite section of the drive through and keeping with what we were just talking about or what Tanya was just talking about before headline reads, 70% of Americans say new cars are unaffordable.

This is Jalopnik reporting top shelf news here,

Crew Chief Brad: as is everything.

Crew Chief Eric: Yes, everything’s gone up in price. But you know what’s really interesting about this? Because they say that, and Tanya, you and I know because we’ve been doing some of our own independent research on new cars as of late, there is suddenly a glu.

Cars starting at $25,000. That very quickly ramp up into the $40,000 sweet spot, which we talked about. Remember we did that whole episode on the, what [00:37:00] can you buy for less than 50 grand in millennial gray? But there is a glut of cars in that space between 25 and 40,000. And they’re not all terrible.

They’re not all great, but they’re not all terrible either. I find this an interesting juxtaposition between what they’re saying. 74% of Americans say new cars aren’t affordable. Is that because we’re all bougie and we don’t wanna drive the cars that exist in the 25 to $40,000 range now because they’re considered too cheap and we all have to have some nice status symbol.

Tesla set the bar. We all need to be driving whatever it is, 60,000 is the new 30,000. Because if that’s the case, maybe we need to kind of look at things in a different lens, in a different light, because I think we’re overlooking some really good cars that are actually quite affordable.

Crew Chief Brad: Well, if you read further down into the article, they actually solved the problem for us.

Crew Chief Eric: Oh, did they?

Crew Chief Brad: Yeah. So they say that the real problem is that companies just don’t pay their employees enough. It’s okay [00:38:00] that the car prices are so high, it’s just people just need to make more money.

Crew Chief Eric: What’s that got to do with the price of T and

Crew Chief Brad: yeah, it is just a way to make a political statement.

Crew Chief Eric: Oh, well that’s wah w

Executive Producer Tania: If a majority of Americans only make, let’s make up numbers, $70,000 a year and they have to go buy a car that costs $50,000.

Crew Chief Brad: Yeah.

Executive Producer Tania: How do they afford it?

Crew Chief Eric: Yeah, but the new Sentra is like less than $30,000. So why wouldn’t you go buy that

Executive Producer Tania: to that point? You can still get something that’s $20,000 or around, there is just going to be a toaster.

Crew Chief Brad: You also don’t have to buy a new,

Crew Chief Eric: and that’s just it. I mean, there are cars sitting on CarMax lots.

That are reasonably price as well. And their stuff is generally pretty good quality because they’re very selective on what they sell and what they get rid of and all that kind of stuff. Why not buy a car that’s a couple years old that’s already been broken in, that might have been [00:39:00] already through all the warranty stuff and all the recalls and all the nonsense.

Find yourself a car with 10,000 miles on it or less, call it a day.

Executive Producer Tania: I don’t know, because people can’t do anything anymore. Like, I mean,

Crew Chief Eric: because you think you’re gonna do more with a brand new car.

Executive Producer Tania: No, I mean, like if you go back in time, cars were simpler.

Crew Chief Eric: Yeah.

Executive Producer Tania: But people still didn’t, like you could buy a used car and if you could probably do your, you know, some of your own maintenance.

But nowadays people don’t have an interest.

Crew Chief Eric: Well, and they’ve made the cars impossible to work on without,

Executive Producer Tania: even if you had an interest, you’d need a PhD to, uh, unlock the brake caliber.

Crew Chief Eric: Yeah. There’s that. Yeah.

Executive Producer Tania: And stuff like that. I mean, I don’t know because. Yes, there’s inflation. The price of everything is high.

Salaries haven’t necessarily kept up. One could argue, but you could make that argument probably 20 years ago too.

Crew Chief Eric: That is very true. That is very true. I mean, if you compare a car with fuel injection to something with the carburetor that was [00:40:00] space, age technology, fuel injection. Why? Why I can’t put a screwdriver in there and change my settings and make it run rich or make it run lean, like, no, you couldn’t do that.

It was computer controlled. Right? That was the future. It’s been an evolution for sure, but I think at the end of the day, if you’re shopping for a car right now, I wouldn’t discount a car Max or a used car that was from a reputable source, because if you think about it, despite the fact you’re gonna get a three year, 36,000 mile warranty, that seems to be the going rate for any new car these days, which is not a lot because the way people are driving still, you’re gonna blow through 36,000 miles in no time.

Let’s be fair. If you had a reputable shop to work on your car, their hourly rate is still lower than that of the dealership. Once you’re out of warranty, taking your car to the dealer is insane. You go to the Honda dealer, it’s $150 an hour, at least you know your local mechanic. Okay. Maybe it’s a hundred.

So you’re saving even there if you’ve gotta, you know, do any maintenance on the car and you [00:41:00] can’t do it yourself. So there’s something to be said about still buying a used car, but I, I don’t think you buy the one with 285,000 miles, you buy the one with 28,000 miles.

Crew Chief Brad: I mean, this goes into something we’ve talked about numerous times on the drive-thru.

Don’t buy a car if you don’t have to.

Crew Chief Eric: Yeah, there’s that as well.

Crew Chief Brad: And I had many friends that did it, and I tried to keep up with the Joneses too. It’s, you get into this cycle of like trading up your car every two years or whatever, every three years. It’s almost like a lease mentality when you don’t have a lease.

You’re just creating problems for yourself. If you don’t need to get rid of the car, then don’t get rid of the car. Just because you want, if you just want a new car to get a new car, that’s not a reason to get a new car.

Crew Chief Eric: That’s fair. And you know, you’re touching on something that John Summers also talks about on some of the other episodes he does by himself, where he goes to these seminars out in California where he sits in and he listens to these lectures on these companies that are building autonomous vehicles and all these new EVs [00:42:00] and all this kinda stuff.

And the paradigm shift that’s occurring in that space. Because if Johnny Cab is the future, none of us will own cars. We’ll be calling up our little Johnny cab and it’ll come and get us and or we’ll lease the car so it sits in our driveway and then it takes us where we wanna go. But when the car needs to be repaired or replaced.

That’s on Waymo or Google or whoever owns the car at that time, you know, manufactures the car at that time to do the service and the repairs and all that. But what’s interesting about that, and I think the big block that everybody’s forgetting is when you shift to that new way of doing business, insurance companies are out of business.

Executive Producer Tania: Mm-hmm.

Crew Chief Eric: Right. Geico and Allstate and Jake from State Farm aren’t gonna let that happen because they wanna make their money too. Then who are they insuring? I’m not driving. I, I’m just a passenger, so that’s great. I got a ton of money in my pocket at that point.

Crew Chief Brad: But then you need passenger insurance.

Executive Producer Tania: Exactly. That’s what it’ll become. It’ll become like whoever it is, [00:43:00] Waymo or whatever, they’ll become the insurer. It’s like when you go to work, your employer provides you subsidized health insurance, but you pay a part into that. So now I don’t own the car, but I’m taking part in this business. Yeah.

Therefore, now I have to pay into the insurance of them. Right. And then they’ll probably charge high premiums to Waymo or whoever, and then that just gets passed on to you. So you’ll be paying for insurance on something you don’t own because you are a passenger in there.

Crew Chief Eric: So it’s like renter’s insurance basically.

Crew Chief Brad: Yeah, you need to pay for passenger’s protection

Executive Producer Tania: because after all you got in that Waymo. And if you hadn’t chosen to get in that Waymo then it wouldn’t have been on the road at the time of an incident.

Crew Chief Eric: Now I will say, Brad, to your point, if you’ve ever ridden in a cab in DC or New York, you almost wanna have passenger insurance.

’cause that is legit scary.

Crew Chief Brad: Yeah, you’re taking your life into your own hands.

Crew Chief Eric: You really are. Like you need to up your life insurance every time you get in a cab in Manhattan. But yeah, so there, there’s [00:44:00] definitely a paradigm shift there as well. But the problem is if we ever get to that dystopia that they’re creating, there’s gonna be a weird period where all of this overlaps and it’s gonna be the most chaotic nonsense that we’ve ever experienced.

And I hope it all happens like after we’re gone, because I really don’t wanna have to suffer through it. It’s bad enough as it is. Anyway, new car prices, ugh. Lost found is all about digging up stuff that we haven’t seen before or, you know, we’ve forgotten about. I keep saying this, how many more barns are there full of cars in this world?

I feel like, you know, the fours of Horizon games where you drive around, you know, looking for the barn. Another, it’s got another classic car. Like here we go again, another barn full of cars. Well, this time it’s a barn full of sobs and I’m looking at your face.

Executive Producer Tania: Yeah,

Crew Chief Eric: I don’t even know that I’m that interested in the sobs.

I’m actually more interested in this barn. [00:45:00] Like how did they get the cars up there? Where is this barn Like, tell me more about this bar.

Crew Chief Brad: Well, they show you in, in the video, they have a forklift, so that’s how they got ’em up there.

Executive Producer Tania: I mean, it’s pretty cool,

Crew Chief Eric: right? I mean, they’re up in the air. If you drove by this barn you were sniffing around, you wouldn’t even know these sobs were here.

This is a big barn. How many cars are in there? Like 20 plus easily, right?

FLORIDA MAN: Yeah.

Crew Chief Eric: So I teased this up earlier. We’re talking about you, you brought up peak cars. You know, we’re talking about the eighties and the nineties in another post that, because you know, you go down a rabbit hole sometimes when you find this stuff.

Another post SOB 900 is the most underrated iconic car of the eighties and nineties.

Executive Producer Tania: Is that right?

Crew Chief Eric: Is that a missed opportunity?

Executive Producer Tania: I don’t know enough about them to comment.

Crew Chief Eric: I’ve driven one in my life. It was an ugly green color and it was as quirky on the inside as is on the outside. It was very strange to drive

Crew Chief Brad: very quirky vehicles.

I,

Crew Chief Eric: I mean, I [00:46:00] thought French cars were weird and then I drove a sob, right? It was just like, why is the key on the floor? Like, what are we, that’s where you put it. Like it makes, no, there’s some weird stuff that just makes no sense.

Crew Chief Brad: I think their whole thing is ’cause they were designed by like aerospace engineers.

Crew Chief Eric: Yeah. Born from jets.

Crew Chief Brad: So they tried to take cues from like aviation and stuff like that.

Crew Chief Eric: That’s not practical.

Crew Chief Brad: Oh. That’s why 99% of all the other car manufacturers didn’t do that.

Crew Chief Eric: Bizarre. Although, you know, I will say with wiser eyes, looking at the SOB 900, I like its shape. It’s grown on me quite a bit.

There is one I see in in the city every now and again and I’m like, it’s in Black 900 Turbo. And I’m just like, that’s a cool car. It really is kind of cool. Then you remember how quirky it is and you’re like, yeah, it’s, it’s like not cool anymore.

Crew Chief Brad: I always thought the SOB 900 was a very weird looking nine 11.

Tell me I’m wrong. [00:47:00]

Crew Chief Eric: No you’re not. You’re not wrong at all.

Crew Chief Brad: Yeah. It just looks like a very odd looking nine 11 because I used to, there was a guy in my. In my neighborhood in elementary school that it would park, it was parked on the street all the time. And I would look at it and I was like, what the f is that?

The nine 11 looks really funny.

Crew Chief Eric: Yeah. All right. We don’t have any uncool wall, no Tesla gate for our season kickoff. Brad, I’ll give you three guesses what Tanya’s gonna say for the next question.

Crew Chief Brad: Um, the answer is yes.

Crew Chief Eric: She did not watch the F1 movie. Come on. Are you serious?

Crew Chief Brad: That’s, sorry, that’s just wishful thinking.

Executive Producer Tania: Nope. But I will have watched it by the next episode.

Crew Chief Eric: We got close the other day. I was like, Hey, you wanna watch it? And she was like, uh, how long is the movie? And then I brought it up and then just literally like, walked out of my house. Like did, it was like, duh.

Crew Chief Brad: So if she has not watched it by the weekend, I come up there, we’re gonna watch it.

I’m gonna, we’re [00:48:00] gonna tie her into a chair and make her sit there and watch it. Clockwork Orange style. Yes. So Tanya be, if you’re around that weekend, you better be prepared.

Crew Chief Eric: It is two and a half hours of your life. You’ll never get back.

Crew Chief Brad: Yeah. But like 20 minutes of it is credits.

Crew Chief Eric: Or Brad Pitt on a motorcycle, one or

the

Crew Chief Brad: other, or Brad Pitt on a motorcycle doing his weird talk

Crew Chief Eric: days of thunder too.

That’s what it is. Yeah. Days thunder too. You mentioned some rich people. Thanks. Earlier we talked about the N 74. We talked about those other cars. But Brad, you dug this for Tanya and I couldn’t help but start laughing at this.

Crew Chief Brad: Oh yeah. Bugatti debuted a zero horsepower Bugatti factor one. Can you guess what it is?

Crew Chief Eric: No. What is that? Is it a, it’s not like another baby two or one of those go-kart things. Is it

Crew Chief Brad: It is a set of roller blades. No, it’s a, it’s a road bike. It’s a bicycle. Hence the, uh, the zero horsepower

Crew Chief Eric: for [00:49:00] the low, low price of,

Crew Chief Brad: for the low, low price of 24. Thousand dollars.

Crew Chief Eric: Oh, brutal.

Crew Chief Brad: So how much are you paying per horsepower?

Crew Chief Eric: Can people actually make equivalent horsepower? Has that ever been measured? How much horsepower does a Olympic cyclist make? Is that a thing?

Crew Chief Brad: So according to ai, an Olympic cyclist typically generates between 0.4 and and three horsepower.

Executive Producer Tania: Wait, what did you say their answer was?

Crew Chief Eric: 0.4 to three horsepower.

Executive Producer Tania: 0.4 to three three would be a lot.

Crew Chief Brad: That’s for like the elite of the elite.

Executive Producer Tania: Yeah. That’s a lot. ’cause you used to have to convert watts to horsepower. Yeah. Somewhere in 0.1 to a, a very normal person is [00:50:00] probably not even 0.3.

Crew Chief Brad: Yeah. I wonder if I could generate more horsepower for a very much shorter amount of time.

Crew Chief Eric: Well, you got bigger pistons.

Crew Chief Brad: Yeah, I got bigger pistons. I’ve got I I more displacement.

Crew Chief Eric: You’re like a V eight. She’s like a turbo four. I mean

Crew Chief Brad: Yeah, exactly.

Crew Chief Eric: You got all them torque. SI,

Crew Chief Brad: yeah, I I can probably generate a lot of torque.

Executive Producer Tania: That’s true. Unless you’re really stroking.

Crew Chief Eric: Wait, are you having a stroke?

Crew Chief Brad: Someone check my air Fuel?

Executive Producer Tania: Yeah. You, your, your, your air fuel mixture would be, you’d be running lean, you’d be out of breath.

Crew Chief Brad: Oh my God. Oh, man.

Crew Chief Eric: I’m sorry, ma’am. You’re gonna have to go for an inspection. Your methane levels are off.

Crew Chief Brad: You need a new catalytic converter.

Executive Producer Tania: I’d be cur, I’d be curious. Now, I’d have to look.[00:51:00]

I could probably hit 0.3 horsepower, but not very long Horsepower.

Crew Chief Brad: I feel like this is, this is a challenge. We gotta, we gotta find a way to get this done.

Crew Chief Eric: Oh man. I wonder if you could do that on a bike trainer and figure it out.

Executive Producer Tania: Yeah. ’cause I can, I can see, I can do a power run and see my wattage and just convert it to horsepower.

Crew Chief Eric: All right. You do that and you let us know next time. I’ll put a note for the next drive. How much horsepower does Tanya make?

Crew Chief Brad: And for how long?

Crew Chief Eric: Yeah. Oh, ooh, ooh. Yeah.

Crew Chief Brad: So if you want to decrease the ratio of dollars per horsepower, you just gotta be a better athlete.

Crew Chief Eric: So that means this is false advertising because you can make up the three horsepower if you provide it yourself.

Crew Chief Brad: Yeah. This is B-B-Y-O-H-P.

Crew Chief Eric: So it is a non-zero number is what we’re saying. This can actually produce a non-zero number because I love the sub quote here. [00:52:00] The Bugatti factor one isn’t powered by horsepower at all, but by pure human effort, making it one of the most unexpected Bugatti vehicles ever created.

Who comes up with this marketing nonsense?

Crew Chief Brad: Uh, and don’t forget, if you’re looking for that extra special automobile to complete your garage office den or man cave, be sure to check out garage style magazine.com for a list of upcoming auctions and events, along with a curated list of items going up for sale all over the country, because after all, what doesn’t belong in your garage.

Crew Chief Eric: All right, well, let’s switch gears and go to, are you faster than an Interceptor?

I found this article to be a bit of a boomerang because we’re coming back to a story we [00:53:00] reported on a couple years ago on the drive through, and it’s about how the Austrians were switching over to EVs as their police cars. Well, Austria has decided that they are going to pull the plug on EV police cars.

Executive Producer Tania: I would just like to say that I appreciate. The author of this article who succinctly summarized in three bullet points at the top of the article.

Crew Chief Eric: Mm-hmm.

Executive Producer Tania: In the first bullet point, Austrian police found EVs unsuitable for general patrols due to range in charging issues. That saved me from reading and reading and reading and reading and reading.

So thank you for that.

Crew Chief Eric: Yeah, it does go on for a long time.

Crew Chief Brad: I bet AI did that.

Executive Producer Tania: Maybe

Crew Chief Brad: that’s how I’m gonna do

Executive Producer Tania: the drive through.

Crew Chief Brad: I’m gonna take each article, run it through AI and say, gimme the bullet points.

Crew Chief Eric: You still won’t be any more prepared than you are now.

Crew Chief Brad: Nope. ’cause I’m gonna forget I said this and then we’re gonna come back to next, next month.

Crew Chief Eric: Brad, since we’re kicking things off, let’s actually kick off [00:54:00] Tanya’s Florida demand section here. With a proper Florida man story, not totally related to cars, but you sent us this one and I could not help but want to reshare it. Why don’t you read us what this one’s about?

Crew Chief Brad: So you gotta take this with a grain of salt.

Crew Chief Eric: No, I don’t.

Crew Chief Brad: As I was saying to Tanya earlier, I get a lot of posts and news and stories and stuff on social media and I have no idea without fact checking if any of this stuff is real or AI generated or whatever. I’m gonna read the caption though. A Florida man was arrested for attempting to baptize an alligator in a waffle house using a picture of iced tea

FLORIDA MAN: on here every time.

Crew Chief Brad: Yeah. Miami-Dade County, Florida. So down in, down in southern Florida. What witnesses are calling the most Waffle House moment in history? Florida man was arrested after allegedly attending to baptize a live alligator inside a wall house using a picture ice team.

Crew Chief Eric: I heard a story which was [00:55:00] allegedly true from someone I met from Florida that said they had seen somebody throw an alligator, like I guess a baby alligator out.

They had it in their car, threw a Wendy’s drive through window. So I mean, anything is possible. Anything is possible in Florida.

Crew Chief Brad: So I don’t believe this is real. ’cause the hashtags are funny. Comedy F book lifestyle satire for entertainment only. So I think this is like a, this is like the onion.

Executive Producer Tania: Yeah. I think the Snopes fact check that as being not true.

I think it was staged.

Crew Chief Eric: Yeah. I want it to be true though. Really

Executive Producer Tania: do, it could be true. That’s the reality.

Crew Chief Eric: I think still the killer is the old man with the leaf blower trying to blow himself down the road on the, in the wheelchair, like. That for me is one of the best Florida man memories.

Executive Producer Tania: I don’t know. The guy that lit his Malibu on fire with candles is pretty good too.

Crew Chief Eric: That was like the first drive through episode.

Crew Chief Brad: I love that Florida is so bonkers that we can’t actually [00:56:00] definitively say if some of these stories are real or not.

Crew Chief Eric: Right. All right. Well Tanya, what do you have here on the list?

Executive Producer Tania: Well, the first one, I don’t know why that link doesn’t work anymore, but apparently this person was a transporter and he was transporting some guys.

Porsche and his two scooters, and then decided that he needed to go to the DMV to renew his license and his car wouldn’t do. So he took the Porsche that wasn’t his. And the owner I think had some sort of tracking on it and could realize that it wasn’t on the trailer, but it was like driving around somewhere.

Crew Chief Eric: Oh no.

Executive Producer Tania: Needless to say he was arrested.

Crew Chief Eric: LoJack to the rescue.

Executive Producer Tania: Note to self, you’re transporting your car. Put some ear tags or something in it.

Crew Chief Eric: Yeah, no kidding.

Executive Producer Tania: This next one though is even better. So the title is. Florida man doing 101 in a 55 trying to quote, avoid an animal. The [00:57:00] dude got pulled over and told deputy he was speeding to avoid an animal in the roadway.

Under what circumstances? Does that make sense? Were you being chased by a cheetah?

Crew Chief Eric: By an ostrich? They could do 45 miles an hour.

Executive Producer Tania: A cheetah can do a hundred, right?

Crew Chief Eric: 80 or something like that At full tilt. Yeah.

Crew Chief Brad: So a cheetah can do about 55, I think.

Executive Producer Tania: 70. They can do 70. Sorry.

Crew Chief Eric: Does he say what he was avoiding?

Was it a squirrel like or is an alligator?

Executive Producer Tania: It was himself. Now the real question,

Crew Chief Eric: what was he driving?

Executive Producer Tania: I know, and it doesn’t say, all it says is dark four-door sedan. What do we think it is?

Crew Chief Eric: Ultima? It had to have been, had to have been Ultima.

Executive Producer Tania: I mean,

Crew Chief Brad: it doesn’t look like a a, it looks like an infinity interior.

Executive Producer Tania: They don’t show it.

Crew Chief Eric: You found a picture?

Crew Chief Brad: Oh no, sorry, I’m looking at the, the, I’m getting tripped up by the,

Executive Producer Tania: the body cam. Yeah, yeah. No, that’s, that’s a Olympian. Shakar. Richardson’s getting pulled over,

Crew Chief Brad: huh? Yeah.

Crew Chief Eric: Can we actually use this excuse, excuse me, [00:58:00] officer, but I was evading an animal.

Executive Producer Tania: I’m sorry, officer.

There was a squirrel.

Crew Chief Eric: I was being chased by a hippopotamus. Don’t they do like 25 mile an hour?

Executive Producer Tania: Was it like Jurassic Park? It was a T-Rex. Those seem pretty fast.

Crew Chief Eric: Little alarm.

Crew Chief Brad: I’m sorry, officer. I was speeding. To avoid the police.

Crew Chief Eric: I don’t know that, that carries a lot of weight. I,

Crew Chief Brad: I, I was running from a pig.

Crew Chief Eric: Jesus Christ. Before we wrap out this Florida man segment, just a little sneak peek. Into season seven of Break Fix. We have an author coming on the show here in the next couple of months. His name is Jesse Fresco. I met him at Awesome Con down in DC where I happened to bump into Max Kaiserman from losing Replicas who was down there.

We can talk about that another time. But he has this new little novella series, calls it the Autumn Frost Story series, and the very first one takes place in the DMV and it’s called Drive Like Hell. And then there’s gonna be a whole series of these novellas. And so I just wanna read you a little bit of what it says [00:59:00] here.

It says, autumn Frost never wanted much out of life. A nice home in Annapolis, A decent job to live comfortably, someone to love to wake up to every morning. But life had other plans while out on her rounds is a two in from driver, that means Uber or Lyft. She picks up a hysterical young girl who’s being chased by her boyfriend with a gun as they speed off.

The girl admits that in her backpack is two pounds of fentanyl. From that point on, the girl’s boyfriend is after them. A drug ring is after them. A sociopath hit man and the cops, all of it is up to Autumn Frost to drive like hell. I’m excited for this and this actually leads into some other books that Jesse has written, so really excited to have like proper Florida man author coming on the show.

So look forward to that as the season progresses. But you can pick up a copy of Jesse Fresco’s books today if you’re interested. Well on that, it’s time we go behind the pit wall and quickly talk about commercial news. The 2026 LAMA [01:00:00] entry list has been posted really early compared to previous years.

Have you guys looked at this yet?

Executive Producer Tania: No.

Crew Chief Eric: 62 cars Uhhuh across three classes. Okay. 18 cars in hypercar. 19 in LMP two. The rest of them in LM GT three.

Executive Producer Tania: What is this race again? June.

Crew Chief Eric: June is Father’s Day. It’s always Father’s Day.

Crew Chief Brad: I don’t think it’s actually Father’s Day weekend this year,

Crew Chief Eric: is it not? It’s always like the longest day of summer,

Executive Producer Tania: June 13th.

Crew Chief Eric: So here we go, hypercar, which is the only class anybody cares about. Aston Martin with the Valkyrie Toyota with the new TRO one Oh that we talked about. Cadillac, BMW, Genesis Magma,

Crew Chief Brad: S Magma.

Crew Chief Eric: Alpine Ferrari eo. That’s a hell of a lineup.

Executive Producer Tania: So Porsche is out.

Crew Chief Eric: Porsche is out officially of Lama. We skip over LMP two because they’re all orcas with Gibson engine.

So whatever. And then we get to LMGT three [01:01:00] and we’re looking at Corvette, McLaren, Ferrari, Aston, BMW, Mercedes Ford, Lexus, and two private tier nine elevens. So Porsche is out out of LAMA for 2026. Other than the two private tier cars, can you believe it? When was the last time Porsche didn’t run in Lama?

Executive Producer Tania: Well,

Crew Chief Brad: they stopped for a couple years when Toyota kept winning.

Executive Producer Tania: Why are the Iron Dames programs scaled back?

Crew Chief Eric: That, I don’t know. I had heard rumors, something there was changing as well. They were getting a different card, different series or something like that. Maybe I, and I don’t wanna say getting out altogether, but there was definitely some changes afoot, but I never dug into it more.

The Iron links, the men’s version of the Iron Dames, they’re still in it.

Executive Producer Tania: Why is there a men’s version? The rest of it’s men’s version,

Crew Chief Eric: that’s how they split it up. The dynamic makes no sense to me either.

Crew Chief Brad: I don’t see Jackie Chan racing either.

Crew Chief Eric: No. Jackie Chan’s been out for quite a while. My, and it’s funny you bring that up.

I got [01:02:00] to interview

Crew Chief Brad: Jackie Chan.

Crew Chief Eric: No, I got to interview Ricky Taylor and he talks about racing for Jackie Chan. I don’t know if you remember or not. He was one of the drivers for Jackie Chan racing in LMP two.

Crew Chief Brad: You interviewed Ricky or Jordan?

Crew Chief Eric: I’ve interviewed both of them, but when I interviewed Ricky, Ricky was talking about how he raced for Jackie Chan now.

He never got to meet him, but he got to be part of the program and all that kind of stuff. So that was pretty cool.

Crew Chief Brad: Interesting. That’s cool.

Crew Chief Eric: So yeah, they announced the full roster of cars that are gonna be running at LAMA this year. I’m still excited even if Porsche’s not there. I’m really curious to see what Hyundai does with the Genesis magma and how Aston does and all that.

But it’s, I’m worried for Ferrari. Uh, again, I’ve said they need to leave on a high. Ford is not here. I would hate to see Ferrari lose to Ford, so maybe they’ll get out before the getting out is is not good, you know, but Ford is supposed to come by next year, right is, is what they said by 2027. So we’ll see this list change again, but I think this might [01:03:00] be the first time we’ve ever seen a Korean brand at the 24 hour lama, so that’s pretty historic in and of itself, so pretty cool stuff.

Oh, by the way, last time we talked about the FIA WEC tv, since we’re talking about watching the 24 hours of LAMA, and we didn’t know what it was going to cost. They did finally announce their pricing. It’s 49 euros. You gotta do the conversion there. 49 euros a year. So I thought that was not terrible. So you get the entire WEC series and the 24 hours lama through the FIA WEC TV plus subscription.

Executive Producer Tania: It’s cheaper than what the F1 used to be.

Crew Chief Eric: Oh yeah, that’s true. Now we pay the Apple tax instead. And in some sad news, motor sports legend Bobul passed away on March the 16th. Now some of you might be asking who? Bob Bobul. Who’s that? I, I, I might have heard that name before. Well, you probably had, because TIUs famous for creating group 44 racing back in the [01:04:00] 1960s and campaigning cars like the infamous group, 44 Jags at the 24 hours of Lama and the Audi Quatros that ran in the United States in both TransAm and ISA in the late eighties and early nineties.

So. An icon in the Motorsport world passed away just a couple weeks ago, so sad to see it.

Executive Producer Tania: He lived a long life. Nine five.

Crew Chief Eric: Yeah. He’s up there with Robert Deval now they’re having some ice cream.

Executive Producer Tania: That’s ice cream with Newman.

Crew Chief Eric: That’s right. Our Motorsport News is brought to you in part by Enduro verse, powered by Hyper dev, America’s premier endurance racing community.

Check it out online and become a member@www.endurreverse.com.

Alright, well switching gears to the GTM track side report. As you guys know, we’re doing a lemons build for the 24 hours of Lemon series this season, and we wanted to give you an update on our unfocused performance project. The car’s [01:05:00] back, so what’s next? One of the toughest things so far outside of the ridiculous cost for safety equipment has actually been trying to find parts for the Ford, and especially something that’s the equivalent of ECS tuning or FCP Euro.

We’ve talked about it behind the scenes and I don’t think we ever realize how good we have it with the German stuff until you go look for parts to work on something else. Like how easy we have it that you can go to an ECS tuning and get everything for anything going back, put in your part numbers order from the Black forest.

You need this specialty that they keep making new parts for old cars. The Ford, it’s just, it’s, the struggle is real. Like if you’re not getting it in advance, you’re not getting it anywhere kind of thing, you know? And, and thank goodness for places like Speedway Motors and Rock Auto and Jags and stuff like that where you can get stuff.

You’d think with something like a Ford focus, it’d be a lot easier to get parts for

Executive Producer Tania: it’s un unexciting. No wonder you all don’t make cars anymore and just trucks [01:06:00]

Crew Chief Eric: because there’s no aftermarket for it, right? But with as many of those cars as they sold and the popularity of hot hatches and stuff like that, you would think there would be more places.

Now we’re very fortunate. One of the guys on the team brought us a website, FS Works, and that is a sort of like a Euro tuning ECS kind of thing. And we’ve been able to find some parts on there that look like, hey, we can actually use that. It might be track worthy and it’s not just some, you know, street racer parts or whatever, looking to find more of that kind of stuff.

So if any of our listeners out there know of places to get high performance forward parts, especially for a focus, let us know, send us a note, hit us up on Discord, whatever, because again, we’re having those challenges, sourcing the stuff we need that is track worthy to make sure that the car is reliable going throughout the season.

Unfortunately because we had some setbacks timing wise, getting all the fabrication work done and all that kind of thing, we are going to be missing our first event. We were supposed to be going to mid Ohio. We were not able to register in time ’cause the car is not ready. There’s [01:07:00] still a ton of stuff to do.

We gotta put a clutch in it just to make sure that it is again, turnkey, reliable. ’cause the last thing you wanna do is go to this race and the thing dies on you 20 minutes later. So stuff like that’s gotta get done. People are still asking, you know, how can we help? Well, a couple different ways you can help.

You can come and hang out, you can turn wrenches if you want, stuff like that. But the one thing that goes the longest is if you’ve got a couple extra bucks to spare, even if it buys us gas or we put it towards tires or whatever, we do have a specials tier on Patreon. You can go to patreon.com/gt motorsports and sign up to contribute and help sponsor our lemons team so we can get to our first event safely, reliably, and be able to report back on what the experience is like.

So our first event shifted from Mid-Ohio. Two New Jersey. We’re gonna be running Thunderbolt in June. One of my favorite tracks. It’s an awesome lap. So looking forward to having the car ready to go by mid-June for the NJMP event. So we’ll see you there. And then the plan from that point forward [01:08:00] will be Summit Point and I am hoping to go to Road Atlanta in December.

’cause that sounds like a lot of fun. We’ve been there before. We know what that’s like. I think that’s worth the tow to go down there and do that. And then maybe if there’s enough money, it’d be cool to do Nelson Ledges or one of the other tracks in the middle of the summer, but we just gotta have to see how things play out.

But New Jersey for sure, and June, and then Summit Point as well. So looking forward to it.

Crew Chief Brad: And if you’re not quite ready to hit the track, don’t forget that you can find tons of upcoming local shows and events at the ultimate reference for car enthusiasts. Collector car guide.net.

Executive Producer Tania: March kicked off season seven on the MPN with our International Women’s Month celebrations, and we’ve got more awesome stories to come through the rest of this season.

But if you’re hearing us for the first time, be sure to jump back into our podcast catalog and check out other programs we offer, like the Ferrari marketplace, the motoring historian evening with a legend, the racers round table, formula, fanatics, [01:09:00] break fix, and of course the drive-through.

Crew Chief Brad: And if you enjoy our various podcasts, there’s a great way for you to support our creators on MPN.

There’s tons of extras and bonuses to explore on our updated Patreon page. Learn more about our bonus and behind the scenes content. Get early access to upcoming episodes and consider becoming a break fix VIP when you visit patreon.com/gt motorsports. As always, thank you to our co-host and executive producer, Kathleen Turner.

Executive Producer Tania: And if you are tuning in for the first time, my voice isn’t usually this low.

Crew Chief Brad: She’s just being honest folks.

Crew Chief Eric: She’s auditioning for the reboot of Vi Wwki.

Crew Chief Brad: As you can tell, Tanya has taken up smoking cigarettes

Executive Producer Tania: in already

Crew Chief Brad: and to all the fans, friends and family who support [01:10:00] grand touring motor sports, as well as the Motoring Podcast network. Without you, none of this would be possible. Actually, I think Kathleen Turner should say TRO this time.

Executive Producer Tania: Tro.

Crew Chief Brad: Oh my God. It’s deeper than mine.

Crew Chief Eric: That’s what she said.

Crew Chief Brad: Sultry.

Crew Chief Eric: Can you imagine, Tanya?

On a bicycle, on a dyno? Let, let’s go. Let’s see how much worse power you make.

Crew Chief Brad: All I know is I don’t wanna be around when they do the air fuel.

FLORIDA MAN: Freaking tail pipe dust. You fail missions.

Oh my God,

Crew Chief Brad: it is outro, outro, outro. Air, fuel,

FLORIDA MAN: nail

Crew Chief Eric: pipe test

Crew Chief Brad: remain. Remember, failing to prepare is just preparing to fail.

Crew Chief Eric: There you go,

Crew Chief Brad: deep. [01:11:00]

FLORIDA MAN: Sorry, I gotta compose myself. Woo.

Crew Chief Brad: Oh my.

Executive Producer Tania: The drive-through is our monthly news episode and is sponsored in part by organizations like Collector Car guide.net Project, motoring Garage Style Magazine, the Exotic Car Marketplace, and many others. If you’re interested in becoming a sponsor of the drive-thru, look no further than www.motoringpodcast.net, click about, and then advertising.

Thank you again to everyone that supports the Motoring Podcast Network, grand Touring Motorsports, our podcast Break Fix, and all the other services we provide.

Highlights

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

  • 00:00:00 Drive Thru Springtime Banter
  • 00:01:52 Daily Driver Dilemma
  • 00:04:03 Porsche EV Rumors
  • 00:07:58 Lambo CTO To Audi?
  • 00:09:47 VW’s “Turbo Gate” Lawsuit
  • 00:15:11 New BMW 3-Series Shock
  • 00:17:13 What was the “Peak Car” Era?
  • 00:25:10 Bimmer & Benz – Gas Car Ban Blocked!
  • 00:26:08 AC Schnitzer Shuts Down
  • 00:27:42 The Celica Returns!
  • 00:29:39 Subaru Trailseeker Roast & Hyundai N74 Rumors
  • 00:33:20 Alpine Coming To US?
  • 00:36:15 Are New Cars Too Expensive?
  • 00:41:44 Autonomous Future and Insurance
  • 00:44:25 Barn Find Saab Stash
  • 00:47:19 F1 Movie and the Bugatti Bike
  • 00:52:34 Florida Man Headlines
  • 00:59:51 Le Mans 2026 Grid Talk
  • 01:04:45 24 Hours of Lemons Focus Build Update!
  • 01:08:37 Signoff

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Motoring Podcast Network

Unearthing the Speed Kings!

For most people, the quiet mountain town of Ohiopyle, Pennsylvania is a place for hiking, rafting, and weekend escapes. But for author, historian, and screenwriter Marcy McGuinness, it has been the center of a 45‑year quest to uncover one of America’s most overlooked motorsport stories – a saga of hill climbs, wooden board tracks, rum‑running racers, and the rise and fall of a forgotten racing empire.

Photo courtesy Marci McGuiness

Recently featured on the Women of the AutoSphere – Break/Fix Podcast, McGuinness shared the remarkable journey that led her from her grandmother’s hotel kitchen to becoming the unofficial historian of the Laurel Highlands – and the driving force behind the upcoming documentary Speed King.

McGuinness’ connection to Ohiopyle runs deep. Her grandmother owned the historic hotel on the river, and the family’s stories, recipes, and photographs became the seeds of her first projects. What began as a simple cookbook turned into a flood of community contributions — boxes of forgotten photos, handwritten notes, and memories from residents who feared their history would be lost. Then came the moment that changed everything.

Tune in everywhere you stream, download or listen!

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One summer evening, local historian Jim Boyd summoned her to his basement. There, he handed her a stack of panoramic photos, race programs, and century‑old newspapers documenting two nearly forgotten motorsport phenomena:

  • The Summit Mountain Hill Climbs (1913–1915)
  • The Uniontown Speedway Board Track (1916–1922)

He made her promise to “do something with this.” Three decades later, she still is.

Synopsis

Marci McGuinness, author, historian, and screenwriter, joins the Break/Fix podcast to share her journey of uncovering and preserving the rich history of Uniontown Speedway and Ohio Pyle, Pennsylvania. With 45 years of dedication, Marci explores the lives of early motorsport legends like Charlie Johnson and discusses her ongoing work on the Speed King documentary. The discussion delves into the historical context of early 20th-century racing, the impact of prohibition, and the construction of wooden board tracks. Marci also shares her experiences in creating documentaries, gathering historical research, and promoting motorsport heritage to future generations.

  • What first drew you to the history of Ohiopyle, and when did you realize it would become a decades-long passion and focus of your work?
  • Over 45 years of research, what discoveries have surprised you the most about Ohiopyle’s past or the people who shaped it?
  • Can you walk us through the moment or the story that sparked the idea for the Speed King documentary?
  • As both a historian and a storyteller, how do you balance factual accuracy with narrative engagement when bringing the past to life?
  • What challenges have you encountered while researching or reconstructing the early motorsports history featured in Speed King?
  • In your work as an author and screenwriter, how do you decide which stories deserve a deeper dive or a dedicated project?
  • How does this film resonate with younger Motorsports enthusiasts?
  • Has your decades long study and understanding of Ohiopyle or its cultural identity changed as you’ve uncovered more stories and preserved more history?
  • Looking ahead, what stories or projects related to Ohiopyle’s history are you most excited to explore next?

Transcript

Lauren Goodman: [00:00:00] Welcome to Women of the Autos Sphere. On Break Fix, we dive into the stories of trailblazers, engineers, racers, designers, and disruptors who are shaping the automotive and motor sports industries. From the pit lane to the boardroom, from concept sketches to championship podiums, these women are driving change breaking barriers, and inspiring the next generation.

Whether you’re a lifelong gearhead, a curious newcomer, or someone who simply loves a good story. You are in the right place. This is more than a podcast. It’s a movement.

Crew Chief Eric: Welcome back to Women of the Autos Sphere. On Break Fix podcast. Today we’re joined by a remarkable storyteller who has become inseparable from the history and spirit of the Ohio pile, Pennsylvania area. For more than 45 years, author, historian, and screenwriter, Marcy McGuinness has dedicated her life to uncovering, preserving, and bringing to life the rich and often overlooked stories of this iconic region.

Lauren Goodman: From her [00:01:00] extensive books and historical research to her ongoing work on the Speed King documentary, Marcy has become one of the leading voices illuminating the legacy of early motor sports, local legends, and the cultural heartbeat of the Laurel Highlands. Get ready for a conversation filled with passion, history, and incredible storytelling as we explore her journey, her discoveries, and the fascinating world behind speaking.

Crew Chief Eric: That’s right. And joining me tonight is returning co-host Lauren Goodman, associate curator of exhibitions at the Revs Institute, and one of the many personalities here on the Motor Inc podcast network. So welcome back, Lauren. Hi. Great to be here. And with that, let’s officially welcome Marcy to break Fixx.

Thank you. Glad to be here. So let’s talk about what first drew you to the history of Ohio Pile and when did you realize it would become a decades long passion project and focus of your work?

Marci McGuinness: Well, my grandmother owned this big hotel in Ohio, pal on the river when I was a kid. And my mom had grown up in Ohio pal.

And then when I was [00:02:00] 17, I of course ran away to a higher pal ’cause it’s up in the mountains. It’s beautiful. All my cousins were there. The two characters that I write about Charlie Johnson, and then in a High Power I write about Congressman Andrew Stewart, who developed a high power in the before the Civil War.

They both grew up here in the mountains in the same little tiny little village over here, Gibbon Glade, which I always found interesting. I lived on part of the property that Congressman Andrew. Lived on and I didn’t know it at the time. And then when I started writing about him, I’m like, oh my Lord. I was living on their property, huh?

Just always paid attention when I was old. The state came in and, you know, evicted all these people with eminent domain along the riverside and took over and built this huge state park in Ohio pile. So I watched this happen later, 1991 when I moved into my grandmother’s. Home. Laura Bell, Morrison Marietta, she had been very popular, her [00:03:00] hotel was popular, her homemade noodles or homemade breads and everything, and she had this drawer in the kitchen full of all these little pieces of paper, you know, note cards with recipes.

My cousins asked me to please put a cookbook together. So after I decipher all these recipes, after talking to all the old ladies in the neighborhood, you know, there were no measurements. So I put together a nanny’s cookbook. And in that cookbook, my grandmother was also a shutter bug and she, uh, had boxes of old photographs.

So I put about a dozen pages of these old photographs of the old Ohio Powell Hotel and Landmarks, and people in the cookbook. People kind of went wild over that and started knocking on my door with boxes of old photographs. The story was usually, I’m afraid I’m gonna die and my kids will throw these out.

I had already written a history of Ohio PAL for a local magazine, the Scene magazine out of Scottdale. So I put together a yesteryear at a high [00:04:00] PAL calendar for the annual Buckwheat supper, the annual. Fundraiser for the fire department and a High Pal and sold hundreds of them. So I did that for a couple of years in a couple different towns, had a series of calendars, and I had so many photographs.

I started a whole series of yester year books, yester Year in a High Pal, volumes one, two, and three. Yester in Masontown Yester in Smithfield. So this led me to a friend of mine, introduced me to an old fellow Jim Boyd, and he had been contributing to the Yes Year and a High Pal Books. He had grown up in a little town that was also taken over by eminent domain to build the YY River Dam Summerfield.

So he had a lot of interesting historical photographs and we became friends. So one night he calls me seven 30 on a summer night and he said, can you come to my house right now? Meet me in my basement. This is always a good story. I said, well, you know, I, I have daughters. All the kids are running around town and I kind of busy and [00:05:00] he’s like, no, please come down.

He was, he had skin cancer and he was almost 80 and I went and met him in his basement and he had his arms loaded with old newspapers and panoramic photographs and just all this information programs from Summit Mountain Hill climbs 19 13, 14, and 15. And the Uniontown Speedway board track 1916 through 1922, and I had never heard of either one of them, didn’t know anything about them, and he wouldn’t show me what he had in his arms until he said, you have to promise to do something with this.

It’s important. No one has ever researched this. You know, he was a hoarder collector. He had buildings of stuff and he wanted to see this preserved, and so I promised him not knowing what I was even getting into. Now, 32 years later, here I am still creating for him, but that’s the story I promised him. And he died before the first book even got out.

That was 1993. And that was before the internet [00:06:00] had everything. And I was in microfilm in the library, you know, digging and digging. And I had gone home and called an historian who was also pretty old at the time, and he said, well, I can’t help you with a book. I’m too old, but I can lead you. Two people and he did.

And then other people, you know, it, it was snowballing. And in this 32 years I’ve been in more garages. I mean, shattered with more car guys. It’s phenomenal. I, I know a lot about cars now. It’s been a fun, fun journey.

Lauren Goodman: This is amazing to me by word of mouth. It’s like you became the local historical society.

Marci McGuinness: Yes, that is true. People always want to know if I am in an historical site, and I said it’s just, it’s just me. You know, when I go to people for advertising, sponsorships in the documentary so that I can get it across the finish line, I tell them that it’s just me. I’m 70 years old. Don’t wait till I die because my kids will own it.

There’s no promising you that we’ll have a Speedway museum and, and be [00:07:00] showing this film. You

Lauren Goodman: have this treasure trove from Jim Boyd about the Union Town Speedway and the Summit Mountain Hill Climb. And could you set the stage a little bit for us about what that looked like in the town and what did that look like for Motorsport in early America?

What was a hill climb? What was a board

Marci McGuinness: track to start out? The cars and the horses? Early 19 hundreds were fighting with each other. The cars were trying to take over the horses. Our roads were knee deep in mud and horrifying and manure. Sheep and cow. I mean, we had cattle going down the national road and all that.

Okay, so in Europe they had pretty good roads and they had road races, and I had never heard of a board track before. Jim Boyd laid this out for me. I’d never, I’m like, what do you, people were driving on wood. That’s pretty wild. Really wild. So anyway, George Tutlow in Uniontown in 1902 had driven the first car into the town.

Our understand southwestern PA was the wealthiest area in the United States at the [00:08:00] time due to our coal. Coke and Steel. Pittsburgh Steel. I mean, we had more co barrens than dozens of them, and they are the ones that opened this board track. They’re the ones who built the hotels and partied here. World War I was going on the whole time when other tracks, Indy 500, closed down for two years.

During World War I, they couldn’t afford to stay open. But Podunk, Uniontown, pa, we were rocking and rolling, putting 50,000 people in the stands. So before the board track. We have Summit Mountain here, which is three and a half miles, goes from maybe 900 at the bottom. 900 elevation feet, 26, 2700 at the top.

So, and it was def defying Turkey’s nest curve was taking people out and everything. So in 1913, the first automobile club in the county. Decided to have an amateur hill climb on the safest side of the mountain, the other side, the east side. And it was all amateur and it was very popular and there’s just thousands of people showed up.

So the [00:09:00] next year they had it on the dangerous side of the mountain, had a two day event and triple A sanctioned the race. AA came in, sent a guy from Philadelphia in 19 14th Uniontown to sanction this summit Mountain Hill climb, and some professional drivers were coming in from Pittsburgh and. Different states.

1915 comes along. Now we’ve got Ralph De Palmer came three weeks after he won the Indianapolis 500 to Uniontown. He was determined to beat Charlie Johnson, who was the local speed king, and he was ended up being the president of the Uniontown Speedway btr. He was determined because Charlie knew that mountain like nobody knew that mountain.

And of course, Charlie beat him by. I don’t know, 28 seconds or something. So, you know, there’s a quote in the local newspaper, Ralph DePalma said, I’ll be back next year. Take that trophy from Charlie Johnson. So, of course he never did. So I write about the Speed King in the documentary is Charlie Johnson, but it’s also Barney [00:10:00] Oldfield and Ralph DePalma and Louis Chevrolet.

You know, we had three years of these hill climbs. 1916, Charlie was planning this big hill climb, the Pennsylvania Department of Transportation. Shut them down four days before the hill climb. Now, understand the county, the tri-state area, was full of tourists coming on trains and buying mules and walking and carriages and buggies and cars in the mud.

Thousands and thousands of people, and they couldn’t hold the race. They scrambled and held it in a nearby town, Youngwood. Immediately. Charlie went to all the cold bears and he collected a hundred thousand dollars to build a wooden trek. He had like Louis Chevrolet and Barn Oldfield started out racing bicycles.

So he knew Jack Prince, who was the designer of all these. Wooden racetracks. They were built for bicycles and then motorcycles and then getting bigger. Ended up there were 24 in America, because our roads were so bad, we’re driving

Crew Chief Eric: on

Marci McGuinness: wood.

Crew Chief Eric: I wanna point out a hundred thousand [00:11:00] dollars in 1916 is $2.97 million in today’s dollars.

That’s an incredible amount of money.

Marci McGuinness: He did it in two months time. This is how much money was here. People were lined up coming to his garage. He had the big standard garage in town, sold cars and built race cars, and they were coming there and just handing out money. So Jack Prince comes in, who designed all these tracks all over America.

He set up an office in Uniontown at the standard garage and was collecting the money, and it took no time. They had the first race in December. They outlawed the race in July, signed the lease in the end of August, and boom, boom, boom. And the war was on. The men were. Off to war. And the United States hadn’t declared war yet, but many men were already being taken.

They hired 168 teenage boys, high school boys to put that track together to pound nails after school. So that’s who built the track. And it was just under 4 million square feet of [00:12:00] hemlock lumber, two by fours, you know, side by side. The curves were 34 degrees. I mean, they were so steep and they went over a hundred miles an hour.

They were breaking records. The last race in 1922, Jimmy Murphy broke all the records at 109 point something mile per hour.

Lauren Goodman: This is what I like to point out to folks about the birth of American racing is we didn’t have great roads, so we built these board tracks. Firstly, the wood allowed you to build those crazy bankings.

Crew Chief Eric: I’ll put it in perspective. 34 degrees on a wooden track today, the steepest track in NASCAR on the schedule is still Talladega at 33 degrees, so that was one degree steeper back then than the most steep track today. That’s absolutely incredible that they could build something like that.

Lauren Goodman: Crazy, crazy angles so cars could just keep going faster and faster and faster.

Second of all, building a board track meant that you could fence off the area and charge tickets. Oh

Marci McGuinness: [00:13:00] yeah,

Lauren Goodman: many

Marci McGuinness: tickets. It was quite amazing. And today I live maybe five miles from the old track, and Hopwood is not a, you know, just a few businesses and not much going on. And even people who live down there don’t even know about it.

And Uniontown. I’d said there were 24 of those tracks. A lot of ’em were quarter mile circles. You know, they grew, grew. But the ones that lasted the longest, most of ’em didn’t last two years. They would burn. They’re just different things. They’re just run outta money. Tacoma, Altoona, and Uniontown. Lasted seven and eight years.

The three of those, and then really most of them burnt or were, like I said, they were abandoned or half-built and all that.

Crew Chief Eric: Were any of ’em phased out because there were new techniques to building tracks by that point, or had they moved to dirt track racing? They wore out.

Marci McGuinness: There were so many splinters, I mean, filling up radiators and tires.

Barney Oldfield and Firestone Tire created the old field tire for racing. It was like a solid, like a tricycle tire, you know, that [00:14:00] solid rubber to avoid having to change tires constantly. And guys were getting big splinters in their elbows, in their eyeballs, and they didn’t have a helmet. They had no windshield, they had no roof.

So when Miller and ER. Built the first race car with a roof, which cost Barney old filled $15,000 in 1916. A lot of money. He brought it by train in his own special car to Uniontown for the grand opening in 1917. He was the world’s speed king and he was here. Can you even imagine they paid him $4,000 just to show up?

He didn’t even have to do anything, but he did race. He did bring his fancy car, and I have a photograph of Fred Dusenberg standing there looking at it with this awful scowl on his face. He didn’t think of it, but it was the big time. I have a photograph of in 1915, Vivian Prescott. Her husband, uh, Neil Waylan sitting on top of a sign on top of Summit Mountain watching the Hill Climb.

[00:15:00] Vivian Prescott was a silent film store for Universal Films. She made 202 films and uh, she was married to Neil Waylan, who owned auto dealerships in New York City and Philly, and he was a race car driver at Indian, blah, blah, blah. And they were promoting Sheepshead Bay, another very popular New York wooden track.

So in 1916, when. They started putting the board track together. They became the promoters for Uniontown Speedway, and she brought in the president of Universal Films, Carl Lemley. He spent $3,000 on a solid silver, three foot tall universal film trophy for the annual big race, 225 mile race every year. So in 1916, Louis Chevrolet won that trophy.

It’s hard to believe it.

Crew Chief Eric: So the last race was 1922, but racing was still gaining popularity pretty hard. Post World War I, especially in Europe. You had the birth of the Milam and a lot of other big races and racing had returned to Indianapolis and things like that. What happened in 1923 and beyond? We weren’t [00:16:00] in the depression area yet.

There was still plenty of good life in that area, obviously in a lot of affluence and whatnot. Why not another race? Or another location.

Marci McGuinness: That was the interesting thing that took me decades to really discover for a hundred years. People in the area here in the newspapers said that Charlie Johnson, president of the Union Town Speedway, ran off to Cuba with the Speedway money.

Now that was the normal. What I discovered was a rumor about Charlie. Charlie was their golden boy. He brought more people than Uniontown than anyone’s ever brought to Uniontown or ever will. And then they turned on him in that way. But this is what actually happened. It took me a lot of research. Charlie Johnson grew up right down the road here in the mountains, but he in the standard garage, he and his father, they owned a brewery, the Johnson Brewery, they owned a dairy, they owned coal mines.

They owned, you know, rental properties. Well, prohibition hit in January, 1920, and this is a time when they were putting more people in the stands. You know, the war was over the, it was [00:17:00] just 50,000 people was the record in 1920. But in January, 1920, prohibition hit and shut down all the breweries, the hotel, you know, they were busting everybody.

Charlie Johnson, he had a car called the Greyhound, who is the big star of this film. He was a Packard and he won all the races that he ever drove in, in the Greyhound Packard, and he outran the prohibition agents several times in that Packard trying to be the decoy so that his trucks of booze could go to Pittsburgh or wherever they were going during prohibition.

They kept throwing him in jail. Now he’s the big shot of the region, of the country, really in racing. And they kept throwing him in jail and that, you know, sheriff’s, his buddy, he’d pop him out. And this happened in 1921. They threw him in jail just before the big race, the universal film. Race Sheriff popped him out right after the race.

He had to go to New York. He had just a year or two before that formed a National Speedway Association with [00:18:00] some of the other guys at these big tracks, and they would meet annually in New York City. Well, those same guys were in the same position as Charlie. You know, they owned breweries, they owned this and this and that, and having trouble with prohibition.

Well, they started rum running. Bringing in ships from Cuba and rum running all over to Detroit and Chicago and Uniontown. And so Charlie became big time rum runner in his Greyhound Packard, trying to keep his parents afloat because they had shut these businesses down. His parents are like 65. And broke.

So he went to this meeting in New York in 1921 and his wife begged him not to go, but he went. And when he came back she had had a fatal heart attack. I had for many years, been so curious about these panoramic photos from each big race. Every year. Charlie’s cock of the W three piece suit in his cigar, the 1922, a year after his wife died.

He doesn’t even have a hat. He has. Sunglasses on no one. The [00:19:00] thousands of photographs I’ve seen of his board track, he’s the only one I’ve ever seen in shades. He had lost 50 pounds. He didn’t even have a suit on. Crooked tie, and you know, he was a wreck. You could tell. So I did all this deep diving and really found out what happened to her, what hap It was just a big snowball.

Not only did Prohibition take his wife, prohibition took the Greyhound and every business, they shut him down. They took everything. Charlie owned days after that last race, they busted the ship from Cuba out in the New York Harbor, and the federal agents were leaving those guys out there freezing. And the guys actually started burning the ship trying to keep warm.

So he took off to Cuba. He moved his parents, his siblings, his entire family to Florida. I have all their addresses and I figured it all out. He continued rum running. I have manifests of him on banana boats. Literally it says fruit boat, but I’m like, that is the banana boat, Cuba and New Orleans, Cuba and [00:20:00] Miami.

He did that throughout prohibition and then he came back home and he spoke at the. Opening Race of the Second Uniontown Speedway in 1940.

Crew Chief Eric: Okay. Wow. There’s a lot to unpack here. I know. Yeah. Where does this intersect? The legends of NASCAR Junior Johnson and the stills and the moonshine Runners of the South.

Does this predate that

Marci McGuinness: way? Predates that really? I know that the NASCAR thinks they invented it. They did not. You know, this is 1922 through 34. Prohibition ended in. 33. And Charlie’s parents died right around that time. And then they all moved home. You know, nascar, that stuff was in the forties. There was a big jump in between these two things.

They were the moonshiners, these were the rum runners. Charlie was one of the first race car drivers who was a rum runner. We had a question

Lauren Goodman: here about how do you, uh, balance factual accuracy with narrative engagement, but it doesn’t sound like you need to with a guy like Charlie. No,

Marci McGuinness: [00:21:00] because everyone wrote about him.

He was in awe the papers, there was a paper trail, no internet back then, but by golly, if you dig deep enough and with the internet today, you know, I couldn’t find all that stuff in 93 for the first book. When I decided to actually do the documentary, I’m like, I have to find out what actually happened to Charlie.

You know, rumors are rumors and I don’t wanna make a documentary about the rumors or prove it was true.

Crew Chief Eric: So let’s close the loop on Charlie’s life. So he is a rum runner. We’re in the thirties. You talked about his parents dying. What did he do for the rest of, how long did he live? What happened next?

Marci McGuinness: He had remarried in Miami, 1928.

You know, he was coming back and forth Miami, back and forth in New Orleans and La, la, la. His second wife. Edna met her and married her. She was from Vermont, and that was another rumor. Someone had told me he had brought a Cuban woman back with him and his wife, and they had all kinds, people have told me many things, but you know, you have to [00:22:00] figure out what actually happened.

And he actually moved back here. I have his address, Gallatin Avenue in Uniontown. And like I said, he spoke at the dedication of the Bryson’s. Uniontown Speedway, which was built inside the old wooden track, half mile track, and it was dirt with asphalt curves. They ran that for seven years. But yeah, they really honored him in the newspaper at that time.

You know that he did so much for road safety. He worked a lot with the Triple A. He did a lot of road races trying to get the Department of Transportation to spend money on. Roads, fixing roads and all that kind of thing. So they honored him for that. And he’s, he was here for about 10 years and then he and his wife moved to Chattanooga.

Some of his other family had a real estate office down there. He died in Chattanooga in 1954. It was a heart attack. And I do make this up at the end because I don’t know exactly what happened. Fell asleep and had a, i, i have no idea, but in the edit documentary, I [00:23:00] have him in his garage fixing a 1912 Packard.

He’s telling his wife, just let me die here with the greasy rags and, you know, let me die in my garage. And she calls an ambulance and Charlie says, you know, I might’ve lived if I drove that ambulance. But the, the driver was no speed king. That’s how I ended up. All right. And I do have a picture of his.

Grave. There you have it.

Crew Chief Eric: History is not linear. Hmm. This is one thread of many threads all happening simultaneously. So we got a glimpse of Charlie’s life. Let’s take a step back. The original track closed 1922, and there’s some famous names in there that we can follow their history, right? Louis Chevrolet and Barney Oldfield and all those guys.

But where did the rest of the racers who obviously were addicted to racing at that point? If they weren’t rum runners, where did they find themselves participating in races during all those years?

Marci McGuinness: 1923, Pennsylvania and California had the most tracks, ’cause that’s where the money was. Pennsylvania had three wooden tracks nearby.

Altoona, Pennsylvania. [00:24:00] Altoona built a track. They did the curves different for safety. They ran for eight years. Now that was all during prohibition and I don’t know how they handled that, but the same people were riding. Fred Dusenberg actually died over there, test driving a car on the mountain near that track.

There were a couple other ones built after that time. They actually finished the last race in 33 or so, these wooden tracks, and then there was more dirt. There were dirt tracks and drag tracks, you know, around, but the big crowds were coming to those wooden tracks because they put on the shows at the Uniontown Speedway during the war, they had a guy named Deloitte Thompson flying in a war plane, and they had built a fake fort in the middle of the infield, and he was dropping fake bombs during intermission.

All this kinda stuff. So really big show.

Lauren Goodman: Let’s bring that back During Grand Prix Indian Fields bombs, dropping glitter bombs on a [00:25:00] fake Ford or something like that.

Crew Chief Eric: Well, on that bombshell, why don’t we switch gears? Let’s talk about the world of making films. So let’s dive a little bit more into the documentary itself.

Marci McGuinness: I had never made a film. I’ve been in a bunch of documentaries and, you know, whatnot through the years and done a lot of radio shows and all that. But friend of mine, two years ago in January now, he said, you know, it’s about the time you did that documentary. I haven’t a clue how to even go about that, but I, I get it because.

It’s now or never really now or never. So I dropped, literally dropped what I was doing and delved into it, educated myself. And then I was in Florida at the time and I, when I got home, I started visiting all my old car guys who have sponsored all my books. I have four books on this track. So you know, they’ve been sponsoring my books or racetrack programs and all these years, and I first sent them out a note about what I was thinking about doing with [00:26:00] an outline.

They’re like, yeah, come see me. So I started visiting them and collecting sponsorships, and then I bought the Da Vinci Resolve Studio Software. I have no idea that I was gonna have to be the one to do it. ’cause I thought, well, I can just put the photographs and captions together and pass it on. Somebody put together, but there’s no way, because I literally would’ve had to remove my brain and put it in someone else’s brain because they don’t know all the extra stuff, all the zillions of silly, crazy facts and whatnot.

I ended up putting it together and now it’s a 72 minute film. What a trip this has been during this, I had a fellow who does videos and things around here and he has a good sound room and I was looking for someone to do the voice of Charlie Johnson. ’cause I wrote the screenplay and I’m like, I can fill in the blanks.

I can narrate blah, blah, blah. But I needed Charlie. So he found me a guy who has a great voice and he did a great job. He, he’s not a reader, he’s reading the screen. He, he’d never heard this story. He didn’t read the script that I’d [00:27:00] sent him in. He’s a busy guy and he runs a Derby race promotion business, hardcore Derby promotions.

Frankie guy, he did really a great job when I. Started going through it and trying to piece everything together with photographs and blah, blah, blah. He really nailed it. He had a lot of the same emotions. You know, he used to drive and he understood what Charlie went through. He even teared up, you know, when the wife died.

I’m like, whoa, stop. I’ve gotcha. You know? But, so putting it together has been a lot of fun. So I had that recording. Him and just all my stuff and I actually went and house, sat for a friend of mine and sequestered myself to try to put the story together, you know, in the first form. Took me about two months and I did it, but mine are the only eyes had been on this film except for my grandsons and a couple of two friends.

While I was doing that, I need some old film clips. So I dug around and dug around till I could find some [00:28:00] film clips that I could buy. I started out in 1902. I’m like, okay, I need a, a big guy who kind of looks like George Tutlow and he’s driving his car over a hill and into this town, just like George Tutlow drove into Uniontown with the first car, and I have all these old clips in between all of my photographs and articles and stories, and I found clips like.

1913 when we were having our first hill climb. Henry Ford was developing his first assembly line. I bought a clip of him, Henry’s standing on the steps with his stopwatch going go. And these guys, he call, he calls him a strong young man, but he’s my age. He ties a rope, the front of the chassis, pulls it and there’s a little crew here and they puts parts on, pulls it up some more.

There’s a crew, puts some parts on. That was the first assembly line he was trying to. Drop the price on his cars. He wanted to get that going. So then the second assembly line is [00:29:00] also in this clip. They built a one wheel track and they pushed the cars to each crew. I mean, it’s just stuff like that. I’ve found so many.

I have a clip of Barney Oldfield driving. Henry Ford’s first race car 9 9 9 on wood, and he comes around the track and he stops and he the car in his mouth and he takes his golfers off and grin. Here’s some good stuff. I have Louis Chevrolet winning the Harkins Trophy at Sheephead Bay and Gaston Chevrolet’s fatal crash.

Where three of those guys got killed in Beverly Hills. Oh my. They card him off in this clip. I couldn’t believe I found that and things like that. So I would have what’s going on with the speedway, but what’s going on in the automotive world and the racing world. And then what’s going on with the war at the same time?

So I have clips like 1918, so we are neck deep in the war. The United States is, at that time we put 4.8 million men from the United States over France and [00:30:00] oh my gosh. So I have clips of our soldiers marching down the streets of Paris and women throwing flowers at them and cheering because we won the war.

And I have clips of our guys bombing a German sub torpedoing it. You know, it says, while Charlie’s planning, uh, three big races for 1918, here’s the navy, boop, you know, that kind of thing.

Lauren Goodman: I feel very keenly how you feel like such a guardian and a steward of this legacy and making sure that going back to the day in the basement with Jim.

You’re gonna make sure that it gets passed on. I have such respect for that. I mean, of course I a little biased. I work at a car museum that also has a library and archive dedicated to the automobile. So all we do is we think about how can we save these things, and not just the physical objects, the ephemera, the photographs, but talk to people.

Because so much of the wisdom and the history is in people’s heads. Especially on the automobile. It’s trying to capture that while they’re still with us.

Marci McGuinness: It’s true. I’ve only [00:31:00] met two people who actually met Charlie. One is his niece and she’s 94. She contributed photos recently and remembered a lot what a character he was and remembered him coming back from Cuba and all this stuff.

Another guy who was almost a hundred when he passed away had ran into Charlie in the street during the 1940s. And Charlie told him stories about building race cars, showed him where the standard garage had been and all that. You’re right. And you can’t piece things together without talking to people.

’cause it’s like, ah, okay. That makes sense and it’s a lot of work. It’s crazy. Sometimes you just feel kind of insane, but you just have to keep on trucking to get it done. I want my grandsons, I want all my car guys, grandkids. And that’s what, when I first went to see Gary Sissen about it, Gary’s always been a sponsor of mine.

He has a car lot down here in Uniontown. He put his. Fingers under his chin and he said, oh my [00:32:00] grandkids. Exactly. So these car guys that are sponsoring the film is an hour of Charlie’s story, and then the next 12 minutes are clips from the Speed King meeting that I held last year at the Summit Hotel on top of Summit Mountain, where all these guys stayed, where Barney and Louis stayed across the hall from each other.

We had a meeting in the uh, Harvey Firestone room and filmed it, and all these guys talked about the importance of this story. They talked about their own lives racing. LJ Dennis, he’s won over 400 races. He’s in the Hall of Fame in North Carolina, but he lives right up the road. Here he is 90 and he’s still working on cars.

I pulled my car in there a couple weeks ago and said, what is this weird noise? You know? But you know, they’re all in the film. And throughout the main film, even several of them were talking about the coal mining, the, the wealth, and the, you know, how we could open such a track. In Southwestern Pennsylvania, [00:33:00] uh, you know, people don’t understand how wealthy this area was, and that’s Uniontown.

Pennsylvania is undermined. That’s how Andrew Carnegie made his money. But Greg Dahl speaks to it in the film under Uniontown. That’s Pittsburgh still, and Pittsburgh still supplied 50% of the Still for World War I that kind of brings it all home. It’s how we could race and Indy couldn’t throughout. That war and now, now it’s, it’s still a tourist area here, but for different reasons.

Lauren Goodman: In your work as an author and a screenwriter, how do you decide which of these stories, which of these threads deserves a closer

Marci McGuinness: look? It’s gut. When John May called me and said, you, you really need to do that documentary. I’m neck deep, just launched a book on a higher pal to do a three book series and then a documentary, and all my car guys are aging.

In January, it’ll be two years since we had the conversation. And I’ll tell you this summer, I was really tired. Really [00:34:00] tired after spending months and months in Da Vinci resolve Studio ’cause I’m a writer that was so technical and hurt my brain, but learned a lot, really happy that this is the way I went.

Then I’ll be ready for my second high power would be easy because I mean, I know that I don’t even need to interview anybody about that. I can just spill it.

Crew Chief Eric: So as we close out this thought on the film and the making of the film and everything that went into it, how do you think this is going to resonate with younger Motorsport enthusiasts?

Marci McGuinness: Now, that’s a big question. I know that there are a few things. The documentaries I’ve been into are running local schools. When I started the documentary, uh, one of my car guys, John over, took me down to South Union Township to see one of their township supervisors who wanted to put a trail over to Hopwood on Route 40 from this sheep’s skin trail that is there.

And John said to him, you know, that goes right through [00:35:00] the old Uniontown Speedway property. And Bob didn’t know he just wanted it where he went. In the meantime, they’re waiting on grants. To put the Speedway Trail in the unit, Speedway Trail and it there on the National Pike. This old gas station, the uh, national Road Heritage Corridor Group are trying to get grants to put the Uniontown Speedway Museum there.

Now this is a tourist area. So what I would we would like to do as this comes into fruition is of course continually play the film there. I’d like to design a, some kind of games where these guys can come in and drive on the wooden board track and play the film in schools and get them interested and and excited about it.

And through this museum and. Just let ’em know where cars come from. I think people take their cars for granted something terrible, so I’m going to do my best to launch this and get it on streamers and everything, but it’s a step by step thing. It will be in some film festivals next year [00:36:00] and all that jazz, and definitely I wanna show, and there’s middle schools and high schools.

Crew Chief Eric: So let’s talk about the future a little bit here. As you mentioned, the racing in the Ohio pile and Uniontown areas ended in 1922, over a hundred years ago. Yeah. Despite all the run running and everything else, but there’s a hundred years of history in that area, and you alluded to the fact that it’s still a very much a tourist area in southwestern Pennsylvania.

What does that a hundred years look like? Are there other chapters of the Ohio pile story that you wanna explore and talk about outside of, you know, speed King and, and things like that?

Marci McGuinness: Oh yeah. Ohio Pile is on the Yoki Gny Whitewater River. During the French and Indian War, George Washington came down the yak.

A log canoe almost drowned. They saved him right above the high Powell Falls. I write about all this kind of thing, but a High Powell was the busiest commercially run Whitewater River in the world for a long time, and my family owned a couple of those companies. And so. [00:37:00] What I’m writing about as far as how Haal goes is the beginning of a Haal after the Revolutionary War.

A lot of soldiers out of Virginia in these areas were not paid with money. They were paid with bounty land grants, and they would send these guys who were broke, just been shot at. Up into the hills, you know, like they owned 400 acres, but they didn’t have anything. So anyway, Congressman Andrew Stewart, these guys would come up here and he would buy their land from them and set them up.

Like one of ’em was raising mules and one of ’em was raising different things on all these different properties. He bought up 80,000 acres of Fayette County, this congressman. So I write about him. I don’t know what a high Powell would’ve been without the Congressman. He almost became president and when there was a flub in Philadelphia during the voting and all this stuff, and he came back home and they had been nominating him for vice president at the [00:38:00] time.

So he came back home and he had several hotels in this hotel down by the courthouse in Uniontown, the Clinton house. President Taylor came. Stopped there to see him and offered him the position of Secretary of the Treasury. He turned it down and bought up a high power. Instead, he came up here, built bridges over, you know, you couldn’t get into high power.

I mean, it’s mountainous and it was just forests and a river and creeks, and you couldn’t cross. I mean, he built bridges and gristmills and homes and made electricity out of the waterfall and built hotels, and he fought for 20 years to bring. The B and O railroad up through a high pal to his hotel, the Ohio Pal Hotel, which my grandparents later owned.

You know, he made a town out of this frontier, which just had travelers and Indians hunting the ground and fishing, and then poor soldiers coming up here trying to build log cabins and stuff. He really put people to work. He had [00:39:00] made tons of money. He did a lot of good for a Ohio pal.

Lauren Goodman: Ohio Pal is this incredible setting.

Beautiful kind of the stage for all these human dramas.

Marci McGuinness: Mm-hmm.

Lauren Goodman: Do you have any words of wisdom or advice to, let’s say, younger folks today who think, gosh, I wonder what happened. If there’s a similar history in my town, I wonder if I could get started looking around and seeing about that. Do you have any advice for budding local historians?

Marci McGuinness: Right, about what interests you? And do your research. Research is so much fun. The discovery, you know, putting things together and every town has a story and every town has interesting people and a lot of times, like Charlie Johnson and the congressmen are really unsung heroes around here. Like Hyatt Powell doesn’t have a bust of the congressman.

I always say this, where’s the bust of Congressman Andrew Stewart? Because he gave land for the fire department, the community center, the. Playground, everything. I mean, built all the homes. There’s nothing about him. The township is called Stor Township, but nobody knows why unless they [00:40:00] read my books. But I think a lot of places do have historical societies.

I would start there if that is available, but many libraries have, like we have the Pennsylvania room. You know, it used to be microfilm and everything. The libraries have collections of the oldest stuff. If you’re lucky and had really good people in these libraries. Libraries and historical societies, and talk to the oldest people.

You can find the oldest people. I’ve interviewed three 105 year old women, and I think the oldest man was 99. And they were still sharp. Listen to older people. Don’t ignore these people when they talk, ask them questions, ask them about their lives. They’ve been through more. I’ve lived seven decades now and I cannot believe Higher Pal is nothing like it was when I was a child.

Nothing. You know, sometimes I just lay on a river rock and think about 1960 and 1955. Oh my gosh. So you really have to [00:41:00] write about what interests you and do your homework and have fun.

Lauren Goodman: You know, besides the, you got some upcoming books planned about Ohio Pilot history. Any other kind of projects you have cooking?

Oh my gosh,

Marci McGuinness: a few years ago I wrote my memoir, it’s called Writer’s Life in case I croak or something, some cry. My kids hate when I say that, but I’m like. It’s gonna happen, but I’m writing my memoir and hopefully after I get done with the Higher Pal documentary and books, I will finish that thing. I wrote it actually up to maybe two years ago, and it’s a comedy.

I write all the crap, you know, boo blah, blah, blah, and I come up from a huge family. So there’s a lot of funny stuff. I’m writing it as a comedy, so anything I was bitchy about, you know, in the first draft is. Out, get out. You know, life is fun and who knows? I mean, it’s gonna take me a while to get all this done.

There’s no end to subjects I don’t think.

Crew Chief Eric: Well, that being said, Marcie, when you look back at all this and you [00:42:00] think about the history of Ohio pile and racing and everything else, what would you say is the one thing that motor sports has taught you? Those are good people.

Marci McGuinness: Those car guys. I didn’t know anything about racing.

You know, not really. I mean, I’ve been to races, but I didn’t know anything about it. They’ve taught me so much. It’s flabbergasting, and they’re such good, good people. When I promised to do something with this information, I had no idea I was gonna make so many friends, so many long, I mean, they’ve been with me for 32 years on this speaking project, 32 years.

I think back, I’m like, oh my gosh. We were young. When we started this stuff, beyond the writing and the research, I’ve just learned that racing people are good people, family oriented, and. Solid, solid people. That’s what I’ve learned.

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

Marci McGuinness: I’d like to thank Jim [00:43:00] Boyd for torturing me for 32 years with this and all of my sponsors. I have a website@speedkingstory.com. I have some clips from this Speed King documentary Uncut on YouTube Shore Films, S-H-O-R-E Shore Films. You can find, just go Uniontown Speedway. You’ll find it. The last 10 minutes of the film or the funny part where all the guys are talking, telling their stories, and uh, just talking about each other, talking about their dead friends and all that jazz.

But all my books are on Amazon. I mean, I sell them locally, et cetera. Marcy McGuinness. Just look up Uniontown Speedway books, you’ll find, you know, I have like 40 books on there. I have an High PAL info website. It’s a lot of information on that end of things, and I would just like to thank anyone who has ever contributed to any of my projects since 1981 when I started writing.[00:44:00]

Lauren Goodman: Well, that brings us to the end of today’s conversation with Marcy McGuinness, author, historian, screenwriter, and one of the most passionate guardians of Ohio, pys past her decades of dedication from uncovering forgotten stories to bringing the Speed King documentary to life. It reminds us how powerful history can be when it’s preserved by someone who really cares.

If Marcy’s work inspired you today, be sure to explore her books, follow the progress of speaking, and dive deeper into the rich heritage of Ohio Pile, Pennsylvania. For more information, be sure to check out her websites, Ohio pile.info and speed king story.com.

Crew Chief Eric: Marcy, I can’t thank you enough for coming on Break Fix and sharing your story with us, and it’s one of those reminders that no matter where you look, no matter what corner of the world you’re in, there’s always.

Something that pulls us back to motor sports, and I think you’ve proven that yet again, and I appreciate what you’re doing and keep up the good work.

Marci McGuinness: Thank you guys so much. It was [00:45:00] fun.

Lauren Goodman: Yay. It was a pleasure to meet you.

Marci McGuinness: You too.

Crew Chief Brad: We hope you enjoyed this journey through racing history and the personal stories that keep the spirit of Motorsport alive.

The Eastern Museum of Motor Racing is a premier destination for motor racing enthusiasts, showcasing a vast collection of historic racing cars, artifacts, and memorabilia. To learn more about the EMMR or to be a part of the next in-person racers Roundtable. You can plan your visit or support the museum’s mission to preserve and celebrate the legacy of racing by heading to www dotr.org.

Follow them on social media for the latest news, upcoming events, and exclusive content. Until next time, keep the engines running and the memories alive.

Crew Chief Eric: We hope you enjoyed another awesome episode of Break Fix Podcast, brought to you by Grand Tour Motorsports. If you’d like to be a guest on the show [00:46:00] 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@gtmotorsports.org.

We remain a commercial free and no annual fees organization through our sponsors, but also through the generous support of our fans, families, and friends through Patreon. For as little as $2 and 50 cents a month, you can get access to more behind the scenes action, additional pit Stop, mini SOS and other VIP goodies, as well as keeping our team of creators fed on their strict diet of Fig Newton’s, Gumby bears, and Monster.

So consider signing up for Patreon today at www.patreon.com/gt motorsports. And remember, without you. None of this would be [00:47:00] possible.

Highlights

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

  • 00:00 Meet Marci McGuinness: Historian and Storyteller
  • 01:42 Marci’s Early Inspirations and Projects
  • 04:45 The Discovery of Uniontown Speedway
  • 07:08 The Birth of American Racing: Board Tracks and Hill Climbs
  • 13:40 Challenges and Innovations in Early Motorsports
  • 16:13 Charlie Johnson: The Speed King and Rum Runner
  • 20:05 The Legacy of Charlie Johnson and Early Motorsports
  • 22:02 Honoring Charlie’s Contributions
  • 23:30 The Evolution of Racing Tracks
  • 25:06 Creating the Documentary
  • 27:54 Gathering Historical Footage
  • 30:21 Preserving Automotive History
  • 36:07 Future Projects and Reflections
  • 42:51 Closing Thoughts and Acknowledgments

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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Photo courtesy Marci McGuiness

Beyond Speed King, Marci’s working on a multi‑volume history of Ohiopyle, a comedic memoir, continued preservation of local archives and she’s still honoring the promise she made in that basement in 1993!

The early 1900s were a chaotic time for transportation. Roads were muddy, livestock still dominated the streets, and automobiles were fighting for legitimacy. Europe had road racing — America had lumber.

Board tracks, built from millions of feet of hemlock, became the proving grounds for speed. Uniontown’s track was among the most ambitious:

  • 34-degree banking — steeper than modern Talladega
  • Nearly 4 million square feet of lumber
  • Built in just two months
  • Funded by wealthy coal and steel barons
  • Staffed by 168 teenage boys hammering nails after school

And the crowds came. 50,000 spectators packed the stands — even during World War I, when the Indianapolis 500 shut down. Racing royalty arrived too: Barney Oldfield, Louis Chevrolet, Ralph DePalma, and local hero Charlie Johnson, the “Speed King” himself.


Charlie Johnson: Racer, Folk Hero… and Rum‑Runner

Johnson’s story is the beating heart of McGuinness’ documentary.

A brilliant driver and beloved local figure, Johnson dominated the hill climbs and became president of the Uniontown Speedway. But when Prohibition hit in 1920, everything changed.

His family’s brewery, dairy, and coal operations were shut down. To keep them afloat, Johnson turned to rum‑running – using his Packard “Greyhound” to outrun federal agents on mountain roads he knew better than anyone.

He was jailed repeatedly. He lost his wife. He lost his businesses. And eventually, he fled to Cuba. For decades, locals believed he “ran off with the Speedway money.” McGuinness’ research proved otherwise – revealing a man crushed by Prohibition, not corrupted by it.


The Board Track Era Burns Out

By 1922, the Uniontown Speedway – like most wooden tracks – was splintering, dangerous, and expensive to maintain. Tires filled with wooden shards. Drivers suffered injuries from flying debris. Fires were common. The era ended as quickly as it began.

But the legacy lived on in the racers who moved to Altoona, Beverly Hills, and other tracks – and in the rum‑running culture that would later inspire NASCAR’s moonshine legends.

Despite never having made a film, McGuinness threw herself into the world of documentary production. She learned editing software, gathered archival footage, and recorded voiceovers – including a powerful performance from a local derby promoter who voiced Charlie Johnson.

The result is a 72‑minute documentary blending:

  • Rare photographs
  • Restored film clips
  • Firsthand accounts
  • Wartime context
  • Automotive milestones
  • And the emotional arc of a forgotten American racer

The final 12 minutes feature modern racers and historians reflecting on the Speedway’s significance – a bridge between past and present.

Marci’s mission goes beyond the film. Working with local leaders she is now pursuing: A Uniontown Speedway Trail, a Speedway Museum on Route 40, Educational programs for schools and interactive exhibits for young motorsport fans (like the one seen below).

Photo courtesy Marci McGuiness

Her hope is simple: Teach people where cars – and American racing culture – really came from. McGuinness encourages anyone curious about their town’s past to: Follow your gut, visit libraries and historical societies, talk to the oldest people you can find, capture stories before they disappear and write about what fascinates you. “Every town has a story,” she says. “You just have to dig…”


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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DeLorean: The Rise, Fall and Second Acts of the DeLorean Motor Company
A French Kiss with Death
Driving to the Future: Living life following Formula One racing
Tales From the Garage
Geared for Life: Making the Shift Into Your Full Potential
Ultimate Garages
Fenders, Fins & Friends: Confessions of a Car Guy
Racing While Black: How an African-American Stock Car Team Made Its Mark on NASCAR
The Last Lap: The Mysterious Demise of Pete Kreis at The Indianapolis 500
James Dean: On The Road To Salinas
Performance Thinking: Mental Skills for the Competitive World...and for Life!
The Other Side of the Fence: Six Decades of Motorsport Photography
Racing with Rich Energy
Little Anton: A Historical Novel Complete Series
Lone Rider: The First British Woman to Motorcycle Around the World
Iacocca: An Autobiography
Colin Chapman: The Man and His Cars: The Authorized Biography by Gerard Crombac
Paved Paradise: How Parking Explains the World
Shipwrecked and Rescued: Cars and Crew: The


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The Spirit of Everywoman: Rediscovering Eleanor Velasco Thornton

For more than a century, the Rolls‑Royce Spirit of Ecstasy has glided ahead of some of the world’s most exclusive automobiles – an icon of elegance, speed, and mystique. But behind the legend lies a woman whose real story is far more compelling than the myths cast in silver. In a recent You’re Listening to Radio Revel “Keyhole Witness” episode, listeners were invited into the life of Eleanor Velasco Thornton, a woman who moved through Edwardian England with quiet brilliance, remarkable resilience, and a talent for navigating a world that rarely made room for women like her.

Photo courtesy Steve Purdy, Society of Automotive Historians (SAH)

Eleanor – born Nelly Thornton in Stockwell – grew up in a working‑class family where practicality was survival. Her father managed telegraph offices across Britain, and her mother earned extra income typing letters for neighbors. As one document notes, she was “a charming, competent, creative young woman… who thrived as a free spirit.” Those early years taught her precision, brevity, and the power of language – skills that would later make her indispensable.

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But Nelly wanted more than the narrow future offered by the Gray Coat Hospital Academy, where girls were trained for domestic service. With the encouragement of her neighbor Emma Velasco, a Polish elocution teacher who saw her potential, she left home at sixteen and reinvented herself as Eleanor Velasco Thornton. She tried acting and modeling in Chelsea’s bohemian Pheasantry, even posing for young sculptor Charles Sykes. Yet the artistic life didn’t pay the rent, and Eleanor soon turned to the practical world she knew best: clerical work. That decision changed everything…

Synopsis

Eleanor “Nelly” Velasco Thornton – long rumored to be the muse for Rolls‑Royce’s Spirit of Ecstasy – led a far richer life than the legend suggests, rising from a struggling London family to become a skilled telegraphist, actress, model, and ultimately a pivotal figure in Britain’s early motoring world. Her work at the Automobile Club and later Car Illustrated brought her into the orbit of John “Monty” Montagu, whose private commission of a small sculpture by Charles Sykes would later evolve, through corporate reinvention and mythmaking, into the famous Rolls‑Royce mascot. Though the evidence linking her to the emblem is largely circumstantial, her true legacy lies in her quiet, class‑defying professional success and the life she built before her death at 35 aboard the torpedoed SS Persia – a story far more compelling than any automotive myth.

Revel retired from active ESL teaching in 2014. But before that retirement, he spent 32 years in the profession. His last job was in a small, private academy in the North of Spain, an area he’d eventually move to after the hustle and bustle of New York City life.

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His work was a combination of helping kids with their school learning and teaching English as a Second Language; and in his retirement years, he’s found himself at the creative helm of You’re Listening to Radio Revel podcast, a combination of memoir and audio drama.

Transcript

[00:00:00] Welcome back listeners to your listening to Radio Revel. This week is a bit of a throwback episode. I’ve resurrected the Keyhole Witness series to tell a story of an English woman who lived in the late 19th, early 20th century. The story came to me through my fellow podcaster and virtual friend Eric of the Break Fix podcast.

He had someone reach out to him with the idea of elaborating a story about the woman who has been credited with sitting for the Rolls Royce mascot, known as the spirit of ecstasy. After researching this woman and the men she rubbed elbows with, I came up with this story, a kind of alternative look at the legend, as well as a bit more focused on the woman herself.

What I tell, I do not report. I merely tell. Welcome to a new Keyhole witness episode titled The Spirit of Every [00:01:00] Woman.

Nelly was lying on the rumble sheets of the unmade bed clad only in one silk stocking pulled up over her bent right knee. Her left foot crossed over that knee and her arm stretched to her toes in the gesture of putting on the other stocking. Though that stocking was tangled in the bed clothes to her left, maybe the next movement was actually lowering the left leg and removing the stocking from the right.

Was she to do this? She would be totally nude. Nelly would not reach over for that stocking, though her nose itched, but she wouldn’t lift her hand to her face to scratch. Charles was a very fussy man and right now concentrating deeply on the charcoal sketch. He was blending into his notebook. Nelly knew that if she broke this pose or something like an itchy nose, it would break that concentration.

He would, as he had in the past, snap at her and [00:02:00] scold her as if she were a child. Despite being only 16 years old, literally a child, Nelly didn’t like being treated as one. Eleanor Nelly scolded herself mentally. Your name is Eleanor. Nelly is gone. You left her behind when you left home, the day you came to live here, you were reborn as Eleanor Velasco Thornton, renowned actress and dancer.

Applauded on the London stage. Favored muse of Charles Johnson Sykes, famous sculptor and painter, Eleanor Velasco Thornton, the incarnation of Aphrodite. Ecstasy Incarnate Nelly didn’t share these thoughts aloud with anyone. She understood that they were childish, knew that she’d be laughed at, and again treated like a child.

Many of her fantasies of goddesses and ecstasy came from her own imaginings, her own escapism from her fairly strict struggling tradesman class upbringing. Some of her [00:03:00] musings arose from the acting and social etiquette classes she received from her neighbor, Emma. And yet this idle daydreaming, this self distraction from the boredom of sitting for Charles would become a line upon which she could peg her hopes and dreams for her future.

Nelly’s. Father Frederick was a particularly unimaginative man, educated in engineering, fresh out of school, and recently married. He procured a position with the l Clark Muirhead and Company Telegraph interest, a job that had him traveling about England and Scotland to oversee installations and repairs on telegraph lines.

When he was not out in the field, he was responsible for local offices and operators. This meant he was most often home in the summer when weather was less likely to take down lines. The closest Fred Thornton came to spending time with his daughter, Nellie was during those periods that he was home when he needed help at a local [00:04:00] office.

Telegraph operators were not a dime a dozen then an absence at one office or another meant that Fred would have to substitute. And when there were two or more absences, Fred would take Nelly and later her younger sister Rose, park them in the swivel chair, and have them attend to both the incoming and outgoing messages.

The girls knew the Morris code as well as they knew the alphabet they used in school.

Nelly caught onto the entire messaging thing, especially well as when her father was away. Her mother, Sarah Ann often drafted Nelly into her service, despite her parents having sent both Nelly and Rose to the subsidized Poor Girls School, the Gray Coats Hospital Academy. Money was almost always problematic in the Thornton home.

Sarah Ann kept a tight reign on the household books and Fred’s salary. Nearly met their needs, but she had finally taken on jobs herself. Sarah Ann was literate, [00:05:00] something many of her neighbors in the terrace housed neighborhood were not. She could read letters sent by local departments, and more importantly, she could draft letters in reply.

She had a Remington typewriter. Her husband had fixed from junk yard recovery, and she made enough money to comfortably supplement Fred’s pay.

So many in afternoon. On arriving home from school, Nellie would find a hastily written note on the table asking her to rush over to this or that neighbor’s house to take notes or to read correspondence or bring the typewriter there or pick it up to take it to another neighbor’s. Nelly became well acquainted with typing, grammar, spelling, and thanks to the telegraph work, the concise use of language, she hardly ever said more than was absolutely necessary to get what she wanted, and that talent helped her almost always get what she wanted.

What Nelly had most recently wanted was to get outta the Gray Coat Hospital Academy. [00:06:00] Nelly walked every morning with her younger sister, rose more than an hour through the foggy, damp streets of London from their tired terrace house in the Stockwell neighborhood up to the academy near Westminster Cathedral.

Nelly felt stifled, suffocated, a gray coat. Girls were only allowed to wear those name forsaken gray coats with those scratchy gray skirts. During the long days at school, they were shuffled from Bible class to cooking class to household cleaning class, back to Bible class with a nod towards the modern young woman employment possibility of clerical or shop work.

Most girls would end up taking a position that would begin with washing up in the scullery, perhaps move up to making beds, and finally graduate to polishing silver, maybe even simply a combination of the three. So most of the education offered a gray coat focused on preparing the girls for this. Nelly, though was quite sure her future would not include white aprons and raw hands.[00:07:00]

There were also days when there was no note on the table. When Rose and Nelly returned home after school, they would often find the house cold and empty. Frederick would’ve been called up to Scotland to direct the rehanging of wires or the replacement of broken posts. Sarah Ann would most certainly be somewhere else reading a letter that had come in the post this morning with a threatening looking coat of arms replacing the return address.

Or perhaps crafting response to that letter in reasonable language that the neighbor would not have used, nor would have known how to write out an empty, cold house was no problem. Right next door, the girls would find Emily, whom they called Emma, fussing about in her kitchen with a hot kettle ready on the stove, and a bit of bread and jam spread out on the table.

Emily Velasco was an exotic member of the Stockwell Terrace House community. Despite having a Spanish sounding surname. Eine was Polish. She had come to London with her [00:08:00] Ukrainian husband, mainly because it was in London that she could find clients for her ever burgeoning acting slash social Graces school.

While she and her husband Ralph plotted and planned the school, they would eventually open in Devon. Years later, Emily gave Lucian and poise lessons throughout the year to young artist recently arrived in London, Emma, who had no children of her own treated Nelly and Rose as if they were her special pets, her talented daughters.

She saw clearly that both had been blessed with physical traits that would be advantageous as they navigated their futures. Nelly was even in her early teens, a well-built, rounded out female who would certainly attract the attention of a man of some station, perhaps even a station above the strict terrace house station the girls had been born into.

In addition, Nelly was incredibly clever, obsessively organized, and a very quick study. The challenge was to rise outta the cast of the Terrace house, [00:09:00] perhaps find a path into at least one cast above.

Emma focused most of her efforts on molding Nelly into a modern woman. The suffragist movement was not something that could be ignored. Women were marching in the streets. Some were even throwing explosives here and there. Emma was fairly critical of most of the demands placed upon women by those whose main efforts seemed at times violent and always political.

Emma had no reason for a woman to dress like a man or go after a man’s job or even behave like a man. Women were women and should be allowed to be so and take every advantage afforded them as women over the men they would encounter in this modern world. Emma belief firmly that women possess the wiles and the arms necessary not only to survive, to defend themselves, but also to triumph without counting on any manly traits.

These were the ideas she infused into Nelly’s Open Mind. Being [00:10:00] clever simply meant that Nelly would be more capable of holding her own when men eventually entered the picture. Right around the time Nelly turned 16, she confided her frustration with the strict atmosphere of the Gray Coates Hospital Academy.

To Emma complained that the studies there offered such a narrow outlook on life, all bed making and Shopkeeping. Nelly asked Emma if she mightn’t suggest a way out outta the school out of her home where she was basically unpaid labor to her father or her mother, and out with a pathway to a future that fit Nelly.

Emma Hobnobbed with most of the artists who lived in the Bohemian Chelsea neighborhood in small flats in the ancient pheasant tree. That building that only decades earlier had housed the principal nursery for the exotic pheasants and live hunted animals shot at by the nobility. She enjoyed the company, especially of the actresses, models and dancers.

Three professions that women could [00:11:00] aspire to without much male obstruction. Although the aspiration to these always seemed to be considered secondary to respectful marriage and homemaking, these women were often discriminated by society as not much more than pseudo prostitutes, even so Emma thought Nelly might fit in with that Bohemian crowd, or at least get a start among them.

Emma first consulted with Sarah Ann, who knew her daughter was headstrong, obliging her daughter to take that hour long walk to the Gray Coat Academy that only restricted her growth as a person would finally end in an uncontrollable rebellion with a probable, unfortunate outcome. Sarah Ann agreed to allow Nelly to take a room at the pheasant tree in Chelsea.

Emma had vouched for others who lived in the complex, especially one Charles Robinson Sykes, a young artist then 27 years old, who was beginning to make a name for himself as a sculptor who might agree to serving [00:12:00] as a type of mentor or guardian to the girl while she got her feet wet. With her looks, Nelly might even take on work as a paid artist’s model for Sykes and other artists living there in this way begin to make a living for herself.

So it was that with her mother’s hesitant blessings and her father’s near total ignorance. Nelly only 16 years old, an age that many girls began looking for positions. Quit the Gray Coates Hospital Academy, moved out of her parents’ home and began her career as an actress, a dancer, and an artist’s model.

That last artist modeled, that’s what placed her on Charles’ bed in Charles’s apartments at the pheasant tree in Chelsea.

A knock on the door broke into Charles’s concentration and he groaned, no actually growled at the interruption. He shouted a distracted what in the direction of the closed door, which [00:13:00] opened, and one of his mates hesitantly, leaned in to tell Charles that Monty and sis were in the drying room asking after him.

Charles growled again. The mates softly closed the door. Nelly lifted her head slightly to make eye contact with Charles, who cursed and told her that he’d forgotten. Plans he’d made with some friends. She could get dressed. They were done for the day. Nelly was glad of that. She finally reached up and robbed under her nostrils with energy before she rescued her stocking from the sheets, pulled it on, then wrapped herself in the dressing gown.

She’d worn to the sitting. As she passed through the drawing room, she saw couples standing next to the fireplace who somehow seemed outta place in these apartments like nobility descending into the world of the pros. For a disagreeable, fleeting moment, the man noticed Nellie, but rapidly looked away.

The woman made a more careful assessment, but also turned away when Charles came in from the bedroom and greeted them. Nelly slipped out the main door of the apartment and climbed the stairs to [00:14:00] her own room that she shared with two other girls in the attic.

The shillings and pennies the unknown struggling painters and sculptors at the pheasant tree were able to pay. Nellie were far from what she needed to pay for that shared room. No matter how elegant her stage name Eleanor Velasco Thornton sounded. She’d only been called upon once as a stand in for a tableau, forced to wear a scratchy, woolen overcoat that smelled of grease, paint and sweat to pose without moving for 20 minutes.

While the comics and singers who had the lights brought laughter and applause from the audience. And Eleanor Velasco Thornton had only played the dancing with her younger sister. She had no moves and less rhythm. So despite all her mother’s lessons in home economy, if there were no earnings, there was nothing there to budget with, and Eleanor was near ruin.

Nelly whined about this to her mother one Monday evening as the two women did the [00:15:00] washing up. After a rare family dinner, Nelly’s father was smoking a pipe in the back courtyard, outside the kitchen door, and her mother reached over the basin to push the window shut, both to block the smoke and to keep their mother daughter conversation private.

Fred had not been approving of his oldest daughter’s move into the pheasant tree, which he considered the den of inequity in London. Sarah Anne began clanking the stoneware plates in the watcher to make a distracting sound from the words she meant only for her daughter to hear. See here, Nelly, I know how important it was for you to get out on your own.

I know you thought you weren’t going anywhere at Gray Coat. Now having one less tuition to pay has been a bit of a relief on expenses around here, but not enough that your father and I can support you in your current lifestyle, and especially not the lifestyle of an actress or a dancer. Ah, no. Sarah Anne held up a wet soapy finger to Nellie’s objection.

Your father is way too conscious for your excuses, so there’s no use [00:16:00] you asking me or him for any money. You need to take advantage of what you do have. Emma Velasco was not wrong in teaching you how a woman should navigate a man’s world, but the whole acting artistic path is evidently not working. You are a bright girl.

You know how to manage numbers. You’re articulate. You know how to read and write. You’ve been concise with your telegraph work for years. You’re almost obsessively organized. There isn’t a straw in your head. You’re all brains. Being cute, certainly helps. It might get the door open though it will probably open the wrong doors.

Most cute women end up naked in beds and not so that some men can project them into posterity. Look over on the cupboard there. I’ve left you a few pages from the Times. There’s ads in there, dozens of ads, looking for young women able to do the same things you can do. Write letters, organize papers. Use the Typewriting machine.

These are salaried jobs. You’ll make money doing them [00:17:00] without money, you know, you won’t get anywhere. And Nelly knew that Sarah Ann was right. It was unlikely Eleanor Velasco Thornton would ever actually support herself as a member of that clan of Bohemians who were likewise, nearly unable to support themselves.

If Eleanor was to move forward, it would be in the serious world where her natural, almost inherited practicality of thought would be her best advantage. Eleanor had drive and was smart enough to know when the road her drive was taking her down was probably not the one that would most directly take her to her desired destination.

Nelly, or perhaps now that it’s been nearly a year since she’s moved away from home, who she call her, Eleanor was sitting for Charles again. Though she wasn’t really sitting. She was standing in his bathroom leaning over the large tub towards a huge oval shaped mirror hanging on the tiled wall. This time, Charles had draped a long bolt of gauze [00:18:00] over her shoulders, suggesting some type of a mythological bathing gown, something to partially discover the inm modesty of a nymph at a pond in the forest and uncharacteristically.

As he sketched, he chatted with her asking her how her search for a day job had been going. Eleanor explained while trying to keep as still as possible in the somewhat uncomfortable lean that she’d been rising nearly every morning, buying the times, clipping an advertisement, getting dressed in her only formal dress and hat and shoes, interviewing for a position, or simply leaving a typewritten note in different offices about the city.

She was not especially enthusiastic today. The insurance office, the Scriveners shop, the hat manufacturers all had been polite, but none had sent word of employment. Charles Crypta, that’s too bad and kept on sketching. Once he’d finished up and told Eleanor that she could dress, Charles suddenly remembered something that he’d forgotten Again, not uncommon in his character.[00:19:00]

He told Eleanor that he had a friend who had just recently become a founding member of what would be some kind of automobile club in the city, and that the gentleman who was named secretary of this club, one Claude Goodman Johnson, was looking around for some clerical help to get the offices of the club up and running.

Charles asked Eleanor if she’d be interested, and she replied that automobiles couldn’t be any more mundane than insurance or women’s hats could even be something exciting. They were new and somewhat controversial. Charles scribbled out a note of introduction in his sketchbook and handed her the leaf.

And Eleanor planned to visit the offices the next day.

Eleanor was not. Claude Johnson’s first choice for Girl Friday. She seemed fairly young and had an A of frivolity that could just be perceived under an otherwise serious demeanor. She was also really attractive, something that could be problematic to his personal life. [00:20:00] Claude was still flirting about with a childhood sweetheart looking towards marriage, much to the chagrin of his parents who felt that they had educated him better.

Jessica, the girl in question, was a rather controlling and jealous fiance who would certainly have some sharp words to say about the hiring of a cute, well-developed adolescent as a secretary. Yet a certain stroke of fate intervened on Eleanor’s behalf the very day that Eleanor presented herself for the position as she sat at the table and demonstrated that she could indeed manage a typewriting machine.

Claude had a visit from one of the founding members of the automobile club, the esteemed John Montague, member of Parliament, son of the first Lord Montague Douglas, Scott of eu. John or Monte to his friends, had dropped in on club business and to steal Claude away for an afternoon drive in his Daimler automobile.

Looking over at that young woman clacking away on that infernal writing machine. Monte had the strange intuition that [00:21:00] he’d seen her somewhere before. Without making any connections. He turned to Claude and made a comment on how a good looking secretary certainly brightened up a drab office space.

Eleanor worked for Claude from 1897 until 1902. In those years, she proved herself to be an organized, intelligent woman with an uncanny talent for event logistics. Her work on the club sponsored famous 1000 mile trials in the spring of 1900 was hardly applauded enough from heading off local protests against motorcar, still considered by rural folk as a nuisance at the least, and a real danger to body and property at most to simply making sure there was petrol available along the route, as well as reserving hotels, restaurants, and catering services.

Eleanor naturally and effortlessly shined like any event planner. The better the job done, the more invisible [00:22:00] they become. The 1000 mile trials was a massive success for the Automobile Club of Great Britain and Ireland, and so Eleanor went almost totally unnoticed, but not totally. Soon to be second Lord Montague of Blu.

That is Monty who had, as a founding member of the Automobile Club, had an active role in the planning of the trials who participated with moderate success in the race. Well, he had noticed Eleanor and her tireless efforts to pull off this logistical challenge. Monty noticed how she always allowed the men at the planning meetings to think they’d originated an idea to do this or that when it had been she who had imagined the detail.

She always managed all the testosterone in the room with one or two carefully worded sentences. He noticed how she made her simple beauty into an effective tool for getting what she wanted from the men. He had also made the connection during a visit to the club offices with Sykes, who warmly greeted Eleanor, that he’d [00:23:00] seen her so scantily clothed in Sykes apartments about a year ago, an image he could and would super impose on the serious professional look She presented in the Automobile club offices.

Monty could certainly give the impression of a man of means, a member of the wealthy class who moves through life’s challenges with the confidence that a fat bank balance and secret business connections afford. But at the time, he was motoring about in his Daimler, impressing the other rich men in his motoring circle.

He was actually living off his father’s estate. Having been voted, a member of Parliament just a few years earlier, at least ensured that he could brandish his own reputation and he had plenty of influential friends, but the truth be known, and it was kind of known just around 1902, Monty found himself pretty much broke.

It was then when one of his friends, the newspaper man, Alfred Harms [00:24:00] Worth offered him an opportunity to make a living within the strict class expectations of his cast. Harms with was a sort of silent party all across the upper class ecosystem. Publisher of several very popular newspapers, beginning with the Daily Mail in 1896 and later, the Daily Mirror in 1902.

His journalism was renowned for its simple language and straightforward reporting of stories that were of interest to the plebe. Harm’s Worth had been instrumental in making sure the 1000 mile trials were a success, not only by providing popular positive coverage in his press, not even by participating himself with his motorcar, but by putting up much of the money needed to pay for the event at a time that the auto club was in the red.

When Monty let slip in an unguarded moment of soul bearing, fueled by tobacco and brandy, that he was tight for capital to continue his auto hobbies harms worth suggested creating a magazine, [00:25:00] the. Glossy magazines were not something new. There were magazines that covered all kinds of interests from ladies fashion to politics.

However, up to the date, no one had thought to create and publish a glossy magazine about automobiles. The idea was golden. The entire reason the Automobile Club of Great Britain and Ireland existed in the first place was to promote the automobile in the kingdom. What better way to do so than an illustrated rag with the latest news and information to convince a hesitant population to jump onto the auto Mobilist chassis?

Of course, as the man who would establish the advertising driven business model for the printed press harms worth was also thinking about the money he could make advertising cars and car related stuff.

Monty went about the business of starting up his foray into publishing in the same way he did everything. He turned to the people he knew. First, he spoke with Claude. The automobile club was now [00:26:00] fairly firmly established, was making some money, had caught the eye of the crown Prince, who Monty himself had encouraged into the burgeoning auto fever.

After five solid years of making the Club a solid foundation for both the industry and the political world, Claude had decided to move on having partnered with one Charles Stewart roles and ambitious young man, everyone called cs, who had a special flare for sales. Claude and Cs were to set up the first car dealerships in the realm.

And let’s face it, Claude would make a whole lot more money than the always struggling auto club was able to pay him. The physical offices of the club were moving. Everything seemed to be ripe for change the most. Claude could promise Monty was to place automobile ads in his new magazine. As Monty left Claude’s office, he stopped to chat with Eleanor who was sitting at the very table he had seen her at five years earlier.

Despite her hard work, her efficiency, [00:27:00] her capacity for solving problems, even before they became problems, Claude hadn’t even promoted her to her own office. She had become much more than a simple secretary, and yet here she was typewriting machine to one side of her desk and papers to the other.

Thinking it was an appropriate moment. Monty offered Eleanor a position at his magazine with a higher wage and her own space to do her logistical magic. Eleanor looked around at all the boxes prepared for the move of the office to Piccadilly realized that change was indeed in the air and accepted the job.

No one really knows when Eleanor and Monty started their affair. It at least had to have started soon after Eleanor’s taking the job at Carr Illustrated in 1903, Eleanor found herself pregnant and giving birth to her only child. A girl, Joan, who she held briefly after the delivery. Then immediately gave [00:28:00] into adoption.

Monty could not possibly recognize the child publicly. He was happily married to Lady Cecil Victoria, constant Kerr Douglas, Scott Montague. He was a member of Parliament. At some point, he’d become the second Lord Montague of ou. Eleanor could not become a single mother that would simply cast her into infamy.

She would lose her hard earned status. Her job, her connections, albeit superficial with the rich and powerful men, her lover rubbed elbows with. So Joan was given over to the Ierson, a lovely couple who became friends with Monty and his wife, lady Sis. A lady Sis was a woman who was always the even headed one in any room.

The wife who knew her husband garnished his walking stick elsewhere, but helped him keep it discreet. Sis would make sure that Monty took good care of his responsibilities to Joan, even if they were to be kept secret. Eleanor would later consider the decision to give up her child to have been the hardest she’d had to [00:29:00] make in her life.

But there it was done and over. She had chosen both her affair with the married man and her career as his at attache over the harsh realities of single motherhood in early 20th century England.

Monty for his part was entirely smitten by Eleanor. Though he loved his wife, had loved her almost his entire life. They had known one another since they were children. No surprise. Monty and sis were first cousins. After all. He was like so many privileged men of his time. The Manly bravado, the expectations of virility, a certain disdain for women in general.

It was almost expected of him that he would have an affair or two. He was a noble man. Or Well, he’d become a noble man on his father’s death in 1905. Moving so from Parliament into the House of Lords.

Now, you’ll recall [00:30:00] that Claude Johnson had partnered up with a CS roll to open automobile salons and sell the machines to, well-to-do Englishmen. Well, right around the time that Monty was packing up his papers and moving them from one governmental office into another, both Claude and Cs had met an automobile engineer by the name of Frederick Henry Royce.

His cars were well made, had a touch of the luxurious, and Claude and Cs. Saw how they could focus exclusively on Royce’s designs and stability to create an exclusive car fit for the exclusive buyer. The Rolls Royce became our thing, and Claude became the company’s first boss.

Monty. Now a Lord got caught up in the whole exclusivity idea. He’d been placing ads in his magazine for all kinds of automobiles with prices ranging from the affordable to prohibitive, and the new Rolls Royce Silver Ghost represented [00:31:00] the peak of prohibitive. Consequently, the Lord John Walter Edward Montague, Douglas, Scott, yes, Monty had to have one.

He was not the only rich man who had one, but he was one of the first.

Now, the Rolls-Royce car was so exclusive for many reasons. Uh, for example, they were designed with the latest and best concepts of automotive engineering available. Each car was highly personalized, nearly artistically created according to the personal taste and suggestions of the man purchasing the vehicle.

Every detail was planned, consulted, executed with the idea of creating the quote, best car in the world, a car that a king would drive. One detail, though, was not necessarily considered or perhaps was considered to be spoken, and that was the car’s mascot.

The mascot was actually a fancy schmancy [00:32:00] radiator cap. You could buy a Rolls Royce with a traditional though shiny stainless steel screw on cap to cover that access to the radiator. But that would hardly be all that exclusive would it? Monty certainly didn’t think so. He asked his friend Charles Sykes, if he couldn’t make a design of something that could be stuck on that boring cap, kind of like the figurehead of a ship.

Something that would symbolize the grace, the beauty, the stealth of the Rolls Royce Silver Ghost.

Sykes had been illustrating for Monty’s Magazine, car Illustrated for years now. Had painted portraits of the Rolls-Royce had actually drawn an entire series of Rolls-Royces, driving up to different places, the theater, the horse races, the country home. Sykes liked the idea of making some kind of stat for his friend and his playful side.

Had him pulling a box of old sketchbooks off a high shelf in his studio and looking for drawings of one special model he’d drawn years earlier. Special [00:33:00] because she had been his muse for a couple of years, especially ’cause she was quite stunning in the sketches. Special because she was Monty’s lover, Eleanor.

Sykes made a couple of drawings from his sketches. He settled on one that presented a young version of Eleanor leaning slightly forward, a gauzy bathing garment, like one worn by a nymph at a hidden forest pond billowing behind her. This nymph held a finger to her lips. Sykes hint to Monty that the lover’s affair would always be kept secret between the two friends.

Monty was delighted with the little bronze Statu Sykes cast for him, bolted it onto every Silver Ghost automobile he used for years. Sykes called the Stae the Whisperer.

Now, Monty was not the only man who wanted a figurehead bolted onto their fancy radiator cap on their exclusive Rolls-Royce automobile. As the manufacturer was so [00:34:00] dedicated to respond to each and every whim of the purchaser, other artisans sculptures were producing personalized mascots from comical police figures to downright nearly pornographic representations of human copulation.

That young automobile engineer Henry Royce was somewhat scandalized by the idea of a figurehead being bolted under the hood of his cars at all, but there was little he could do to prevent the habit. Men will be men and will want their symbols right up front where everyone can see them. Royce asked Claude Johnson, if anything shouldn’t be done to protect the prestige of the Rolls Royce Mark.

Claude had a quick and historic insight. He’d, of course seen Monty’s personalized mascot. The whisperer Claude had liked it, found it dignified of the Rolls Royce, though he found Monty’s dedicated poem to the statue. A little silly. I am a little silver fairy. Your mascot of many a mile, [00:35:00] bringing you golden hours, guiding you safely the wild.

Anyway. Claude consulted with Sykes, asked him if he mightn’t rework the design he’d done for Monty. Make it a more mature, stylized version of the whisperer to serve as the official mascot for the Rolls Royce. Something that would look good in silver, something like that. Statue in the Louvre, what was it called?

Winged Victory. About what? Head in arms please. And maybe a bit of discretion was needed, it might not be a good idea to keep the face of the Lord’s secret lover on a mascot that would represent the best of the best in Autumn over well. You get the message. Sykes loved the idea and got right down to work.

He resched the statue, simplified the gauze and shaped it more like wings. Pushed the arms back into that billowing cape, and considering it the most correct. Reworked the face to represent perhaps the only other woman in his life. He would consider his muse, his mother.[00:36:00]

The evolution was evident. Eleanor was only a base for the end design. She had been diluted outta the statuette. Rumors ran rampant among those who knew. Those rumors became urban legend, and yet truth be known, that mascot that started out as the spirit of speed and then became known as the spirit of Ecstasy, was a conglomeration of charcoal sketches of Eleanor’s, early sittings as a model, a marble statue in the Louvre and the artist’s own mother.

None of this actually mattered to Eleanor or anyone else for that matter. She was comfortably installed in a pleasant apartment near Hanover Square, could take a coach to work every day, or the nicest of frocks and jackets and shoes and hats that a professional woman could want. She was excellent at her job managing the offices of the magazine, and as time passed, she became indispensable to Monty.

As his responsibilities in the House of Lords became more [00:37:00] complex, especially as the war was becoming an unpleasant reality. Even in London, Eleanor was becoming more a trusted lord’s at attache than a publisher’s executive secretary.

Round about 1915, Monty Lord Montague of Blu was commissioned to travel to India to manage something to do with motor cars for the British armed forces. There he proposed to Eleanor that she accompany him, if not all the way to India, well, at least to Egypt. To those who would observe the trip would simply be a Lord unofficial business, traveling with his secretary.

To those who knew, including Monty’s wife, who continued to nod and then turn her head, it would be an opportunity for the two to be alone and not have to play act, at least not on the cruise across the Mediterranean.

Eleanor wasn’t all that keen to travel so far. She had become an avid [00:38:00] reader of the press the Times with her breakfast at home, the daily mail with coffee at the office, the daily mirror at tea in her parlor. She was horrified at any news from the front, frustrated with the stupidity of politicians and generals and noblemen and businessmen who caused and pushed this silly war forward.

She understood the cultural, social, even economic realities that surrounded the events but couldn’t find justification for the massacre of so many young men, and she was deadly afraid of those deadly U-boats. The Germans had developed a kind of boat, an underwater tank, a sausage made of iron, and armed with torpedoes, a vessel that could not be seen, that could sneak up on a boat and sink it in less time than a call for help might be heard.

Speeding away under the waves to attack another boat. The Mediterranean Sea was just beginning to see more and more of these U-boats. Eleanor did [00:39:00] not fancy being on a ship that had been targeted yet the promise of a cruise with her lover. A relaxed honeymoon like voyage across the Mediterranean, away from gossip and restrictions.

Well, Eleanor was a woman in love as well. She agreed to travel with Monty, at least to Egypt, then returned to London to continue to manage business. A car illustrated.

On Christmas Day, 1915, Monte and Eleanor boarded the SS Persia and rapidly settled into the routines of sea travel, discreet separate rooms and first class accommodations. The relaxed spirit of the voyage, a calm sea. The first five days, almost convinced Eleanor to change her plans and accompany Monty all the way to Bombay.

It was on the 30th of December as the couple were settling down to lunch that a German U-boat torpedoed the SS Persia. The torpedo blasted into the [00:40:00] steam boilers, one of which exploded on its own. As the ship began to sink, Monty and Eleanor rushed to Monty’s Cabin to retrieve the newfangled inflatable life jackets he received as a gift rushed back to the deck.

The SS Persia was tilting. Water was rushing about as well. Both Monty and Eleanor ended up in the cold Mediterranean Sea. Monty lost grip on his lover. Eleanor was gone. Monty was picked up three days later, clinging to the underside of an upturned lifeboat with other survivors.

Nellie’s. Father and mother would not see her die. They would both die before her. Her sister Rose, married a guy named Gordon. When Eleanor died, Charles Sykes got in touch with Rose and gave her the original mold he’d used to cast the whisperer for Monty as a memento of his sister. Once Rose died, [00:41:00] Gordon remarried.

Funny anecdote, someone broke into Gordon’s home once he’d remarried, and among the things stolen was that cast funny thing to steal.

Around 1910, Eleanor had stopped frequenting the pheasant tree, concentrating on her professional career, and so lost touch with Emma Velasco, the elocution teacher. Emma and Ralph finally moved to Devon and opened their acting school. Emma Velasco passed away not long after the war was over. CS rolls. The car salesman got a bit of air fever, traveled about in hot air balloons, then became the first private person to buy an airplane, one of the first people to fly with Wilbur Wright as a passenger in a biplane, the first pilot to make a nonstop return trip over the English channel.

He did not stop there with being the first though. CES rolls [00:42:00] was the first fatality in British aviation. Falling from the sky knows first when the boom of his bi planes separated from the chassis. His funeral procession was almost a state event in crowd size, at least.

Alfred Harms worth. The newspaper publisher survived Ellen Ho by seven years passing away in 1922 from a prolonged illness at first rumored to be syphilis, probably because of his reputation as a lady’s man later confirmed as a chronic blood infection he’d harbored for years.

Claude Johnson, the first CEO of Rolls Royce died just 11 years after Eleanor. He’d been poorly for a while, insisted on attending a niece’s wedding collapsed. Was rushed back to London and finally succumbed to pneumonia. Only days later in 1926. John Walter Edward [00:43:00] Douglas, Scott Montague, second Barren Montague of eu known to friends as Monty would live another 14 years after losing his lover.

His death at 63 and 1929 like Claude from Pneumonia would leave a single heir Edward at the time, only two years old. Fruit of his second wife, lady Sis, having passed away in 1866. Monty would remember Eleanor with a dedicated plaque hung in the eu. Abbey reading in memory of Eleanor Velasco Thornton, who served him to vote Lee for 15 years.

Frederick Henry Royce, the automobile engineer, was never a very social person, so that when in 1930 his health began to deteriorate, it was not considered odd that he worked from home and be cared for there. Despite this quiet home and work situation, Royce passed away in 1933 asking [00:44:00] specifically to only be remembered not to be heralded.

His wishes were respected. Charles Sykes, the man who sculptured the mascot of an elegant woman with a gauzy cape, leaning into the destiny ahead, would survive Eleanor another 35 years. For many of those years, he would personally cast and polish each and every spirit of ecstasy mascot ordered to embellish the radiator cap of a Rolls Royce automobile.

A quick afterward. Contemporary information about Nellie a Thornton, more popularly known as Eleanor Velasco Thornton is so sparse and mostly anchored to the men she worked with and around. It is also conditioned by the necessity of keeping her relationship with Lord Montague Secret. Conditioned by social morals and expectations conditioned by attitudes, [00:45:00] prejudices, envy, and gossip that would have made her life a hell had she not been discreet and clever as she evidently was.

In other words, there’s really not much about her. There is little or no indication in her time of her having been a particularly active member of any feminist or suffragist movement. Her climb in the professional world seems only to likely to have come from a combination of evident factors. She was indeed good looking.

She was clever. She had a particular background and upbringing that gave her the practical skills she could use within the limited opportunities. Offered a woman in the working world of the late 19th, early 20th century. In a heavily classist society. She had family and friends who supported her and encouraged her throughout her initial years.

She had context as well that obviously made her entrance into the work world easier.

She does seem to have been a self-made woman, but she was [00:46:00] also the servant of two masters, the chauvinistic male oriented world of Edwardian England. Open to her only through the men she kept company with and her own ambitions to rise out of the social position of the Terrace house neighborhood of her youth.

Perhaps at least inhabit the neighborhood of the class one step above her. Movement between classes in Great Britain wasn’t something that happened frequently.

And allow me to address the elephant in the room, the story of her being. The inspiration for the Rolls Royce mascot may very well be true, though I didn’t find reliable contemporary evidence of such. Just the same circumstantial detail I’ve used to tell this slightly more mundane story of the woman in her connection with the statue.

I personally think the general acceptation of the story of Eleanor being the model of the spirit of ecstasy is more a product of urban legend supposedly confirmed years after the actual events [00:47:00] combined with romantic marketing. I am not suggesting that she was not. I’m merely telling the story that I saw as I delved into what little information we have about her from her contemporaries.

Eleanor was definitely a remarkable woman, one who probably died too young. She was only 35 years old. Had she lived the track record she had until her death would no doubt lead us to expect that she would’ve accomplished much more, might even have lifted herself out of anonymity and into a respectable place in history that represented more substantially who she was, what she had done than the superficial story of posing for a luxury car mascot.

Eleanor was one of hundreds, no thousands of women struggling in a world that continued to consider them second class for having been born girls. Her legacy should be her personal success in life. That’s what I will remember of her now that I’ve told this version of her story.[00:48:00]

A beautiful, talented, clever woman, able to put men in their places, able to tell men what to do and get them to do it. Able to climb a professional ladder and all that without the men around her taking notice. Hats off to Nelly, Eleanor, Velasco Thornton. Artist, model secretary, executive secretary at attache to a Lord, the spirit of the successful 20th century every woman.

Cheers, Eleanor,

your you are listening to radio.

Listen, like, subscribe, and share.[00:49:00]

This episode is brought to you in part by the Society of Automotive Historians. They encourage research into any aspect of automotive history. The SAH actively supports the compilation and preservation of papers, organizational records, print ephemera, and images to safeguard, as well as to broaden and deepen the understanding.

Of motorized wheeled land transportation through the modern age and into the future. For more information about the SAH, visit www.auto history.org. This episode has been brought to you by Grand Touring Motorsports as part of our Motoring Podcast network. For more episodes like this, tune in each week for more exciting and educational content from organizations like The Exotic Car Marketplace, the Motoring Historian, break Fix, and many others.

If you’d like to support Grand Touring Motorsport and the Motoring Podcast Network, sign up [00:50:00] for one of our many sponsorship tiers at www.patreon.com/gt Motorsports. Please note that the content, opinions and materials presented and expressed in this episode are those of its creator, and this episode has been published with their consent.

If you have any inquiries about this program, please contact the creators of this episode via email or social media as mentioned in the episode.

Highlights

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

  • 00:00 Throwback Return: Introducing Keyhole Witness & the Spirit of Every Woman
  • 01:10 Eleanor Poses for Sykes: A Muse, a Name, and a Dream of Reinvention
  • 03:20 Growing Up Thornton: Telegraph Work, Typewriting, and a Working-Class London Home
  • 05:55 Gray Coats to Chelsea: Emma Velasco’s Lessons and Nelly’s Escape Plan
  • 12:48 Bohemian Reality Check: The Pheasant Tree, Barely-Paid Modeling, and Money Trouble
  • 14:56 A Practical Pivot: Sarah Ann’s Advice and the Search for a Real Salary
  • 17:40 The Automobile Club Breakthrough: Meeting Claude Johnson and Landing the Job
  • 21:16 Making the 1000-Mile Trials Happen: Eleanor’s Invisible Genius Gets Noticed
  • 23:15 Monty’s Magazine Offer: Class, Cash Problems, and a New Role at Car Illustrated
  • 27:42 Secret Love & Secret Child: The Affair, Pregnancy, and Joan’s Adoption
  • 29:58 Rolls-Royce Origins: Monty, Claude, and the Rise of the Silver Ghost
  • 31:44 From “The Whisperer” to Spirit of Ecstasy: How the Mascot Was Really Made
  • 36:56 War Years and a Dangerous Voyage: Choosing to Sail on the SS Persia
  • 39:25 Torpedoed in the Med: The Sinking of the SS Persia and Eleanor’s Death
  • 40:41 Aftermath & Legacies: What Happened to the People Around Eleanor?
  • 44:38 Afterword: Separating Urban Legend from the Woman’s Real Story
  • 47:16 Final Tribute, Credits, and How to Support the Show

Learn More

Want to learn more about the fascinating world of automotive Mascots and the stories, people and places that inspired them?

This amazing coffee table book introduces the reader to the “sculptures” known as mascots and hood ornaments.

Photo courtesy Steve Purdy, Society of Automotive Historians (SAH)

Photographed “in the wild” by Michigan-based automotive journalist and SAH member Steve Purdy at concours events, special shows, junkyards, back yards, salvage yards, anywhere, and always in natural light.

ORDER YOUR COPY TODAY

The photographs are beautifully presented by the art-book specialists at M.J. Jacobs, LLC, and annotated with their stories researched by the author/photographer who then puts it all into context with other complimentary images.  As an added touch, each book is autographed by the author!

Bonus Content

In 1897, she joined the newly formed Automobile Club of Great Britain and Ireland as assistant to Claude Johnson – later known as “the hyphen in Rolls‑Royce.” Eleanor quickly became the quiet engine behind the club’s operations. Her logistical mastery during the 1900 Thousand Mile Trial was legendary among those who knew the truth. As the transcript recounts, she handled everything from fuel stops to rural protests, “always allowing the men… to think they’d originated an idea” while she kept the event from collapsing.

It was during these years that she caught the attention of John Montagu – MP, motoring pioneer, and future Lord Montagu of Beaulieu. Their professional relationship evolved into a deeply personal one, though constrained by class, marriage, and the rigid expectations of Edwardian society. Their daughter, Joan, born in 1904, was quietly adopted to protect Eleanor’s reputation and Montagu’s political career. It was, she later felt, the hardest decision of her life.

Montagu adored her. Sykes admired her. Harmsworth respected her. And yet history nearly erased her.

The famous Rolls‑Royce mascot – first The Whisperer, then the Spirit of Ecstasy – has long been linked to Eleanor. The truth is more nuanced. Sykes did use earlier sketches of her as inspiration, but the final form blended multiple influences, including the Winged Victory of Samothrace and even Sykes’s mother. As Revel notes, Eleanor was only a base for the end design… diluted out of the statuette.” Still, the legend persisted, fueled by romance, rumor, and Rolls‑Royce marketing.

Photo courtesy Steve Purdy, Society of Automotive Historians (SAH)

What cannot be diluted is her impact

Eleanor became Montagu’s right hand at The Car Illustrated, shaping early automotive journalism. She moved effortlessly between bohemian artists and aristocratic motorists. She managed events, edited copy, soothed egos, and kept the gears of Britain’s motoring world turning. She lived independently, intelligently, and boldly at a time when few women could.

Her life ended tragically in 1915 when the SS Persia was torpedoed in the Mediterranean. Montagu survived after clinging to an overturned lifeboat for days. Eleanor – just 35 – was lost to the sea.

Her legacy, however, is not the silver figurine on a radiator cap. It is the life she carved out for herself in a society that tried to confine her. As the transcript concludes, she was “the spirit of the successful 20th‑century every woman” – a woman who rose by talent, grit, and grace, not by myth.

Eleanor Velasco Thornton deserves to be remembered not as a muse, but as a maker – of events, of opportunities, of her own destiny.


Guest Co-Host: Revel Arroway

In case you missed it... be sure to check out the Break/Fix episode with our co-host.
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Rolling Twenties, Roaring Art: What French Automotive Mascots Teach Us About Heritage

What can a palm‑sized sculpture teach us about the sweeping story of automotive history? According to Lauren Goodman, Associate Curator of Exhibitions at Revs Institute, the answer is quite a lot. In her recent presentation, Goodman peeled back the layers of her award‑winning exhibition “Rolling Twenties, Roaring Art: French Automotive Mascots”, revealing how these elegant hood ornaments illuminate the tensions, triumphs, and blind spots within the broader world of automotive heritage.

These mascots – once perched proudly atop radiator caps – may be small, but they carry enormous cultural weight. They reflect the artistry, technology, and social values of their era, and they expose the challenges facing historians who work to preserve and interpret automotive material culture today.

Revs Institute has long enjoyed a close relationship with renowned mascot collector Jon Zoler (seen below), whose extensive holdings include everything from American classics to rare French glass mascots by Lalique, Sabino, and others.

Mr. Zoler assisting with the exhibition preparations. Photo courtesy Lauren Goodman, Revs Institute

When the museum decided to refresh several display cases using pieces from Zoler’s collection, Goodman expected a straightforward project. Instead, she fell down the rabbit hole…

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What began as a simple exhibition quickly became a research odyssey into the world of French interwar mascots – their creators, their manufacturing processes, their cultural context, and the surprising gaps in the scholarship surrounding them.

The final exhibition is visually stunning, but Goodman emphasizes that the real work happened behind the scenes: digging through period French publications, comparing auction catalogs, cross‑referencing collector guides, and identifying where decades of English‑language literature had repeated the same unverified assumptions.

Bio

Lauren Goodman is the Associate Curator of Exhibitions at Revs Institute in Naples, Florida. She is passionate about the history of women in motorsport and the preservation of historic cars. She presented at the 2022 Symposium on Lucy O’Reilly Schell; Schell’s team Maserati 8CTF is permanently on display at Revs.

Synopsis

In this episode of The Logbook, our History of Motorsports Series, Lauren Goodman – Associate Curator of exhibitions at Revs Institute – discusses her award-winning exhibition on French automotive mascots from the interwar period, exploring their cultural significance and preservation challenges. The talk delves into the history of these mascots, their design processes, and the importance of documentation and collector-institution collaboration for future generations. She emphasizes the need for more cross-disciplinary studies and technological applications in automotive heritage, highlighting significant works and potential research pathways.

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

Transcript

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

Crew Chief Eric: What can a small sculpture tell us about the big questions of automotive heritage in her award-winning exhibition?

Rolling twenties, roaring Art, French automotive mascots at the Revs Institute, Lauren Goodman reveals how these elegant ornaments, once perched proudly in the hoods of cars, embody the tensions and triumphs of preservation, design and cultural memory. They may be small in size, but they carry enormous meaning sparking debates about how we honor and interpret the past.

Lauren Goodman, associate curator of exhibitions at the Revs Institute in Naples, Florida, joins us to share her insights, passionate about the history of women in Motorsport. Today, she invites us to consider whether these mascots, these miniature works of art, might point us towards new directions in understanding automotive [00:01:00] heritage.

Stay tuned as we explore how the smallest details can spark the biggest conversations.

Lauren Goodman: Thank you. Thank you for that wonderful introduction. I feel very important right now. Thank you very much. If we haven’t met, my name’s Lauren Goodman and I am here in my capacity as the associate curator of exhibitions at Revs Institute.

Representing Revs. I’m very excited because last time I was presenting here in 2022, I was working a different job and just volunteering at Revs on the weekend. So I was only here in my capacity as a huge nerd instead of as an official representative of Revs Institute. So I’m gonna give you about a 20 minute presentation about interesting findings I had while working on an exhibition.

I wanted to talk to you about French mascots. Mascots are the fancy waves saying hood ornament much the way. Concur is the fancy way of saying car show, specifically French mascots of the interwar period between World Wars one and two. Revs Institute is [00:02:00] fortunate to enjoy the friendship of Mr. John in Zoler, and he’s one of the foremost collectors of mascots of all types in the world.

You may have seen some of his collections, if you’ve ever been to the Auburn Core Dusenberg Museum, where he has a lot of beautiful American examples on display in the past. He’s also lent us his lovely glass mascots, so not just lik but. Sabino and Che. Just beautiful examples. And Mr. Zoler also self-publishers catalogs of his collections, which is just a real boon to having documentation.

So in 2024 with Mr. Zoler’s collaboration, our team at Revs decided to refresh some of our display cases with some of his beautiful mascot. And what began as a fairly simple display became instead my own looking glass, and I, as Alice dug into the wonderland of French mascots from the interwar period. I’d like you to come on that journey with me.

I’m happy to say that the resulting exhibition is beautiful on even a [00:03:00] little bit educational. In fact, you could see here we were able to put all the information on a website, QR codes and the display cases. So if anyone was interested, they could drill down and discover more about each specific piece, see a video about it.

Pretty proud of that. And even some other materials that illuminate some of things going on, design wise, culture wise, economy wise at the time in France, that would’ve influenced the design of these mascots. Pretty cool. So if you have ever put together an exhibition. You understand that the final installation is only the tip of the iceberg.

The bulk of the labor is spent in suffering, or it’s also pronounced research. I thought after I did all that work, maybe I should find a way to compile and share my research so future generations can pull from it for their own uses. So I wrote a lit review. It’s very fancy and very long, and my mom is very proud of me.

My mom. So more importantly, when I was writing [00:04:00] about what I found about mascots, I began to realize what was missing. So that paper, yeah, it’s about automotive mascots, but it’s also a paper about where automotive heritage is losing time in the corners compared to other heritage organizations and disciplines.

Now, let me say now, up front, I’m not assigning any blame. There’s no malfeasance here. We’re all passionate about these automobiles and their associated automobilia. I simply used mascot collecting as a lens through which to view the automotive heritage ecosystem. So the paper helped me understand and elucidate.

My own work and my own mission at the museum. So I’ll spend a little time sharing some of the points from the paper. I’m not gonna go over the whole thing, but I just wanna spark some more conversations about our future and the future of these objects that we love First, some clarifications. Since the exhibition focused mostly on accessory mascots, they form the bulk of this discussion.

But some of these findings apply to mark specific designs for high-end manufacturers like automobile [00:05:00] farming, for example. And although mascots were produced in a range of prices and quality, I was focusing really on the ones that I was displaying, which are the upmarket pieces. They were typically cast in bronze using the very complicated lost wax process, and then coated with silver, and even occasionally gold.

They were prized by collectors even then, meaning that many pieces enjoyed a protected life on a desk or a shelf instead of on the radiator cap of a car. And there are of course mascot examples that predate 1914, but the golden age for accessory mascots. Aftermarket mascots really began in France after World War I and peaked during the 1920s and early thirties.

Eventually, streamlining and underhood radiators made the mascot an old fashioned accessory. So by 1938, the Paris Salon had practically no mascots on display, on the automobiles on the show floor. So where does one begin researching these objects? Especially in the English language? I identified three [00:06:00] major works published in the late seventies that became the source for most of the later literature in English.

And you’re probably gonna recognize some of these names. We are indebted to these authors, and the literature in the eighties and nineties relies heavily on these works. To paraphrase Don Caps, the difference between fiction and history is footnotes. So in these three books, for example, you’re lucky to find a list of sources at the end, let alone an EndNote.

But the absence of those things actually makes sense when you consider the following. These authors were creating the literature. No one had bothered to write about it before. It was either a tacit knowledge, it was trade knowhow. So those who are writing about it, especially if they wanted photos, often had to negotiate access to privately held collections.

These authors had an audience in mind and that. Was enthusiasts and collectors. These were the people driving the demand for information. They weren’t necessarily demanding an academic bibliography. The [00:07:00] next major author emerges in the mid nineties. Michel LaGrand is so important. You can really divide the literature into a pre LaGrand era and a post LaGrand era.

Although some of his work is only available in French, the captions are really short, easy to read and translate, which is why he’s still a major source for those writing in English today. LaGrand first began by reproducing period catalogs, period sales catalogs. Then he began photographing mascots and ephemera from private collections.

Authors in the present day are still largely enthusiasts and collectors who draw heavily on LA gra and the three major works from the late seventies. Now, the magic of the internet allowed me to search contemporary French periodicals for more information about the mascots that I had on display and those who designed them.

In my paper, I make some really nitpicky points about provenance, contrasting primary sources with the later English literature. As I scoured the primary sources, I wondered why hasn’t the scholarship been done before? And there are a few major [00:08:00] reasons for that. One is the participation of collectors.

These are key collaborators, but they may feel they risk devaluing an investment piece. If new research casts a shadow on what was said in the auction catalog, there is risk as well. And sending their collections out for public display or research, it’s reasonable that a private collector would want to avoid risk.

The acquisition and maintenance of mascots like any other collection represents an investment of creativity, time, money, and the collection itself contributes to the collector’s own happiness. The most obvious solution, I think would be for collectors to plan what happens with their collections after their lifetimes, while continuing to enjoy them in the present.

By collaborating today on a plan with a public institution such as a museum or an archive, the collector can be assured that these mascots will be held in trust for future generations. These institutions have a duty of care for their collections, but they don’t assume financial risk or reward based on authentication and [00:09:00] research.

That is because collection items do not appear on the balance sheet as an asset. If you are a museum, I think the next typical barrier is an echo chamber. Now cross pollination between automobile, heritage and other disciplines from the humanities and social sciences that would equip automotive historians with better tools and encourage experts from other fields to conduct research on automobile.

For example, the 1970 sources do make reference to the Anier School of Sculpture and its impact on French bronze production, but the subsequent literature kind of dropped the ball on that. It doesn’t take up that thread again, which is really interesting when you consider that there are numerous collector guides and art historical texts on the Maier School of Sculpture and its artists such works date back all the way to the seventies, and the most recent major one I could find was from 2007.

And finally, I think it’s also the novelty of our field. The phrase automobile heritage is itself fairly new. In fact, in the scope of human history, the [00:10:00] car itself is fairly new. The Turin Charter, the conservation charter for most historic cars was adopted in 2013, which is nearly 50 years after the Venice Conservation Charter addressed the heritage of architecture and our built environment, the mascot as worthy manifestation of automotive material culture.

That may be an idea that takes time. As opposed to people thinking it’s a mere collector’s hobby. Here’s the crux. These obstacles, I believe, are symptomatic of a larger issue. Automobile heritage is still the purview of private collectors and enthusiasts. We don’t have an academic market for automotive history like other disciplines.

I’m talking about the market where the publisher parish imperative creates volumes of peer review journals. And where tenure tracks, endowed chairs and research grants underwrite the research. Rather, the automotive historian today makes his or her living by teaching in another specialty, by working in another field entirely and devoting his or her free time or retirement years to the topic, or by researching in authenticating for auction houses and collectors.

[00:11:00] Now it’s this less instance that’s the most potentially problematic enthusiasts and collectors rely on auction catalog. Which in rely on the writings of enthusiasts, collectors, and it becomes a vicious circle. Future scholarship should aim to break this particular feedback loop. I think about this a lot in my work as a museum.

Professional museums must maintain the public trust. We cannot status satisfact, which we only hope to be true. And if we cannot provide the funding for academics to draw them to automobile heritage, then we’ll have to pull information from other disciplines and find ways to apply it to what we do and to cars.

In my paper, I then turned my attention to other disciplines. Maybe they had something to teach us about French mascots. I wondered what I might find, but surely, surely it was too much to hope for an art historical book. That covers a topic as niche as bronze art foundries in 20th century Paris. Mad voila.

Here it [00:12:00] is. Dictionary of bronze art. Foundries in France is one of the most important works in this space by Luis Be Leal. It incorporates previous scholarship in French and was made available in English translation in 2015. Leal helped me understand something that had been bothering me as I researched mascot.

One of the central issues in English language literature is identification and attribution, and oftentimes the different people involved in making a mascot that would be people like the artist, but also the modeler, the fabricator, the editor, the chaser, and the retailer, and the associated marks on these pieces would get conflated.

English language catalogs have used dubious language when attributing mascot. To the point where a reasonable person might believe the artist was a central part of the manufacturer, and that the final piece received an intervention by the artist himself, the reality is murkier. So we’ll jump right in with one example from Leal and this particular case, the role of the Fa k and French.

[00:13:00] And I’ll just read aloud the quote here for anyone who can’t see. This is a quote from Lab, LeBron’s book, an editor of Art bronzes, also called himself a manufacturer, Fabricant. When he ran a factory fabrik, a term which designated a company where semi fine products are completed for marketing. The casting operations were very generally carried out by an independent foundry man who delivered the raw bronzes to the manufacturer who would handle either in his own workshops or by calling on molders and the final chiseling and patina operations.

Large houses like Continental Lure and Pinedo, which have always subcontracted their foundry work are therefore excluded from this study. Now if you are by any chance somebody who has read a lot of auction catalogs about mascots, you know the term company Continental and Lily Ever, ’cause they later merged, are often attributed as foundries in the literature.

And already we could see here in art history, they say that’s simply not true. Furthermore, the introduction of the term Fab K to the literature in English is [00:14:00] important. There were enough self-described fab camp in the late 19th and 20th century Paris, that they had their own trade organization with their own professional standards.

Understanding their role sheds new light on issues of attribution. For example, at the premises of the fabricant, the separate pieces delivered by the foundry would be assembled by the chaser, as stated in the previous paragraph, since several designs were being assembled at a given time, a system of numeration with letters and with numbers would indicate to the chaser which pieces together.

These numbers are therefore nothing like a print number, and do not give us any idea of the number of additions produced of a particular mascot. However, it does stand to reason these small marks could be useful for the authentication of mascots. Labone dictionary addresses the changing relationship between artist and foundry in 20th century Paris.

There was an industry of smaller foundries and these enterprising artists who were also creating multiple editions of their pieces. Now, these same topics are actually briefly mentioned by Michelle Gronk, the major author in in [00:15:00] the 1990s about mascots. He even addresses some of these enterprising artists, editors, and there were a number of small craft foundries, not fine art foundries, but craft foundries and the 11th r and d Mall of Paris that created both say, bronze light fixtures and fittings.

And also mascots as a sideline. Here clearly is an area where more cross pollination between art history and automotive history would be very fruitful. Now, historical study is not the only way we can learn more about mascots. New breakthroughs in technology have already been applied to bronzes produced in France in the 19th and 20th century.

Two studies available in English deal directly with the use of new technology to help with the provenance and attribution of friends Bronzes. They often use the handheld x-ray fluorescence spectrometer, which is a non-invasive and effective way to determine a bronze sculpture’s artist boundary, even date of casting.

And I think it’s an ideal framework for beginning to apply some of these [00:16:00] new technologies to things we already are familiar with and love. I will pause here to say, I’m sure there is a keen listener in the audience who is tapping their foot and thinking when is the Q and a? ’cause Lauren is missing some very important French mascots.

And I say. Fear not gentle listener. We are now at the automotive mascots of Lale. I’ve saved them for last because they’re the exception that proves the rule literature on lale glass mascots has long benefited from that very cross pollination between the worlds of the automobile and fine art like mascots.

Generally. The first major work in English on the lake appeared in the seventies and was aimed at the private collector. Lik made a variety of decorative objects for the home and office. So numerous collectors’ guides mentioned automobile mascots just as they would VAs or picture frames and table settings.

Yet these guides cite not only previous lite guides by 1988, they were also citing automotive mascot sources in their literature. Conversely, when Gigi Weiner devoted a two volume work [00:17:00] to Ali Mascots, he drew on the wider literature of decorative art collection and art history. In addition to our literature on automotive mascots, this cross pollination means that Ali mascots are better documented than all other French mascots combined.

So what, well, as I begin to think about it, I wondered perhaps the beauty and desirability of the Lille pieces are enough to account for its robust documentation. But I also began to consider is lite so well documented because it is popular or is it popular because it is so well documented? McClin, who is one of the ER texts in the field reproduced the mascot listings from L’S 1932 catalog, and this became a major point of reference for subsequent lite collector’s guides.

Furthermore, Ali’s entree to the world of mascots through a CI commission in 1925 is well documented. And lik had an exclusive sales agent in the UK from the early days, meaning there was always sales literature published in English. As small oar [00:18:00] mascots are not likely to have sales records to establish provenance, so sales catalogs are therefore the most common tool for identification.

Generally, if sales literature is the main source for authentication of mascots, and if collectors prefer pieces, which can be authenticated. Then trends in collecting are driven by availability of information as much as if not more than the inherent aesthetic qualities of the objects collected. This is evident in the sheer number of sources in the current literature about mascots that reproduce pages from sales catalogs.

So what does this mean for the future of these mascots? Well, I hope I’ve demonstrated that documentation creates value. And that we can create more documentation almost instantly just by drawing on work already published in other fields like art history. I believe that when scholars and other disciplines see their work cited in our publications, they will be enticed to focus a little more on cars.

More documentation will create information which will [00:19:00] drive collector confidence, thereby increasing market demand. The demand itself will create prices that justify spending more labor, therefore money on research and authentication. Herein is the one caveat I’ll say, as with fine art, this upward spiral may put the price of mascots beyond the reach of all, but a few enthusiasts.

A smaller handful of collectors will become even more important for the research and preservation of mascots as material culture. As the collections become larger and collectors become older, it seems likely that just as with fine art, our public institutions become the necessary destination of these pieces.

Anticipating this, collectors and institutions should begin collaborating now in the present about what will happen to these beautiful mascots in the future. Such collaborations between collectors and institutions exist already in the world of fine art. Recipient institutions. Work closely with scholars who in turn publish work that expands on our collective understanding of the fabrication, history, [00:20:00] conservation, and social import of material culture.

The collector is not necessarily the first person to own an object. But a collector who plans to give his or her collection to a museum is in a very real sense holding those objects in trust for future generations. The current collector of significant automobiles and automobilia is now faced with the same dilemma that has long weighed on the collectors of Titian, Picasso and Calder.

Are these works purchased for my own pleasure, a financial investment for myself and my descendants, or are they important material culture of which I have been merely the steward? And if so. Who should be the next steward? Thanks very much.

IMRRC/SAH PROMO: This episode is brought to you in part by the International Motor Racing Research Center. Its charter is to collect, share, and preserve the history of motor sports. Spanning [00:21:00] 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.racing archives.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 [00:22:00] motorized wheeled land transportation through the modern age and into the future.

For more information about the SAH, visit www.auto history.org.

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

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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 Lauren Goodman
  • 01:43 The Journey into French Mascots
  • 03:26 Research and Exhibition Insights
  • 04:39 Challenges in Automotive Heritage
  • 08:33 The Role of Collectors and Institutions
  • 15:25 Technological Advances in Research
  • 18:36 The Future of Automotive Mascots
  • 20:48 Closing Remarks and Credits

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Mascots  or “hood ornaments,” if we’re being less French about it, flourished between World War I and World War II. In France especially, the 1920s and early 1930s saw an explosion of creativity. Artists and foundries produced mascots in bronze, silver, and glass, often using the complex lost‑wax casting method.

These were not cheap trinkets. Many were luxury accessories, prized as much for their artistry as for their automotive flair. Some never touched a car at all, living instead on desks and shelves as objets d’art.

But by the late 1930s, streamlining and under‑hood radiators rendered mascots obsolete. By 1938, the Paris Salon featured almost none.

Photo courtesy Lauren Goodman, Revs Institute

Lauren identified a recurring issue: the foundational literature on mascots was created by collectors, not academics.

The earliest major English‑language works appeared in the late 1970s. They were groundbreaking – but they lacked citations, footnotes, and academic rigor. Later authors relied heavily on these early books, creating a feedback loop where assumptions hardened into “facts.”

Why does this happen?

  • Collectors control access to many of the most important pieces.
  • Auction houses rely on existing literature, even when it’s flawed.
  • Automotive history lacks an academic ecosystem — no tenure tracks, no dedicated research funding, no peer‑reviewed journals on the scale of art history or archaeology.

As Goodman puts it, automotive heritage is still largely the domain of passionate amateurs, not institutional scholars.

Photo courtesy Lauren Goodman, Revs Institute

To move forward, Lauren argues, automotive historians must borrow tools and methods from other disciplines – especially art history.

One breakthrough came from a surprising source: a 2015 English translation of “Dictionary of Bronze Art Foundries in France” by Elisabeth Lebon. This work clarified the roles of artists, foundries, fabricators, and fabricants (manufacturers) in early 20th‑century Paris.

This matters because many English‑language mascot catalogs misattribute pieces, conflating the roles of sculptor, foundry, and retailer. Leal’s research shows that companies like Contenot et Lelievre and Pinedo, often labeled as “foundries,” actually subcontracted their casting work.

In other words: the mascot world has been mixing up its credits for decades.

Photo courtesy Amazon, Lauren Goodman, Revs Institute

Lauren also highlights the potential of modern tools like handheld XRF spectrometers (seen above), which can analyze the metal composition of bronzes without damaging them. These methods are already used in fine‑art authentication and could revolutionize mascot research.

Imagine being able to identify:

  • which foundry cast a mascot
  • when it was produced
  • whether it’s a period original or later reproduction

All without removing a single patina.

Photo courtesy Lauren Goodman, Revs Institute

If most mascots suffer from sparse documentation, René Lalique’s glass mascots (above) are the opposite. They are the best‑documented mascots in the world — and Goodman believes this is no coincidence.

Lalique’s popularity may stem not only from his artistry, but from the fact that:

  • his catalogs were widely published
  • his work crossed into the fine‑art world
  • English‑language sales literature existed early
  • scholars in decorative arts embraced him

This cross‑pollination between automotive and art‑historical scholarship created a virtuous cycle: more documentation → more collector confidence → more demand → more research.

Goodman wonders whether other mascots might enjoy similar prestige if they received the same scholarly attention.

Photo courtesy Lauren Goodman, Revs Institute

Lauren closes with a challenge – and an opportunity. As prices rise and collections grow, private collectors will play an increasingly important role in preserving mascot heritage. But they cannot do it alone. Museums and archives must work with collectors now to plan for the long‑term stewardship of these objects.

Just as fine‑art collectors see themselves as custodians of cultural heritage, automotive collectors may need to embrace a similar mindset.

These mascots are not just decorative accessories. They are artifacts of design, engineering, culture, and memory. And they deserve the same care and scholarship we give to paintings, sculptures, and architecture.

Lauren’s work reminds us that automotive heritage is more than engines and sheet metal. Sometimes the smallest objects – a leaping greyhound, a winged goddess, a glass falcon – can spark the biggest conversations about how we preserve and interpret our past.

And perhaps, by looking closely at these tiny sculptures, we can chart a better path for the future of automotive history itself.

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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The International Motor Racing Research Center (IMRRC), partnering with the Society of Automotive Historians (SAH), presents the annual Michael R. Argetsinger Symposium on International Motor Racing History. The Symposium established itself as a unique and respected scholarly forum and has gained a growing audience of students and enthusiasts. It provides an opportunity for scholars, researchers and writers to present their work related to the history of automotive competition and the cultural impact of motor racing. Papers are presented by faculty members, graduate students and independent researchers.The history of international automotive competition falls within several realms, all of which are welcomed as topics for presentations, including, but not limited to: sports history, cultural studies, public history, political history, the history of technology, sports geography and gender studies, as well as archival studies.

The symposium is named in honor of Michael R. Argetsinger (1944-2015), an award-winning motorsports author and longtime member of the Center's Governing Council. Michael's work on motorsports includes:
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Motoring Podcast Network

Latimore Valley: Where Memory Fuels Motorsport Heritage

In the rolling hills of Adams County, Pennsylvania, a quiet fairground once echoed with the roar of engines and the cheers of spectators. The Latimore Valley Fairgrounds, first opened in 1925, began as a lively rural festival with mule races, trapeze artists, and even airplane rides – a thrilling novelty for small-town Pennsylvanians. Yet it was the introduction of automobile racing that transformed Latimore into a cultural landmark, bridging rural tradition with the modern age of speed.

The debut fair was not without controversy. A police raid in 1925 underscored the tensions between wholesome agricultural exhibitions and the temptations of gambling and vice. To survive, organizers turned to auto racing. By 1927, Latimore boasted a permanent speedway, drawing crowds with big cars fashioned from stripped-down Model Ts and Chevrolet innovations. Racing became both entertainment and experimentation, a grassroots culture where mechanics and hobbyists tested their ingenuity on dirt ovals.

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By the late 1920s, economic pressures and shifting entertainment trends dimmed Latimore’s lights. The Great Depression forced closures, though the grounds remained a hub for livestock auctions and community markets. Racing briefly revived in the late 1930s, but tragedies like the death of young driver Leroy Swaggart became part of local lore. Ultimately, the rise of Williams Grove Speedway and the onset of World War II sealed Latimore’s decline, relegating it to the ranks of Pennsylvania’s “ghost tracks.”

Bio

Alison Kreitzer is Director of Collections at the Eastern Museum of Motor Racing in York Springs, Pennsylvania. She earned her Ph.D. in the History of American Civilization from the University of Delaware in 2017.

Synopsis

This episode of The Logbook, our History of Motorsports Series, delves into the history and community heritage of the Latimore Valley Fairgrounds in Adams County, Pennsylvania. Starting from its inception in the 1920s as a fairground and dirt speedway, the site experienced decline before being revived in the 1980s by the Eastern Museum of Motor Racing (EMMR) as a vintage race car exhibition venue. Led by Alison Kreitzer, director of Collections at EMMR, the narrative details the impact of institutional memory in preserving cultural heritage, highlighting the role of grassroots efforts and the Williams Grove Old Timers. The story encompasses the socio-cultural dynamics of rural America, including moments of innovation, racial exclusion, and revival efforts. The episode also emphasizes the importance of preserving motorsport history through community engagement, oral histories, and the ongoing activities at Latimore Valley and the EMMR, ensuring the legacy and passion of motorsports continue to thrive.

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

Transcript

[00:00:00] Break Fix’s History of Motorsports Series is brought to you in part by the International Motor Racing Research Center, as well as the Society of Automotive Historians, the Watkins Glen Area Chamber of Commerce, and the Argo Singer family.

On this episode of the Logbook We’ll Journey into the Heart of Motorsports, history and community heritage. This story begins at the Latimore Valley Fairgrounds in Adams County, Pennsylvania. A place that first roared to life in the 1920s and thirties as a local fairground and dirt speedway. Though time brought decline, the spirit of racing never truly faded.

But by the 1980s, members of the Eastern Museum of Motor Racing stepped in, reviving the dormant track and transforming it into one of the nation’s first dedicated vintage race car exhibition venues here. History isn’t just remembered. It’s lived through the thunder of engines in the passion of enthusiasts across generations.

At the center of this narrative is the power of institutional memory, the collective knowledge, stories, and experiences that guide [00:01:00] preservation, programming, and community connection. And leading us through this exploration is Alison Kreitzer, director of Collections at the EMMR, with a PhD in the history of American Civilization for the University of Delaware.

Alison brings both scholarly insight and deep dedication to preserving Motorsport heritage. Together we’ll uncover how memory shapes legacy, and how Latimore Valley became a living bridge between the past and the present.

Good afternoon. Today I want to take you on a journey spanning nearly a century of Motorsport, history, community engagement, and preservation. This story centers on the Latimore Valley Fairgrounds, a site located in Adams County, Pennsylvania. That evolved from a vibrant local fair in the 1920s through decades of dormancy to its revival in the 1980s as one of the nation’s first vintage race car exhibition tracks.

But this presentation is about more than just the rise and rebirth [00:02:00] of the historic speedway. It’s a story about institutional memory, the collective knowledge that organizations accumulate over time through both historical documents and artifacts. As well as informally through storytelling and mentorship, Latimer Valley exemplifies how this institutional memory built from the shared experiences of its community can shape the way cultural heritage is preserved and interpreted.

At the Eastern Museum of Motor Racing or EMMR, we see this every day. Our mission extends beyond preserving physical artifacts. We strive to safeguard the stories, the human connections. And the living traditions that define motor sports culture. The emergence of the Latimore Valley Fair in the late 1920s offers a revealing case study of rural life in Interwar America.

Both the activities on the race track and the events surrounding the fairgrounds mirror the broader cultural shifts and tensions. Unfolding across Pennsylvania at this time. The [00:03:00] Latimore Valley first opened in August, 1925. It was the vision of Robert B. Nelson, a York Springs resident who transformed his private property into a bustling public fairground.

That first fair was a lively spectacle, a four day celebration featuring glee clubs, live bands, trape artists, roller skating champions, and displays of modern consumer culture. Like automobiles and furniture, visitors could enjoy mule races, stroll the midway, or even take an airplane, ride, a thrilling novelty for Royal Pennsylvanians in the 1920s.

Yet the fair debut ended dramatically. The Lebanon Daily News reported a state police raid during the Saturday of the fair. Seven people were arrested and officers confiscated roughly $800 worth of gambling equipment and merchandise. Latimore wasn’t the only regional fair to attract the attention of the state police.

In 1924, [00:04:00] Pennsylvania had banned gambling and immoral entertainments at publicly funded fares. Critics complained that what had once been wholesome agricultural expositions were turning into spectacles of vice with alcohol, gambling, rig games, and burlesque shows becoming common Midway entertainments.

Many fair organizers, including those at Latimore, sought new ways to attract visitors without running afoul of the law. One of the most effective and popular solutions was automobile racing. Throughout the late 1920s, fairground associations across the state began hosting auto race. On their existing horse tracks, the combination of speed, noise, and local talent proved irresistible transforming motor racing into a major attraction throughout South Central Pennsylvania.

This enthusiasm for technology centered hobbies reflected a larger transformation in rural life. In 1914, only about 7% of Pennsylvania farmers owned automobiles. By [00:05:00] 1921, that number had risen to 72%. Automobiles were reshaping not just transportation, but culture. A 1925 Harrisburg Telegraph reporter remarked quote, nearly everyone owns an automobile these days, and nearly everyone craves speed.

Americans modified their passenger cars into trucks, tractors, campers, and increasingly raced cars. Fairs like Latimore became a natural stage for technological tinkering in the pursuit of new speed. Records determined to recover from the setbacks of the initial 1925 Latimore Valley Fair Coordinators announced their plans to construct a permanent racetrack for future events.

Organizers sent letters to local elites attempting to entice area residents to buy stock in the Latimore Valley Fair Association for $50 per share. By 1927, the Fairground Speedway was complete. The Latimore Valley Fair hosted auto and horse races under the promotion of the Dolphin County Auto [00:06:00] Racing Association.

The event offered $1,000 in prize money, a remarkable sum for the time amounting to nearly $19,000. Today, the race drew notable entries like the Chevrolet Special driven by CH Rule, who also happened to be the president of the Pennsylvania Bar Association. Racing even then attracted a fascinating mix of professional and working class enthusiast.

Henry Ford’s Model T played a central role in the development of grassroots racing, affordable and widely available. It provided an entry point for spying racers. By the 1920s, a thriving aftermarket industry had emerged, offering parts to increase the power and performance of the humble Model. T mechanics and hobbyists stripped down cars, removing fenders, lights, and unnecessary weight to create sleek, cigar shaped racers known as big cars, innovations from the likes of the Chevrolet Brothers.

Such as high compression cylinder heads and improved camshafts turned everyday [00:07:00] engines into the competitive racing machines that competed, uh, at Latimore and other area fairground tracks. Drivers worked out of garages and barns fabricating by hand. Safety features were minimal. Creativity and courage were essential.

This was the backyard mechanic culture where racing was accessible and experimental. While the interest in automobile racing brought many local residents together at the Lamore Valley Fairgrounds, the site also reflects a more complicated truth. Community spaces often mirror the social, racial, and ethnic divisions of their time.

In 1927 and 1928, the KKK held at least two major events at Latimore. A 1927 advertisement for a clan picnic promised amusements of all kinds for everybody. End quote. These amusements included baseball games, foot races, live music, fireworks, and notably the burning of what the clan claimed would be the largest cross ever ignited in [00:08:00] Pennsylvania.

The following year, the clan returned to Latimore to host a six day fair featuring daily entertainments, dancing and onsite camping. These were not isolated occurrences. Membership records preserved in the Pennsylvania State Archives estimate that by the mid 1920s, nearly a quarter of a million Pennsylvanians belonged to the clan.

That Second Air Clan found support among many native born working class Americans. Tapping into nativist fears over immigration, job competition, racial and religious differences, organized crime and other perceived threats to white Protestant identity. These anxieties were widely felt across the nation and contributed to federal policies such as the Johnson Reed Act of 1924, which imposed strict quotas on immigrants from Eastern and Southern Europe and barred immigration from most of Asia.

The clan of the 1920s promoted an ideology that was intensely racist towards African Americans, as well as anti-Catholic, [00:09:00] anti-Semitic, and anti-immigrant. At the same time, its leaders sought to normalize the organization by presenting it as a community service network, helping members find employment, offering mutual aid and hosting family oriented social events with food, entertainment, and recreational activities such as those hosted at Latimore.

By acknowledging this history, we better understand how places like Lamore Valley were shaped, not only by moments of celebration, innovation, and community building, but also by the exclusionary forces that define much of American society. During the 1920s, historians have shown that African-Americans were largely barred from full participation in mainstream automobile racing during the interwar years.

Even exceptionally skilled drivers such as Charlie Wiggins were systematically shut out of fairground dirt tracks and major racing venues. In response to this exclusion, groups such as the Indianapolis Colored Speedway Association were [00:10:00] created to have opportunities for black drivers from 1924 to 1936.

The Colored Speedway Association organized a 100 mile race for African Americans at the half mile track at the Indiana State Fairgrounds, known as the Golden Glory Sweepstakes. This annual event quickly became the premier national stage for African American racers, showcasing extraordinary talent and determination in the face of widespread discrimination.

One of the earliest documented racing events for African American drivers in Pennsylvania took place at Arden Downs Fairground, which is located in Washington. It’s about 30 minutes south of Pittsburgh on July 4th, 1927. The holiday program drew prominent African American racers from as far away as Detroit and Chicago.

A year later on Labor Day 1928, Arden Downs made an remarkable leap. The track hosted an integrated field of 40 black and white drivers competing together [00:11:00] on its half mile oval. Local African American undertaker Quinn Banks surged to an early lead before collision with Fence, took him out of contention, allowing white driver Tony Boyle to take the checkered flag.

Coverage in the black press celebrated the event as a sign of racial progress. The Pittsburgh Courier reported that quote, competent color drivers match their wi skill and courage against Ottawas of the other group, and the comparison was favorable. Yet this moment of integrated motor racing in Pennsylvania was short-lived.

Arden Downs does not appear to have hosted similar interracial contest after the 1929 season, and there is no evidence that Latimore Valley ever held such events. By the late 1920s, the Timore Valley fairgrounds, like many small, rural, fair sites, were struggling to remain financially viable, declining attendance, increased competition from larger regional fairs and shifting entertainment trends all took a toll.

In 1928, the property [00:12:00] was put up for public sale, 26 acres with a half mile track, grandstand, stables, and several exhibit buildings. Yet not a single bid was made a sign of the growing economic uncertainty gripping the region even before the Great Depression fully took hold. Throughout the early 1930s, the fairgrounds passed through the hands of several owners, each attempting unsuccessfully to revive racing and generate steady revenue.

Their difficulties were far from unique. During the depression, many local racetracks either closed or temporarily disappeared altogether. Families had fewer resources for leisure activities. And promoters face rising insurance costs in declining gate receipts at Latimore, both the automobile races and the annual fair were suspended in the early years of the Depression.

Yet the grounds did not sit idle. As farm prices plummeted, Latimore became an important site of practical day-to-day exchanges. Local farmers and residents gathered here for public sales, livestock [00:13:00] auctions, and community markets. These years illustrated a lotti more like many community fairgrounds adapted to changing circumstances.

By 1935, a new generations of organizers were determined to revive the fair. This also included reviving the automobile races that were held there. Drivers from across the eastern United States met in 1935 to compete for modest purse money, and a mission was set at just 10 cents a price that reflected both the desire to make the event accessible and the continuing economic strain of the depression.

But again, the revival was not without local controversy. This time, LATI Moore’s new owner, Bruce Wagner, faced community backlash when he held races on Sundays. He was charged with quote desecration of the Sabbath and fined $4 a relatively small sum, amounting to about $90 today, but significant in symbolism.

Wagner’s prosecution fell under Pennsylvania’s longstanding blue [00:14:00] laws, which dated back to the colonial time of the 1740s. These laws were still largely in effect during the 1930s and restricted commercial and recreational activities on Sundays for religious observance. Racing at the Latimore Valley Fairgrounds peaked in the period of 1937 to 1939.

During this period, promoters hosted races roughly every other weekend resulting to about 10 races per season. The races drew large crowds, eager to see the local competition. The track operated as an outlaw venue independent of the American Automobile Association, and became a hub for a diverse cross section of Eastern drivers independent tracks.

Lake Lamore Valley played a dual role in the racing ecosystem. They offered local drivers a place to learn and hone their skills, and they provided an opportunity to earn money outside the tightly controlled AAA circuit. The distinction between independent and AAA racing was not always clear. Cut. Many AAA [00:15:00] drivers raced under assumed names at Outlaw tracks to supplement their income while avoiding fines or disciplinary action from the governing body.

Keep in mind that they also race motorcycles at Lamore during that period. So if you think the big cars were bumpy, um, I can’t even imagine what it would’ve been like to race. A motorcycle during that period to think about the drivers that were competing in this period of the late thirties. A case study that is good to kind of illustrate these local independent drivers is Vic Naman.

Like many of his peers, he relied on a local car owner to fund his racing career. NAM and ZR two was owned by Leonard Redding. Who operated an auto repair garage in nearby Shippensburg Redding supported a two car team during the late 1930s. He’s shown in the top right, uh, with the team car, the ZR one, driven by Elmer Norris.

Norris and Naman, along with their contemporaries, often served as their own mechanics At the races, independent drivers had to be inventive, [00:16:00] adjusting on the fly, patching cars after crashes, and experimenting with setups to gain even small advantages on the track. Like many of his peers, Naman raced it, several independent tracks across central Pennsylvania, traveling from Lancaster to Lebanon to the Harrisburg region throughout the racing season.

Oral histories play a vital role in preserving community memory, yet they also can diverge from the verifiable facts over time as stories are retold and reinterpreted through generations. A telling example of this at Latimore can be found in the case of racer Leroy Swaggart. The 19-year-old racing novice died at Latimore when he blew a tire and crashed into a tree.

Swagger’s story became part of Lattimer’s local lore. Just one day earlier, he had married his sweetheart who witnessed his fatal accident from the grandstands. Over time, Swagger’s accident became intertwined with explanations for the Speedway decline. To this day, MMR members [00:17:00] consistently used this story as evidence for why big cars stopped racing at the track after the 1939 season.

At some point, a museum volunteer even wrote on the bottom of the photograph of Swaggart killed at Latimore in 1939, and you can see the handwriting right there. It’s a little blurry on the slide today. However, contemporary newspaper records confirm that Swagger’s death actually took place in 19 37, 2 years earlier than the collective memory suggests.

This discrepancy illustrates how institutional and community narratives can shift sometimes unintentionally blending fact and fiction. And with our conversations this morning, I think it’s also relevant that we’re reading 21st century responses to things such as accidents and thinking through safety onto this period of the 1930s.

Because the newspaper coverage from the 1930s focused on the sensationalism surrounding his age and his recent marriage, his untimely death does not appear to have [00:18:00] significantly impacted the 1937 racing season or to have created a critical response. Over changes to track safety. The closure of the Lamore Valley fairgrounds at the end of the 1940 season was most likely influenced by notable factors such as the opening of nearby Williams Grove Speedway, known as the Ascot of the East Williams Grove was a purpose built facility that quickly became one of the premier racing venues on the East coast.

And I’ll show my sprint car bias in this room and say, I still think it holds that status today. Unlike Latimore. Williams Grove regularly sanctioned AAA races and consistently attracted top tier drivers from across the region. The Grove offered significantly higher purses, drawing both competitors and spectators away from the smaller fairground tracks.

Its modern amenities and central location made it a natural magnet for race fans effectively eclipsing local venues like Latimore. Lamar’s decline was compounded by the broader context of the [00:19:00] late 1930s and early 1940s. The onset of World War II restricted rubber and fuel supplies, curtailing racing events.

Lamore was unable to sustain regular racing even before the federal government officially banned all auto racing in 1942. In the decades following the war, Latimore largely returned to practical community uses. The fairgrounds hosted livestock auctions, public sales, and other local gatherings. While the track itself fell into disuse, Latimore joined the ranks of Pennsylvania ghost tracks.

Remember primarily through the stories told by drivers and spectators who had once gathered there even without formal preservation. The fairgrounds lived on through these oral histories, but also through the personal collecting of individuals who had attended races there. Family photographs, newspaper clippings, racing trophies.

Fair ribbons and ticket stubs were carefully saved each a tangible reminder of excitement and adventure experienced at Latimore. [00:20:00] This kind of grassroots preservation reveals the powerful impact that shared experiences can have on individuals and communities. In the large scope of racing history landmark’s impact is minimal.

However, the fair and Its Speedway was memorable to the people who had experienced it firsthand enough so that they took the effort to save and preserve these mementos from the fairgrounds. In some cases, for over 50 years, these informal archives later proved invaluable in guiding the tracks reconstruction and interpretation.

Many artifacts eventually found a permanent home at the Eastern Museum of Motor Racing. Allowing the new generations to connect with the history stories and spirit of Latimore Valley. The photographs are of Drivers Vic Nomans on the top right. The dairy bottles are there because in the 1930s, the local dairy crawls.

Dairy had a truck, and the dairy truck became the ambulance for the speedway. So if a driver was hurt, crawls, dairy, generously then transported the injured driver [00:21:00] to the local physician or maybe a nearby hospital. For many racers and fans who grew up hearing stories about racing in this period of the twenties and thirties, Latimore and other Ghost Treks became symbols of a history worth preserving, and it was precisely the sense of nostalgia and responsibility.

The desire to keep the spirit of places like Latimore Alive that inspired new generation of racers to take action by the 1970s. Williams Grove Speedway promoter, Jack Gunn wanted to honor racing pioneers and preserve the rich history of Williams Grove Speedway. He envisioned uniting past and present members of the racing fraternity through the formation of a new club called the Williams Grove.

Old-timers well-known drivers, Dwayne Carter, Joey Chitwood and Cliff Griffith were among the club’s early supporters. Within a year, the Williams Grove Oldtimers had grown to over 375 members. Charter members of the group hailed from over 10 different states. The group published their first newsletter in April, [00:22:00] 1975, stating their mission and vision for the social club quote.

We’re very glad to have you in the cockpit with us. You are now a charter member of what is about to become one of racing’s finest organizations. The Grove Oldtimers. With its inception, we hope to bring you and all of our members nostalgia, surrounding methanol memories and castor oil charisma of the fabulous dirt track past.

To do this, we have to enlist your aid in obtaining the whereabouts of old time drivers, mechanics, and car owners. After all, this is what this club is all about. We want to get these greats together and bestow long and belated honors upon them. Members mingled with racing legends at the early conventions held at Williams Grove Speedway.

Attendees spent the weekend camping at the track, enjoying barbecue picnics, watching old racing movies and bench racing. They hosted track time for vintage race cars, interviewed former drivers and displayed their personal collections of [00:23:00] racing memorabilia in an old barn located off turn, one of the speedway.

One of the early participants of the Williams Grove Old Timers was a local sprint car driver named Lynn Paxton. Popular with the fans. Paxton captured multiple feature wins across Pennsylvania’s toughest circuits, including Williams Grove, port Royal and Seals Grove during the late 1970s. He was hardly an old timer, but he had a keen interest and enthusiasm for history.

He had already acquired several of his own vintage race cars by the late 1970s, including a 1947 Miracle Power special driven by his personal racing hero, Tommy Haner with his established connections within the racing community. An interest in racing history. Lynn was a natural fit to become a leader in the developing Williams Grove old timers.

When Jack Gunn died in 1980, the future of the old timers was in jeopardy. Since the group operated out of guns, Williams Grove office [00:24:00] members worried that the tracks knew owners once support the club. A small group of members led by Lynn Paxton recognized that the old timers was more than just a social group, that they were a group that had an important role in documenting Mid-Atlantic racing history.

In 1981, the Williams Grove old timers were formally established as a Pennsylvania educational nonprofit. The vision of the newly formed board of directors was ambitious. They wanted to create a living museum where history could be experienced, not just displayed. They hoped to achieve this goal by building both the permanent museum and an exhibition track.

As Williams Grove Oldtimer President Carl Schweigert envisioned quote, the exhibition track will not only serve the needs of those acquiring and restoring antique race cars, but together with our Planned Museum of Automobile Racing history will help fulfill our ultimate purpose of preserving and displaying the history of American automobile racing for the benefit of the general public, and will enable us to present [00:25:00] operating examples of this history.

While the group started searching for a site for the Eastern Museum of Motor Racing, they also began actively collecting donations of historic race cars and other artifacts related to motor racing history. The board of directors first approached winds growth Speedway about purchasing land for a proposed racing museum when the tracks owners declined.

Mel Paxton, Lynn’s father. Recommended an alternative, the long abandoned dirt track at the Lamore Valley Fairgrounds. Mel had deep personal ties to the site, having raced there in the 1930s and attended the fair all the way back to the early 1920s as a trial. The revival of the Lammore Valley fairgrounds truly began then in 1982 when the old timers purchased the historic property.

While they envisioned Latimore as the future home of their museum, their immediate priority was creating the dedicated exhibition track for vintage race cars. As swagger explained, the [00:26:00] exhibition track at the museum will be the first permanent facility of its type in the United States, devoted solely to the exhibition of antique racing machinery, and our ownership of the facility will guarantee its continued existence.

All the work was done by members and volunteers, organized work parties to begin clearing and restoring the old racetrack. Early in the process, they discovered that previous land surveys of the fairgrounds were inaccurate. One of the turns actually extended beyond the property line to faithfully reconstruct the historic oval.

The board of directors had to approach the neighboring farmer and negotiate the purchase of an additional two acres. EMMR members then installed wooden guardrail around the track, built bridges over Latimore Creek, constructed pavilions and restored the original house in small barn on the property. In 1983, members held their first open house at the fairgrounds.

They wanted to showcase the revitalized speedway, but weren’t quite ready yet for vintage [00:27:00] racing. The event featured a static display as well as 1938 Lamore Valley Speedway Track Champion at Stein, who paced the oval in a vintage 1930 sprinter local racing greats such as Stein Tommy Henner ship. And Buster Workie played a vital role in the early years of the old timers As active members, they regularly attended conventions and track time events serving as living links between racing’s past and present.

Their participation helped bridge the generational gap. Allowing younger fans and aspiring drivers to learn directly from those who had shaped the sport. These legends generously shared their knowledge and experience posing for photographs, offering interviews, and discussing not only their racing careers, but also their contributions to car design, fabrication, and mechanical innovation.

By engaging directly with members and fans, they helped cultivate a shared sense of community. This intergenerational involvement became a defining [00:28:00] feature of EM’S culture. Also in 1983, the old timers took on a second major step in expanding their public outreach. They purchased Shorty Miller’s Mobile Museum of Racing History, a 30 foot trailer outfitted with display cases, lighting and climate control.

This mobile museum allowed WTOT to bring the history of motorsports directly to the public. Volunteers traveled to Speedways Faires. Conventions throughout the region. For many, this was their first opportunity to see historic racing artifacts up close. Making the sports pass tangible and accessible. At the time, the old timers had already masked an impressive collection of drivers, uniforms, trophies, helmets, and safety equipment, as well as an extensive archive of racing photographs and programs documenting the sports evolution.

Lynn Paxton was. Essential in acquiring these objects for the future museum. He’s shown here on the left with Bruce Craig, [00:29:00] who was a member and a local photographer, and they would travel around Wednesdays was the day where they go to different places across the Mid-Atlantic region to acquire things that they thought would be good for the Racing Museum.

So an example that they’re shown here, this is the tale from Ted Horn’s car that he died in in 1948. And it’s still something that we display at the museum to this day. By bringing artifacts, stories, and racing history directly to fans across the region. The mobile museum demonstrated the public’s interest and engagement, proving that a full-time brick and mortar museum was both necessary and sustainable.

Latimore Valley, once again, echoed with the sounds of racing engines. By 1984, during the second annual open house members like Stein and Billy Gauss took to the track and restored cars that they had originally raced there in the 1930s. For the first time in over 40 years, cars raced around Lamar’s oval turning memory [00:30:00] into motion.

The group hosted track time on both Saturday and Sunday. These events weren’t designed to stage races. Instead, drivers paced the track at speeds roughly 20 miles per hour to showcase the restore machines for their fellow enthusiasts and first time visitors. While the cars circled the TrackR announcers shared details and historical information about each car as well as each different period of racing history, much like the independent racers of the 1920s and thirties.

Vintage race car restorers are artists and craftsmen dedicating countless hours to rebuilding cars, sourcing hard to find parts, and fabricating components by hand. In doing so, they preserve not just machines, but the skills, creativity, and relationships that define racing culture. Recognizing the importance of preserving the identities and stories of historic race cars.

The old timers established one of the earliest organized historical databases for vintage racing [00:31:00] vehicles. Members understood the need to have accurate documentation to protect and share these histories. Vintage Conos could officially register their vehicles and received a number dash plaques signifying inclusion in the organization’s historical record.

By the mid 1980s, the old timers had documented histories and photographs for over 130 significant cars, and this number has continued to grow. To this day, I think we’re approaching about 400, 4 50 that have been registered. So car owners frankly come to the museum to trace the lineage of vehicles bearing these original dash plaques when they purchase a vintage race car.

Even to this day in 1985, the Williams Grove Oldtimers had another milestone, the first rebirth of the Latimore Valley fair with supportive local volunteers. They reopen the fair featuring antique tractors and engine live entertainment crafts, children’s games, and of course vintage race cars. The Latimore Valley Fair [00:32:00] became an annual tradition and the primary fundraising event for the organization in 2025.

The fair celebrated its 40th anniversary today. The event both preserves the legacy of the original fair while reinforcing Lati Moore’s role as a community gathering place and a living museum for racing history. By the time construction of the Eastern Museum began in 1989, the Williams Grove Oldtimers had 1700 members.

Phase one of the museum included exhibition space for about 20 cars, as well as displays a library and a gift shop. Today the museum has expanded through several renovations and grown to offer nearly 24,000 square feet of exhibit space. We now display more than 60 vintage race cars alongside countless artifacts from Chris Mackie’s typewriter to Malcolm Durham’s racing jacket to Jimmy McGuire’s prosthetic arm In less than a decade after becoming a 5 0 1 C3 [00:33:00] nonprofit.

The Williams Grove Oldtimers had not only achieved their original goals, but they had made their mark on preserving Pennsylvania racing history. Their leadership drove the purchase and restoration of the Lamore Valley Speedway, the revival of the Lamore Valley Fair, and the construction of a permanent museum dedicated to the region’s motorsports history.

The passion and vision of those original Williams Grove Alzheimer’s founders inspired a broad network of volunteers. Local businessmen area speedways and racing enthusiasts to rally behind the organization. The legacy they set in motion continues to grow. Vintage race car exhibitions have expanded far beyond Latimore, now held annually at area tracks such as Williams Grove, Lincoln, Babs, port Royal, and Hagerstown in 2025.

EMMR additionally hosted three track time events at Latimore, and in 2026, the Jalopy Showdown will return to the fairgrounds, demonstrating that the spirit first [00:34:00] cultivated by the Williams Grove Old timers remains very much alive at EMMR today. Alongside ongoing museum expansions and the development of a permanent drag racing exhibit, this Giy Showdown event helped EMMR broaden its mission beyond sprint cars and midgets, celebrating the full diversity of regional racing vintage race car exhibits at Latimar Valley.

Transform then history into living experience. Visitors see these cars not just as static artifacts, but as functioning machines that once thrill crowds. Tested engineering limits and showcase driver skill. Each lap around the track bridges past and present highlighting the craftsmanship, innovation, and passion that define generations of Pennsylvania motorsport.

Through these events, the fairgrounds have become more than a historic site. They’re a dynamic classroom where motorsports continues to educate, inspire and engage people of all ages. For over four decades, then Lynn Paxton, who’s shown in that Miracle power [00:35:00] special in the upper right, led these efforts ensuring that the stories, artifacts, and experiences of racing history were collected, celebrated, and shared.

Following his passing in 2024, EMMR launched the Lin Paxton Memorial Fund to honor his dedication to public history and the museum’s mission.

Are there any questions? So I’m interested in the Chris Koma connection. What do you have in that collection or a little bit and, uh, how did it come that you got it? Sure. I think Chris’s collection was spread. Some of it’s here at Watkins Glen. Some of it’s at the Revs Institute, and some of it came to EMMR.

So what we have are a lot of Chris’s personal mementos like that typewriter, as well as a lot of his awards that he has pictures of him throughout his career with the A b, C wide world of sport. As well as things such as the newspaper [00:36:00] bag that he handed out his original newspapers and when he was just a boy.

So we have a lot of that as well as a large collection of his books came to EMMR. So we have a research room that has a display, uh, with a lot of the books that came in from the Kane Mackey collection. And Corin, his daughter actually just donated a series of programs to us that date back to that early period of the twenties and thirties from various tracks throughout the Mid-Atlantic.

I noticed when you were playing that video, it mentioned one of the founding members was a swaggert. Yes. I’m assuming relative of Leroy. No, not that I think, I don’t think there’s any historical connection there that I’ve been able to find out. Carl Schweigert was a track announcer at a variety of tracks and an amateur historian.

So he came to the organization because of this shared love for history, and we actually have a lot of his scrapbooks. So all the races that he attended from that period of the thirties and forties, he made scrapbooks of a lot of like the [00:37:00] information, the tickets of the ephemera, and we still have those today.

He was working as an amateur historian, writing kind of histories of area racing and participating actively, and then joined our organization when it started in the seventies. I can attest to the uh, fact that Lynn was a storyteller. I’ve only visited the place once, but honestly, within 15 minutes of walking in, we were in a discussion with him and it was like we’d known him forever and he was just.

Fabulous and and definitely appeared to be the driving force behind that place. Those were brave men that drove those cars. Then they’re brave men that drive those cars. Now, seriously, I urge anybody that has not visited EMMR at some point in time, you’ve gotta put that into your. Itinerary because it is just a absolutely fabulous place.

So happy you were able to come up and join us today. And I will second what Kip said. I had the distinct pleasure of interviewing Lynn a couple of years ago, and he took us on a guided tour of the museum. We actually have that as a podcast episode and thanks to Allison, we’ve [00:38:00] been working to digitally remaster a lot of the old they call racers Roundtable, which would be the equivalent in IMRC.

Speak to the center conversations, which do feature Lynn and a lot of his comedy and a lot of. The sarcasm and you get to really know him as a person and his personality. So look for those in the next couple of months as we continue to drop those. If you’re interested, just come see me. But it’s been an absolute pleasure to be able to work on those projects as well.

Have you ever. Driven any of the cars out in the track. I have not driven the cars on the track, but I grew up attending dirt track races in central Pennsylvania. Silver Spring, Williams Grove Lincoln were the tracks that I’ve attended since childhood. So I have the fan perspective and some of the promotional perspective because my family was involved in that, but never took an interest in wanting to get behind the wheel, having witnessed.

Some of those accidents as a child, especially fire is something that very much concerns me when you’re strapped in like that, but definitely grew up at dirt tracks. So it’s interesting to be at EMMR because we have this thriving drag [00:39:00] racing culture and it’s a whole different speak, right? It’s a whole different vocabulary, a whole different kind of community.

So it’s been great to expand my background in racing with lots of other different types of racing since coming to the museum. I just wanted to say thank you and I really appreciate the perspective of your presentation in a variety of ways, but you really hit on, I think, an aspect of racing that sometimes gets overlooked as we talk about F1, nascar, imsa, all that.

Like I actually think, even though I didn’t grow up going to those sorts of things, for me as an archivist in all kinds of racing history, that kind of stuff gets overlooked, and I think it’s really, really fascinating. I love looking at the old pictures. We have some great amateur photography from tracks that look just like that, and so I’m really excited to see that.

Thank you, Allison. I’m just wondering, do you have any kind of educational outreach to local schools, to thinking some of the local colleges nearby, like Penn State, Harrisburg, and [00:40:00] places like that? Is there any kind of educational component that you go out. Or have kids come in to see. So we’re trying to build that, since I’ve joined the museum in the last three years, starting mostly with school groups, so the Boy Scouts as well as homeschooling groups in the area and charter schools, we’ve started to bring them in to do.

Tours, but also have kind of educational activities planned. So I have a scavenger hunt now where there’s great pictures of different things in the collection and they have to identify that object and then answer questions about it. And I’m also trying to move some of our exhibits. We now have a rotating exhibit gallery.

That’s using more STEM connections with existing programs. So for example, the NHRA has a YES program where they have on their website a whole set of lesson plans. So it’s very easy to incorporate those into our galleries and encourage them families as they’re there visiting to finish these activities as well.

Now, can I thank Allison?[00:41:00]

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 continence, 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.racing archives.org.

This [00:42:00] episode is also brought to you by the Society of Automotive Historians. They encourage research into any aspect of automotive history. The SAH actively supports the compilation and preservation of papers, organizational records, print ephemera, and images to safeguard, as well as to broaden and deepen the understanding of motorized wheeled land transportation.

Through the modern age and into the future. For more information about the SAH, visit www.auto history.org. We hope you enjoyed another awesome episode of Break Fix Podcasts, brought to you by Grand Tour Motorsports. If you’d like to be a guest on the show or get involved, be sure to follow us on all social media platforms at Grand Touring Motorsports.

And if you’d like to learn more about the content of this episode, be sure to check out the follow on article@gtmotorsports.org. [00:43:00] We remain a commercial free and no annual fees organization through our sponsors, but also through the generous support of our fans, families, and friends through Patreon. For as little as $2 and 50 cents a month, you can get access to more behind the scenes action, additional pit stop, minisodes and other VIP goodies, as well as keeping our team of creators.

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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 Latimore Valley Fairgrounds: A Historical Overview
  • 02:41 The Emergence of Automobile Racing
  • 03:36 Challenges and Controversies in the 1920s
  • 07:19 Racing and Social Divisions
  • 11:42 The Decline and Revival Efforts
  • 16:18 The Role of Oral Histories
  • 21:25 The Williams Grove Old Timers and EMMR
  • 31:39 The Rebirth of Latimore Valley Fair
  • 32:18 Expansion and Legacy of EMMR
  • 35:24 Q&A Session
  • 41:11 Closing Remarks and Credits

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Yet Latimore never truly disappeared. Families saved ticket stubs, trophies, and photographs, creating informal archives that kept its spirit alive. These personal collections became invaluable decades later, when nostalgia and responsibility inspired a new generation of racers to act. In 1982, the Williams Grove Old Timers, led by figures like Lynn Paxton, purchased the abandoned fairgrounds. Their vision was bold: not just a museum, but a living exhibition track where history could be experienced in motion.

Volunteers cleared brush, rebuilt guardrails, and restored the oval. By 1984, vintage cars once again circled Latimore’s track – not in competition, but in demonstration, allowing enthusiasts to witness the craftsmanship of restorers and the legacy of drivers. The Eastern Museum of Motor Racing (EMMR) emerged from this effort, safeguarding artifacts and stories while fostering intergenerational connections. Oral histories, exhibitions, and track time events turned Latimore into a bridge between past and present.

Today, Latimore Valley stands as more than a preserved site. It is a testament to institutional memory – the collective stories, documents, and traditions that shape how heritage is remembered and celebrated. Through the dedication of EMMR and its community, Latimore is not just a relic of motorsport’s past; it is a living archive where engines, artifacts, and memories continue to inspire.

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.


About the EMMR

The Eastern Museum of Motor Racing is a premiere destination for motor racing enthusiasts, showcasing a vast collection of historic racing cars, artifacts and memorabilia.

Each roundtable brings together voices from across the motorsports world, from grassroots heroes to seasoned veterans, as they share stories, insights, and behind-the-scenes tales that shaped their racing journeys. Whether you’re a die-hard fan of dirt tracks, drag strips, or open-wheel icons, the Racers Roundtable is your seat at the table for candid conversations and timeless memories from those who lived it.

To learn more about the EMMR, or to take part of the next in-person Racers Roundtable, you can plan your visit, or support the museum’s mission to preserve and celebrate the legacy of racing by heading to www.EMMR.org. Follow them on social media for the latest news, upcoming events, and exclusive content.

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Enduroverse: Building the Home Endurance Racing Has Always Deserved

Endurance racing has always had a way of pulling people in. Maybe it’s the sunrise at Le Mans, the roar of Daytona at 3 a.m., or the heat radiating off the concrete at Sebring. Maybe it’s the stories – told in the paddock, shared over a meal, or passed down by the legends who shaped the sport. Whatever the spark, that connection is powerful. And it’s exactly what Enduroverse was built to honor.

Enduroverse began as a small, passionate group of U.S. endurance‑racing supporters – fans, volunteers, and drivers who kept showing up at the big races and realized they were building something bigger than themselves. Over the years, that grassroots effort grew into a true community, one trusted by drivers and racing legends who have competed at the most demanding events in the world. They opened their doors, shared their stories, and helped prove just how meaningful it is when fans get real access to the people behind the helmets.

Today, Enduroverse is the next step in that journey: a member‑powered platform designed to give this community a permanent home in the United States. It’s built for anyone who feels the pull of long races and long nights – whether you’ve stood trackside at Road Atlanta, cheered through the darkness at Daytona, or you’re discovering endurance racing for the first time.

Photo courtesy William Ross, Exotic Car Marketplace

Membership is the gateway into this world. Joining Enduroverse means becoming part of a network that thrives on real experiences, real stories, and real relationships – on track, online, and in the paddock. Members receive early event updates, first access to new experiences, and a unique Enduroverse Membership ID that becomes their identifier inside the community. More importantly, they gain invitations to “Evening With a Legend” events, watch parties, meetups, and limited‑capacity experiences that bring fans, drivers, and partners together in ways you won’t find anywhere else.

But membership isn’t just about access – it’s about impact. Every person who joins helps grow endurance‑racing engagement in the U.S., supports recognition of the legends who built the sport, and backs a platform designed to last far beyond a single race weekend. For those who were part of or familiar with the ACO USA community, Enduroverse carries that same spirit forward with even more room to grow, evolve, and bring people together.

Signing up to become a member takes less than two minutes. Once you’re in, your account is active, your Membership ID is live, and you’re part of a movement that stretches from Le Mans to Daytona, Sebring to Road Atlanta, and beyond!

As Enduroverse expands, so do the opportunities – more events, more access, more ways to connect with the sport you love. Endurance racing has always been about going the distance. Enduroverse is here to make sure the community that supports it can do the same.

B/F: The Drive Thru #65

0

This Drive Thru News episode tears through a disappointing slate of Super Bowl car commercials before shifting into a broader roundup of automotive chaos – from Stellantis’ $26B EV implosion and Tesla axing the Model S and X, to StopTech and Raybestos abruptly shutting down and Honda’s new Prelude landing with a thud. The hosts riff on design misfires, EV fatigue, and shifting EPA rules while weaving in motorsports talk, including the dull Rolex 24, Bathurst’s massive crash, and WRC scouting U.S. rally sites. They wrap with GTM project updates, track‑season safety reminders, and a grab‑bag of Florida‑man absurdity and parking‑lot disasters, all delivered with their usual humor and gearhead banter.

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Show Notes & Supporting Stories

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

Formula One

Japanese & JDM

Lower Saxony

Lowered Expectations

Motorsports

News

Rich People Thangs!

Stellantis

Tesla

VAG & Porsche

Track Side Report

  • NJMP Press Release: “Anyone planning to race at New Jersey Motorsports Park (NJMP) in 2026 should take note of an important helmet requirement. Please note that this applies ONLY to motorsports in New Jersey. Due to New Jersey Administrative Code Title 13, Chapter 62, the Snell SA2015 helmet standard expires on December 31, 2025. Beginning January 1, 2026, all drivers competing in New Jersey must use a Snell SM or SA 2020, or SM or SA 2025–rated helmet. SA2015 helmets will no longer be valid for use at sanctioned motorsports events in New Jersey. This requirement is mandated by state regulation—not by the South Jersey Region or NJMP—and may be actively enforced by state representatives or track management. Competitors found to be out of compliance may be deemed ineligible to compete.”

  • Lime Rock Park is also pushing for people to renew their helmets – For this season, SA2015 helmets will still be accepted at NEQ track events with the exception of Lime Rock Park. SA2020 or newer helmets are now required by Lime Rock Park. For LRP attendees without valid helmets, a limited number of rentals will be available at our event.”

If it’s time to go shopping, Stable Energies offers a 15% discount to active NEQ member instructors. You’ll need your ACNA membership number to use code AUDINEQINS at checkout. Or reach out to our sponsor Mark Francis at OGRacing.com, mention Gran Touring Motorsports and you heard about this on the podcast and he’ll work with you on pricing.  

Would you like fries with that?


Behind the Scenes

There's more to this story!

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

TRANSCRIPT

Executive Producer Tania: [00:00:00] Welcome to Break Fixes, Drive-Through News, your monthly recap for everything fast, fascinating, and usually four wheeled. We’re serving up a fresh batch of automotive headlines, motorsports madness, and car adjacent curiosities, all with zero wait time and maximum flavor from Formula One, drama to concept car debuts with Garage built legends to the Quirkiest stories rolling out of the state of Florida.

We’ve got your fix, so grab your coffee, buckle up, and let’s cruise through the latest in the world of wheels with a side of entertainment and just a dash of tire smoke.

Crew Chief Brad: Do we not need to read the intro anymore? Do you just fit it in for, oh no, I guess I need to say drive through episode number 65.

Crew Chief Eric: So you do listen to the show now because we edited that stuff out. There’s a whole new intro.

Crew Chief Brad: I do not listen to the show. ’cause I was just asking do I need to record it?

Crew Chief Eric: Well, yeah, we, we’ve been cutting you short, like the last, I don’t know, four or five episodes like it.

You just say it’s then why have

Crew Chief Brad: I, why have you been making me say it? What the

Crew Chief Eric: fuck? ’cause it’s tradition. Tradition. [00:01:00] No, Brad, you do not need to read the old intro anymore. Tanya redid it. It’s great.

Crew Chief Brad: Welcome to drive through episode number 65. This is our monthly recap where we put together a menu of automotive motor sport, entertaining car.

Jason News. Now let’s pull up to the window number one four Automotive news, blah.

Crew Chief Eric: See, you could do it just because you want to

Crew Chief Brad: speed reading to go along with Tanya’s speed skating.

Crew Chief Eric: There you go.

Executive Producer Tania: Ooh, speed skating. If you were an Olympian in the Winter Olympics, what sport would you do

Crew Chief Brad: outside of hockey?

Executive Producer Tania: Okay, so you’re hockey.

Crew Chief Eric: Can I just do the shooting part of the biathlon?

Executive Producer Tania: You know what they need to upgrade. I still haven’t seen s Schmo yet, but need, they need to upgrade that and add the, the shooting in with that.

Crew Chief Eric: If I did s schmo, they’d rename it to slowmo.

Soon. The Olympics will come to a close as [00:02:00] well.

Crew Chief Brad: Oh, don’t say things like that. The juice has been spilled.

Executive Producer Tania: Okay. I just, hockey fights all I think about. I was conditioned.

Yes, I blame the deal.

Crew Chief Eric: That’s terrible. So terrible.

Executive Producer Tania: That’s what I see in my head. I think of hockey fights

Crew Chief Eric: bigger is the Canadian controversy with curling. That is like the hotness right now. I need to dive a little deeper into that. See what’s going on there.

Executive Producer Tania: The push,

Crew Chief Eric: and then the Swedish team recorded them and the Canadians are mad that they record. That’s like a whole thing. It’s hot, it’s ridiculous. But anyway, as the Olympics have concluded, by the time everybody listens to this, there’s a lot of other things that have concluded this season. Super Bowl closing game of the football season, since we’re [00:03:00] talking about sports.

So let’s talk about those Super Bowl commercials.

Executive Producer Tania: There were commercials.

Crew Chief Eric: We mentioned we were gonna talk about them this go round. What have we got, Tanya?

Executive Producer Tania: I don’t know how you put so many car related ones here. ’cause I didn’t see any,

Crew Chief Eric: it’s ’cause I, that’s all I paid attention to. ’cause the game was

Executive Producer Tania: so boring.

I paid attention to, but there weren’t any, like, there were sometimes a car in a commercial, but it wasn’t about cars.

Crew Chief Brad: But there was that. Was it a square body or an old Ford During the commercial for Puerto Rico. Right in the middle of the game.

Executive Producer Tania: Oh yes. In the halftime show you mean? Yes.

Crew Chief Brad: Yes. Is that what that was?

Yeah. I didn’t understand. So I.

Crew Chief Eric: There were no subtitles. You were lost like everybody else.

Crew Chief Brad: Well, no, I, I heard, I, I understood it. It was like, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah. Yeah.

Crew Chief Eric: Is that how it goes? I mean, that’s your new number one single right [00:04:00] there.

Crew Chief Brad: My, my tt. Yeah. Yeah. My Titi. Yeah.

Yeah. Novia. My Titi. Yeah.

Crew Chief Eric: So to Tanya’s, to Tanya’s point, there were car commercials and I made note of them. I, I almost felt like I was doing a Steve and Izzy, everything I learned from movies review.

Executive Producer Tania: Oh, you’re stretching hard. I see the list now.

Crew Chief Eric: No, no.

Executive Producer Tania: Like a good neighbor. State Farm is here, is car adjacent.

Crew Chief Eric: Okay. That was car related. There was a car and it, Bon Jovi was in it. Yeah. Danny McBride and Keenan Michael Key. It was a car commercial. It was about car insurance. It was actually pretty good. It was pretty funny actually.

Crew Chief Brad: It was kind of

Executive Producer Tania: funny. I feel like in the past we’ve never had to succumb to the flow.

Nationwide Commercials, progressive, I mean, or anything like that.

Crew Chief Eric: I was happy for a State Farm commercial that didn’t have Jake from State Farm for a change. I thought it was good. It was probably one of the better commercials of the Super Bowl.

Executive Producer Tania: Nobody knows who the female was.

Crew Chief Eric: No, [00:05:00] I don’t. Who was it?

Executive Producer Tania: That was Haley Steinfeld.

Crew Chief Eric: Yeah. Who’s that?

Executive Producer Tania: Well, she’s a singer, but also she was Hawk Girl. Girl.

Crew Chief Eric: Oh, okay.

Executive Producer Tania: She was also in the,

Crew Chief Brad: she was in Pitch Perfect.

Executive Producer Tania: Yes, she was in Pitch Perfect like three, but she was also in the, um, one of those Bravo Duval movies. I think

Crew Chief Brad: we’ll get to that. Oh, rest, he

Executive Producer Tania: rest in peace. No, no, no. It wasn’t Rest in peace, but no, it was a true grit.

Sorry. He was the one with the other dude.

Crew Chief Eric: Got it.

Crew Chief Brad: Oh, I, yeah, yeah, yeah.

Executive Producer Tania: Literally the dude.

Crew Chief Brad: The dude, he was the dude who’s,

Executive Producer Tania: because the commercials suck that much. Continue,

Crew Chief Eric: yes. We’re also overlooking the fact that Toyota was the title sponsor of the Super Bowl

Executive Producer Tania: and Honda in Acura, the title sponsors of the Olympics, every commercials a car commercial.

Crew Chief Eric: So there were Toyota commercials, there had to be Toyota commercials and there were two that were the most important ones. So we had the not Jake from State Farm Commercial, and then we had Toyota where Dreams Begin, which is that commercial that starts off with Bubba Wallace from nascar. [00:06:00] Yes. And the whole underlying message of childhood dreams shaping champions.

And that was very touchy feely.

Crew Chief Brad: I think that one doubles as an Olympic commercial. ’cause wasn’t there the, uh, the Paralympic uh, athlete in there as well?

Crew Chief Eric: Correct? Correct. There was that nice little tie in there. The next Toyota commercial. I called it the twofer ad. Mm-hmm. This is the one that starts with a 1997 RAV4 and ends with the grandson driving a new RAV4.

And the underlying message there is family, nostalgia, safety,

Crew Chief Brad: family, family, family.

Crew Chief Eric: What do we think of the new RAV4? Because this was sort of a, a debut of the new RAV4 as well as part of this commercial.

Executive Producer Tania: There’s a new RAV4. I

Crew Chief Brad: don’t, I don’t remember.

Crew Chief Eric: That was what was in the commercial.

Executive Producer Tania: I mean it looks like everything else.

Crew Chief Eric: Front end was pretty bad.

Executive Producer Tania: It has the weird cheese grater front end now.

Crew Chief Eric: Exactly.

Crew Chief Brad: So, yeah, it looks like a mini Hold on. What does this look like?

Executive Producer Tania: It looks like something else and I can’t think of what that other car

Crew Chief Brad: they’re, they’ve got the Lexus.

Crew Chief Eric: It looks awful.

Crew Chief Brad: They’re kind of taking the Lexus front end sorta.

It looks like a mini [00:07:00] foreigner or Sequoia.

Crew Chief Eric: All right. We had a VW commercial. I thought we were gonna make it through the Super Bowl without one, but we had one this year.

Executive Producer Tania: Yes. It barely featured a Volkswagen.

Crew Chief Eric: It had an ID Buzz and a Tiguan,

Executive Producer Tania: but it was like the fastest drive-bys that if you weren’t paying attention, you never, it was very much a commercial about people, drivers.

Crew Chief Eric: Drivers wanted. That was, they were going back to the eighties. I also thought it funny because we’re talking about things that are closing, things that are ending the end of this is our season finale. By the way, the ID buzz ironically, in this commercial, they’re advertising a card that they’re not going to sell in America anymore.

What is the point of that?

Crew Chief Brad: They’re not selling the ID buzz in America.

Crew Chief Eric: No, they canceled it

Crew Chief Brad: because they didn’t sell any. That’s why

Executive Producer Tania: if you were watching the Super Bowl, you would’ve seen how other countries were also watching the Super Bowl. So maybe they just left it in there for them.

Crew Chief Eric: Whatever. Maybe they did.

Maybe they, alright. Nissan comes to the table with some [00:08:00] car commercials. There were two of them.

Executive Producer Tania: I must have had a different feed than you all.

Crew Chief Eric: No, I was glued to the Super Bowl ’cause I wanted to see

Executive Producer Tania: I never left.

Crew Chief Brad: So during the Super Bowl, were there humans playing or were there puppies because I think there were two different Super Bowls going on.

Executive Producer Tania: I’ve never watched the Puffy Bowl. Thank you very much. I was watching the abomination. That was the Patriot’s offense and

Crew Chief Brad: yeah. Oh my God. Okay.

Executive Producer Tania: Because at

Crew Chief Brad: least their

Executive Producer Tania: defense tried.

Crew Chief Brad: So we were watching, we, we’ve established that we were watching the same game. Okay. That that works.

Crew Chief Eric: I was hyperfocused on the commercials because I was anticipating the reveal of the Cadillac Formula One car, which we will talk about on a different episode than this one.

I was so laser focused on every commercial ’cause I didn’t wanna miss the Cadillac reveal of the F1 car. So that said, there are two. Nissan commercials

Executive Producer Tania: also been a week and a half, and I don’t remember

Crew Chief Eric: Nissan Rogue, the [00:09:00] dip seat ad. Right? You have to protect the dip. He’s driving around, it’s like,

Executive Producer Tania: oh, with the guy from, um, the cooking show.

Crew Chief Eric: Yes. It’s sort of the same idea as initial D. Right? Don’t let the tofu get all upset in the back of the car when you’re drifting down Mount Aquina. It’s like the same idea, right? I’m like, okay, cool. I, I get it. Then there was the other one where they took the Rogue and they were just absolutely. Punishing it off road, the water pressure thing, the Jet fighter backwash, like they still show that commercial, you know, even through the Olympics and stuff.

You guys, you had to see that one.

Executive Producer Tania: Were these like the pre commercials be like before the Super Bowl even

Crew Chief Eric: started? No, these were during, I should have written the timestamps down. They were during

Executive Producer Tania: the, I’m literally watching the Dipsy one and I never saw this one.

Crew Chief Eric: Oh God. I saw all of these,

I’ll say this, at least the car commercials weren’t using AI like the rest of the commercials were not only were their commercials about artificial intelligence, like [00:10:00] name your favorite, whether it’s Claude or Gemini, or Copilot or Chat, GPT, I mean just every other commercial is an AI commercial or it was generated by ai and then we went down this path of massive aging that Dunkin Donuts commercial what.

Was that?

Executive Producer Tania: I don’t know. Honestly, I didn’t understand the point of it. The people didn’t make sense together because like Jael White showed up Urkel and I’m like, what does Urkel have to do with friends? Because I thought they were trying to do a friends thing and like the whole breakup. We were on a break.

We on a break.

Crew Chief Eric: Yeah. But then Carlton shows up and he is like doing his thing. Right. But I didn’t get it. It was like all the nineties sitcoms basically.

Executive Producer Tania: Yeah. But I feel like, I don’t know, I didn’t get it.

Crew Chief Eric: I didn’t think it was funny. I thought it was actually kind of sad ’cause it was like really? Oh, okay.

But the one that got me though, the de aging done right, that William Shatner Raisin brand ambassador [00:11:00] thing was. Wow. Mind blowing. Wow. And did, I don’t know if you noticed, he was dressed like when he did the Rocket Man music video thing. It was just on so many levels of like inception. It was amazing. And I have to bring up William Shatner because we did that senior moment movie.

So it was like boom, car related. There it is. William Shatner. Done. We’re gonna talk about Formula One later in the other episode of Formula Fanatics. But there was a little Formula One cameo in there. Did you guys catch the 30th anniversary Pokemon commercial that had Charles Le Clare in it?

Executive Producer Tania: Yeah. Oh yeah.

Uhhuh.

Crew Chief Eric: That was good stuff.

Executive Producer Tania: That was a good commercial.

Crew Chief Eric: What’s his favorite Pokemon again?

Executive Producer Tania: Aines The Tiger.

Crew Chief Eric: They all flew by really fast at the end when they said which ones they were their favorites. Somebody likes Jiggly Puff. I know that. It’s all good.

Executive Producer Tania: That was Lady Gaga.

That was hilarious though when she was singing the song,

Crew Chief Eric: the car commercials this year. I agree. They were not good. So I’m gonna quiz you guys. I did a little homework. Do you [00:12:00] know what’s considered the top five car commercials of all time for the Super Bowl?

Executive Producer Tania: Oh, no, I wouldn’t.

Crew Chief Brad: I’m gonna guess. One is gonna be imported from Detroit.

Crew Chief Eric: That’s actually number two, so that’s a really good guess. So family feud,

Executive Producer Tania: fried chicken,

Crew Chief Eric: that’s number two.

Crew Chief Brad: Tanya, can you steal

Executive Producer Tania: all time? Like how far back are we going?

Crew Chief Eric: They actually only go back the last about 20 years.

Executive Producer Tania: Did the Eugene Levy one make it?

Crew Chief Eric: It did not. Mm. Got a better guess. Do you have any others that you really remember that are like super good car commercials from the Super Bowls?

Executive Producer Tania: What was that one with the,

Crew Chief Brad: the Nissan 300?

Executive Producer Tania: The three

Crew Chief Brad: dx? It wasn’t as,

Executive Producer Tania: yeah, but I think that was

Crew Chief Brad: older than three years. The

Crew Chief Eric: turbo years

Crew Chief Brad: ago the turbo

Crew Chief Eric: kicks [00:13:00] in.

Executive Producer Tania: Yeah. Wasn’t that a Super Bowl commercial?

Crew Chief Eric: It was, and it is not considered one of the best. All right. Letterman style coming in at number five Jeep’s Groundhog Day from 2020. That’s the one where Bill Murray returns to relive Groundhog Day with the Jeep Gladiator.

So that’s number five. It’s not

Executive Producer Tania: gonna, it’s not gonna be the singer dude, Bruce Springsteen. No,

Crew Chief Eric: no, no. That okay? Nah. All right. Number four. If you remember from 2014, the Kia commercial with Morphy. Lawrence Fishburne comes back as Morpheus from the Matrix and literally shatters glass, blah, blah, blah, and it’s all the Kia, you know, all the real matrix stuff.

That’s number four. Number three,

Executive Producer Tania: the Kia mice. I’m kidding.

Crew Chief Eric: No, they’re not in there. Number three from 2009, Audis the Chase. That’s the one where Jason Statham did that. Like really cool movie preview. It was like the transporter, but it was a commercial for Audi. I remember that one. It was really good. It was super dark.

Crew Chief Brad: So dark. You couldn’t see the car [00:14:00]

Crew Chief Eric: pretty much. Yes.

Executive Producer Tania: Number two was made in Detroit.

Crew Chief Eric: Yeah. Number two was made in Detroit and number one coming in number one. 2011 Volkswagens the force. Do you remember that?

Executive Producer Tania: Oh, oh,

Crew Chief Brad: with the little boy?

Crew Chief Eric: Yeah. Yeah. That’s the number one car commercial of all time for the Super Bowl.

Executive Producer Tania: Hard doubt. Do that.

Crew Chief Brad: Volkswagens on there three times.

Executive Producer Tania: Third one from last year was pretty good. Had all the fields, if you remember,

Crew Chief Eric: that’s why I was surprised we, I went so far into the Super Bowl and hadn’t seen a Volkswagen commercial and then when it showed up it was like, that’s it. Really continuing on this theme of things that are closing still an’s dreams of making it in the EV market are closing.

It’s a 26 billion with a B dollar fail.

Executive Producer Tania: Who’s getting fired?

Crew Chief Eric: Everybody’s getting fired at Chrysler.

Executive Producer Tania: You are getting fired. You are getting fired and you are getting fired.

Crew Chief Eric: This conversation [00:15:00] actually came up at work. It was really funny because somebody threw it out there and I immediately was like, I mean I took the hook, I bit and I was like, ah, here we go.

Because I was thinking about the whole phrasing there, Chrysler’s EV entries, and I’m like, what do they really have in the EV market? They had the Pacifica Hybrid, which is made in Canada, and we know why it’s not being made anymore because of whatever’s going on in politics right now. Then we had the Jeep Grand Cherokee and the Wrangler four xe, which is something that few people wanted.

I told you guys about the test drive of the Wrangler four xe. It wasn’t that impressed, but that’s a plugin hybrid. Both of those are, so is the Pacifica, so they, those aren’t true EVs. They’re hybrids and then they came out with that charger ev. I’ve seen one in the wild, so somebody bought one, but I brought up the point.

That’s where they lost their way. Like a lot of other car companies who wants to buy a muscle car that doesn’t have any muscle? And it’s not that the Charger EV was bad looking ’cause [00:16:00] it actually looks really nice and it’s really menacing and aggressive and all that. But it’s just like when it sounds like a Hoover, like what is that?

Executive Producer Tania: Well, the people that want the 9 billion horsepower, hell, cat, demon, whatever, Satan reincarnated version, that doesn’t go with ev. Correct. Like that’s not your market audience.

Crew Chief Eric: I’m also discounting the rest of Stellantis portfolio that they have overseas, like the 500 E and a bunch of other stuff that we don’t even really want to consider here in the States because where’s the last Fiat dealer closing in America?

Right? Because they’re all shutting their doors too right now. So there’s not a whole heck of a lot going on. So. Stateside. So I’m, I’m very much focused just on stateside stuff, but we did report a bunch of drive-throughs ago about that Chrysler airflow concept that they were gonna build, which I thought was a pretty good looking.

I was actually kind of interested in that as well. That never came to market. They never made it, it never went anywhere other than the [00:17:00] renderings we saw online. Again, I say, is this really a loss for us here in the States that Stellantis isn’t doing anything with EVs? Who cares?

Crew Chief Brad: I’ve seen mixed reviews on the four xe.

I think it’s a cool concept in the Jeeps and everything, but they’ve got all kinds of electrical problems. Yeah. Your Pacifica and I could gotta imagine other Pacifica has had all kinds of electrical problems. Yep. And just, I don’t want an all electric vehicle from a company that is notorious for having electrical problems.

And the charger, ev correct me if I’m wrong, but didn’t they discontinue all other chargers and only release

Crew Chief Eric: Yes.

Crew Chief Brad: The charger ev

Crew Chief Eric: for like five

Crew Chief Brad: minutes? I feel like that was a mistake. Yes. Like I’m, I’m, I feel like had they taken the Ford F-150 route and kept some of the other models and just offered it as a separate or as in addition to the lineup, maybe it would’ve done a little better.

But then again, the Ford F-150 Lightning doesn’t sell very well either. So this would be a very different story if the [00:18:00] political climate was different.

Crew Chief Eric: I think you’re a hundred percent right, but there is a little bit of hope for enthusiasts like ourselves out there because within the last time that we did a drive-through and now there’s been some changes at the EPA, one of the big things that’s changing amongst a bunch of different rules, specifically for auto manufacturers is all of the requirements that they were beholden to, you know, the hybrids and certain amount of this to offset the big V eights and these that and the other things.

And even things like auto stop start, which most of us enthusiasts or otherwise cannot stand, right? And the dual electric system that all the extra stuff that goes along with, they basically said that like auto stop start. Let’s just focus on that. Doesn’t really do any good. It proved out that it doesn’t save emissions.

It doesn’t really save anything. Motors are more efficient when they’re run at constant than when they’re on and off. And they always say, you know, startup enrichments, there’s more fuel being used every time it restarts, all this kind of thing. And so they’re doing [00:19:00] away with that. They’re doing away with a bunch of other stuff like that.

And basically it’s gonna open the doors now for auto manufacturers like Stellantis to come back to the table. With big honk and v eights and supercharged v sixes and a bunch of other stuff. So maybe we’re going to see not necessarily proliferation of Big Motors again, because everything’s been shrinking down to three cylinders.

I’m surprised we didn’t get down to two cylinder turbos by this point, you know, that kind of thing. But I think we’re gonna see the reintroduction of six and a half liter Chrysler chargers and challengers and all that kind of stuff.

Crew Chief Brad: And then the political climate’s gonna change again. We’re gonna get a swing the other way, and they’re all gonna have to stop making all that bullshit again.

The EPA is gonna double down on even stricter guidelines, and it’s just gonna be a pendulum that swings back and forth every four to eight years.

Crew Chief Eric: But see, that gives you an opportunity to buy some good cars, and then the crappy ones will come out and you can skip those and then buy good cars again. You see?

Crew Chief Brad: You wanna buy a good car, buy anything pre 2020, [00:20:00] or I just picked a random year, but buy something older.

Crew Chief Eric: Yeah, a hundred percent.

Executive Producer Tania: Hump the brakes. Did you all hear the news?

Crew Chief Eric: What’s going on?

Executive Producer Tania: Stop Tech.

Crew Chief Brad: They stopped.

Executive Producer Tania: Stop Tech stopped no longer selling brakes, rotors, kits after 27 years in the brake business.

Crew Chief Eric: Wow.

Executive Producer Tania: But it’s not just them. Buy, buy raybestos

Crew Chief Eric: really

Executive Producer Tania: centric. Yes, because apparently all three are under the same parent company, which apparently also owns FRA filters, Michelin wiper blades, some Reese towing parts and auto light spark plugs. And those people are under federal fraud indictments. And filed chapter 11 bankruptcy and they tried to sell off Stop Tech, asbestos and Centric.

Nobody bought them. So they basically said, done. Stop production. Stop spending money.

Crew Chief Eric: Wow. So that leaves Brembo and Willwood

Crew Chief Brad: for Big Break Kids.

Crew Chief Eric: Yeah, for aftermarket,

Crew Chief Brad: you can still get Hawk.

Executive Producer Tania: You can still get Durast maybe?

Crew Chief Eric: Oh no. [00:21:00] You might not be able to because I read an article today saying the parent company of Napa and a bunch of other parts companies, they’re divesting and some of them are on the chopping block and some of ’em have for sale signs in the front yard.

So you might not be able to buy Durast because if you look at what AutoZone Pet Boys and all those places, they have a parent company too, right? Car Quest gets all

Crew Chief Brad: mm-hmm.

Crew Chief Eric: Jumbled up inside of that. So there’s a lot of moving and shaking going on there. So I think Stop Tech might just be foreshadowing for more logistics supply chains of auto parts that are falling apart.

So my question became, how long before the Shoe falls and Rock Auto starts falling apart, you know, places like that, are they too big to fail? Probably not in today’s economy.

Executive Producer Tania: How old do you think Raybestos is?

Crew Chief Eric: I’m gonna go with 50 plus.

Crew Chief Brad: Seventy seven, a

Executive Producer Tania: hundred and twenty four years.

Crew Chief Eric: What

Executive Producer Tania: apparently Raybestos has been since 1902

Crew Chief Eric: rhymes with asbestos and we gotta get rid of it.

Executive Producer Tania: That’s [00:22:00] probably what they were made from in 1902.

Crew Chief Eric: They were made from wood in 1902 too.

Crew Chief Brad: And I, I won’t be sad if Duralast goes away. No. You know, here’s a, here’s a P. SA for you, for anybody that goes to the track. And if you use Duralast brake pads, they will last you approximately 20 minutes and then you’ll need to replace them.

Crew Chief Eric: Not gonna last. Duralast not gonna last Dur, last

Crew Chief Brad: built to last. Where? Too fast. Dur last.

Crew Chief Eric: That’s great. Well, since again, we’re talking about things that are coming to a close or closing or are dead. Adding to the dog pile of disappointing reviews on Honda’s New Prelude. I think this thing is dead on arrival.

So Doug DeMuro adds to the list of negative reviews to the new Honda Prelude.

Executive Producer Tania: Well, I mean, people are basically saying it’s slower, more expensive, [00:23:00] terrible interior. Go buy a Civic

Crew Chief Eric: pretty much. And at least you can get a Turbo and the Civic

Executive Producer Tania: and they don’t come in manual.

Crew Chief Eric: The new prelude should have been rear wheel drive.

It should have been out there to compete with the GT 86 and the Supra and everything else in that two door coop fast back kind of thing. They missed the mark because it looks like it should be one of those cars. Nah, it doesn’t do it for me,

Crew Chief Brad: but it’s, they did with this. The same thing they did with the original prelude.

Like the original prelude should have been rear wheel drive. Should have had,

Crew Chief Eric: yeah,

Crew Chief Brad: more power. It should have been a better car. And it wasn’t.

Crew Chief Eric: Sorry, Brian Shaw, it’s just the way it is.

Crew Chief Brad: He doesn’t listen anyway.

Crew Chief Eric: Tanya’s not gonna be sad about these two cars going away. And well, like we said, we’re not gonna talk about them unless we absolutely have to.

But this one, I could not let it go by without saying, according to Motor one, Tesla’s model S and Model X, quote unquote, two of Tesla’s longest running models are [00:24:00] being discontinued by April.

Executive Producer Tania: Correct.

Crew Chief Brad: Really?

Crew Chief Eric: Tanya nods her head in enjoyment of that statement.

Executive Producer Tania: I mean, I don’t

Crew Chief Brad: care. Those are the two, the bigger ones, right?

The two

Executive Producer Tania: flashes, the X is the SUV

Crew Chief Eric: with the gall wings.

Executive Producer Tania: And then the S is like the Model S sedan. The

Crew Chief Eric: The original one. The original Tesla,

Crew Chief Brad: yeah. Yeah. But that the X is the bigger one. The Y is the smaller one.

Crew Chief Eric: Correct.

Crew Chief Brad: Yeah.

Crew Chief Eric: So they’re gonna just make the Y and the cyber truck. That’s it.

Crew Chief Brad: They still make the three,

Crew Chief Eric: they do

Executive Producer Tania: the model two.

Wasn’t that the one that’s supposed to be like $20,000 free? Basically?

Crew Chief Eric: Yeah. No, that’s never gonna happen. The model two is dead. That’s stillborn. That’s That’s terrible. Wow.

Executive Producer Tania: Hey, the cyber truck’s still out there

Crew Chief Brad: sitting on lots, undriven

Crew Chief Eric: things. We thought we were dead and now are raising from it. Like Lazarus, the grand tour is coming back.

Crew Chief Brad: Yay.

Executive Producer Tania: I thought they were done 10 times ago.

Crew Chief Eric: Yeah, right. It’s like the [00:25:00] Rolling Stones tour. Right. And all those guys, they just keep going forever and as long as you keep paying. We will keep touring.

Crew Chief Brad: It’s the final tour number 25.

Crew Chief Eric: Yeah, exactly. It’s ridiculous. So Jeremy Clarkson put something out on Instagram talking about, which I had already read this a while ago, like who they had chosen to supersede them and I don’t know, because Clarkson’s bit was okay.

And I’m like, okay, who are these guys? Especially the third guy, the train spotting guy. But then I surfaced some of the throttle house videos, especially from their Instagram and I shared them with you guys and I wanted to see what you thought, like, is this what we’re gonna expect in the new Grand tour?

The new quote, unquote, let’s call it Top Gear.

Crew Chief Brad: I’ve seen a lot of the throttle house stuff on. YouTube and I thought it was pretty good for like a YouTube channel. I’m curious to see what they do with a infinite budget and maybe they do things that are more interesting,

Crew Chief Eric: but it’s an infinite budget on a platform that nobody [00:26:00] watches.

And, and I know I’m doing a gross generalization here, but what other compelling event or show or thing is on Amazon Prime that makes you go, Hey, I’m gonna jump over to Amazon Prime and watch their thing. They got tubi and freebie and all that other junk. You’re really gonna waste your time on Amazon Prime when you could be watching the Olympics on Peacock.

You know, that kind of thing. Like really? I don’t think so.

Crew Chief Brad: Well call patrol. This was

Executive Producer Tania: not a paid advertisement.

Crew Chief Eric: PAW Patrol, my God.

Crew Chief Brad: But that’s not even Amazon Prime. That’s, that’s Amazon Prime through, or that’s Paramount Plus through Amazon

Crew Chief Eric: Prime. Oh my God. Yeah, exactly. The clips I saw, I agree with what you said.

I think it’s good for YouTube.

Executive Producer Tania: It’s annoying these people pretending like they’re caveman jumping around the car. Ooh, ooh.

Crew Chief Eric: Did you see the second video? No. Where he’s got the manual where all he does is shift things. If you put it in his hand, he shifts gears. It doesn’t matter what he is doing.

Executive Producer Tania: These videos aren’t made for me.

Crew Chief Eric: Right. [00:27:00]

Executive Producer Tania: I am not their target audience.

Crew Chief Eric: The people are saying, oh, they’re the natural progression for Hamlin Clarkson and May, and I’m like, I, I don’t see it.

Executive Producer Tania: Oh,

Crew Chief Eric: here’s my problem. So the Amazon Prime is one issue and you, you can take many different sides of that issue. How you feel about Amazon and all that.

I’m not even worried about that. I’m just really focusing on if Andy Willman is just trying to reproduce top gear, there’s a big mistake there because you’re never going to find another Clarkson Hammond in May. They are who they are. And at that time we showed up for those guys and we watched and the car stuff and whatever, but the cars have changed and the people have changed.

Reviewing cars hasn’t changed. It’s still the same thing. Like how fast does it go and what does it do and how does it, they’ve been doing another motor week for like a hundred years, you know, that kind of thing. It’s never going to be the same. And if you’re trying to replicate it, that’s where you’re gonna lose a huge amount of audience because I think what they should have done is taken throttle house.

And made that the new brand name, it’s a great name, and said [00:28:00] Throttle house, coming to Amazon Prime. And then you sort of reintroduce the concept and people go, you know, this is really familiar. It has this like top gear kind of feel to it. But it’s a whole new dynamic. And you can get on board with that, you can subscribe with that.

But if you bring these guys to this table and say it’s the new top gear, it’s the new grand tour, whatever, there’s a certain expectation that goes with that. Yeah. And I think we’re all gonna be holding them to that level and they’re never gonna be able to achieve the same thing. And it’s gonna fail.

It’ll make it a year or two max. And then it’ll be gone.

Crew Chief Brad: And to that point, that’s the same reason why the numerous, uh, iterations of American Top Gear, top Gear, USA, top Gear America, they all failed because they were all under the shadow. And the high expectations of the original top gear, like you were saying, you’re never gonna get another Clarkson Hammond in May.

Crew Chief Eric: You know, the only one that worked, the only spinoff that worked in that series is the one most people don’t even [00:29:00] realize existed, which is Top Gear Australia. ’cause the Australians sort of just did whatever the heck they wanted and it was funny. And it was all about their stuff and their culture and their cars and it just worked.

And then they did a cross, one of the best crossover episodes with Top Gear is the Ashes episode where the Australians come and they do the shootout, the the XJ two 20 powered van and the Maloo and all that stuff. The Australians did it. Right. And they didn’t get enough credit. But to your point, the Americans and all the other spinoffs, because there even apparently was like a top gear Germany.

Yeah. And they just never worked because they were trying to repeat the recipe and you can’t do that. So I unfortunately feel like this is the same thing with the Grand tour and it’s got a lot of cards stacked against it from day one.

Crew Chief Brad: And I think a lot of that also comes from just the way Clarkson, Hammond and May worked.

Like, not even just their chemistry on screen, but the work that they did behind the screen. I mean, I thought, you can correct me if I’m wrong, but I thought I saw something about where [00:30:00] Clarkson would spend hours writing and rewriting and retaking jokes and checking and like testing. It is like everything that he was meticulous

Crew Chief Eric: Yes.

Crew Chief Brad: With how they did and they, and they made it look so effortless and almost candid, but it was meticulously put together and thought out.

Crew Chief Eric: Mm-hmm. Mm-hmm.

Crew Chief Brad: And nobody else can replicate that.

Crew Chief Eric: No. Well, speaking of things that can’t be replicated, and on a very sad note, drag racing legend, ed Isky Arian, also known as the Cam father, passed away on February the fourth at 104 years old.

Our condolences go out to the family and to break fix guest Cheyenne Kane. We were very fortunate to be able to have her on the show to Chronicle Isys life and to talk about the new documentary that she put together, which is also called Isy. And it’s making its rounds in the indie film circuit right now and we’re hoping that it gets picked up through a streaming service.

But I believe she is bringing the film to [00:31:00] the East coast. So we, we will be able to go to a showing and see the Isky film firsthand. But if you missed that, go back into our catalog Break Fix and check out the episode with Cheyenne Kane so you can get up to speed on all things. Ed Arian.

Executive Producer Tania: In other tragic and sad news, we’ve lost a veteran legendary actor,

Crew Chief Brad: James Vander Beak.

Crew Chief Eric: That too.

Executive Producer Tania: The greatest racing movie of all time Days of Thunder. We have lost Robert Dugal at age nine five.

Crew Chief Eric: Now he can eat all the ice cream he wants.

Executive Producer Tania: Robin’s racing, baby.

Crew Chief Eric: We need to revisit that movie. That’s what we need to do next with Steven. Well, we

Executive Producer Tania: said we’ve, we’ve said we were gonna do it, but now it’s even

Crew Chief Eric: Yeah, we gotta fast forward that.

We gotta get that done.

Crew Chief Brad: Let’s watch it on the 27th.

Crew Chief Eric: There you go. Get together with them that I think they’re a good tribute. Robert Devo, I’m gonna bring out some, I’m gonna get you some ice cream. Come on down here.

Crew Chief Brad: We’ll, we’ll go to the, the Moo or whatever up there by you and [00:32:00] then go Yeah. And go watch these of thunder.

Crew Chief Eric: Can I rub a little sweet and low packet on your leg too while we watch it or what?

Crew Chief Brad: I’ll be sure to wear my short shorts. Stop the car. Cole. Stop the.

Crew Chief Eric: Well, I would say that we would move on to our regularly scheduled ranting and raving at this point, but this is like Monty Python, like, bring out you dead. Bring out you dead. And then next we’re like, I’m not dead yet. Not dead yet. Speaking of not dead yet, I thought the boxer and the Cayman were gone.

Like, I’m so confused what’s going on at Porsche right now. But apparently they’re back. Back in a weird way because there’s the Ev Cayman and the EV boxer, but then they’re talking about getting in bed with Toyota and doing this collaboration MR two boxer thing. And I’m like, what? Since [00:33:00] when I, I’m just gonna say since when does Porsche need Toyota’s help to build something like a boxer or a Cayman, which they’ve been making now since the nineties.

Like, come on. Really

Executive Producer Tania: just. Sell something. It doesn’t cost over six figures.

Crew Chief Eric: Even the Caymans cost six figures now.

Executive Producer Tania: Well that’s kind of the point of this is they’re saying they’re basically pushing out younger people that don’t have the money to afford a Porsche anymore. Because where’s the 9 44? That was like the poor man’s Porsche to go buy

Crew Chief Eric: and they only did that ’cause Ferrari had the 3 0 8, so they had to compete in that space.

Right. Also to get themselves outta bankruptcy. I mean, it is the card to save Porsche during the eighties, but yes to to that end. Where is the 9 44? Where is the 9 28? You could make the argument that the Panamera replaced the 9 28 in some respects, but where’s that front engine rear drive? Near perfect weight distribution, grand Tour or Sport Coupe?

I guess that the 9 44 was, but yeah,

Executive Producer Tania: I don’t [00:34:00] know. Is the idea to go to Toyota because lower costs? Yeah, because also, ’cause you’ve already had the Porsche. Volkswagen, you already had the Porsche Audi. Like why would you. Not just go revisit that pool. They’re your same company.

Crew Chief Eric: I don’t get it. It makes no sense

Executive Producer Tania: other than what are you saving with A GTI that’s $60,000.

So

Crew Chief Brad: yeah, because ’cause neither of those companies are making cars that anybody wants. At least Toyota still is

Executive Producer Tania: for now.

Crew Chief Brad: For now.

Crew Chief Eric: You can’t tell me that Volkswagen can’t build a boxer with a GTI engine in it and let’s call it a day. I mean, why are we going to Toyota?

Executive Producer Tania: I don’t know.

Crew Chief Eric: It doesn’t make any sense.

It’s not like they produce anoth yet another boxer yet another Cayman. They’re gonna outsource the chassis and all that to Toyota. That doesn’t make, again, it doesn’t make any sense.

Executive Producer Tania: Toyota, a company which currently has three different front engine rear wheel drive based force cars on their three separate vehicle platforms, in addition to performance variants of the Corolla and Yaris, which again doesn’t make any sense.

So Volkswagen, Audi [00:35:00] have plenty of front engine cars. Porsche, you know how to make a rear wheel drive car. You’re telling me you can’t put the two together on your own?

Crew Chief Eric: No. No.

Crew Chief Brad: Let’s unpack that. Toyota has three,

Executive Producer Tania: I don’t know which those are

Crew Chief Brad: front engine and three wheel drive sports cars. They’ve got the BRZ

Crew Chief Eric: GT 86,

Crew Chief Brad: the, yeah, the G 86.

Now the GR 86, which they built with Subaru, and then the Supra, which they built with BMW. What’s the other one? They, they don’t

Executive Producer Tania: make the super anymore. Well, I guess they knew how to,

Crew Chief Brad: yeah, but they didn’t though because they built it with another manufacturer.

Executive Producer Tania: BMW.

Crew Chief Brad: When’s, yeah, when’s the last time they built a rear wheel drive?

A front engine, rear wheel drive car themself.

Crew Chief Eric: The third one is a Lexus. That’s the one you’re missing?

Executive Producer Tania: Mm.

Crew Chief Brad: Okay, so then Porsche should go to Lexus.

Executive Producer Tania: Well, why would Porsche not go to BMW or Mercedes? Why would you not stay German?

Crew Chief Eric: That’s verboten

Crew Chief Brad: because fuck those guys. That’s what I, I guarantee you it’s a, it’s a fuck those guys kind of thing.

I

Crew Chief Eric: can you imagine a A GR 86 with like a Porsche body on top of it. How pathetic [00:36:00] is that gonna be? You can’t tell me Volkswagen can’t build this and put a freaking two liter turbo. GTI motor up front

Executive Producer Tania: Volkswagen knows how to make rear engine cars too. The beetle.

Crew Chief Eric: Yeah. A hundred years ago. I don’t know. I almost wanna be like, this is a farce, but the news came from the Porsche Club directly, so I’m like, well, maybe there’s some credibility to this.

I just don’t, I don’t get it. It actually kind of infuriates me in a way, like, what the hell is Porsche doing? They just wanna sell nine elevens and that’s it.

Executive Producer Tania: They’re like only interested in the m mr two that Toyota’s allegedly coming back with.

Crew Chief Eric: Okay. And you said something to me the other day, which is really important about this particular part of the conversation.

Currently at the helm of Toyota, we have an enthusiast, right? All the Gazoo stuff that’s going on, but what’s about to happen at Toyota?

Crew Chief Brad: But that’s changing.

Executive Producer Tania: They’re putting a bean counter in charge.

Crew Chief Brad: Yeah.

Crew Chief Eric: So who’s Porsche gonna get their m mr two sports Coop from?

Executive Producer Tania: I mean, [00:37:00] granted, this article, a guest came out before the Toyota announcement.

Maybe Porsche didn’t know and now they’re gonna have to be like, nevermind.

Crew Chief Eric: Scotty didn’t know. Scotty didn’t know. Scotty didn’t know. Because at

Executive Producer Tania: them two ain’t happening with the bean counter in

Crew Chief Eric: charge. No, it’s not. It’s not. That’s gonna get canceled. That’s probably one of the first things that’s gonna get canceled.

’cause they’re gonna go back to making super boring corollas and CELs and stuff. Now that there’s not an enthusiast in charge of Toyota,

Executive Producer Tania: bring the Avalon back.

Crew Chief Eric: Oh God no, please.

Crew Chief Brad: I’m, I’m reading this. It seems like this is all pie in the sky and there’s nothing going. This is just what this writer has said.

You can’t help but daydream about what a collaboration between Toyota and Porsche on an affordable, vintage, and sports car would look like. So this is all bullshit. We got clickbait.

Crew Chief Eric: So that being said, how many Porsche club owners suddenly got out their torches and their pitchforks? ’cause I’d be pissed off.

Who’s writing for PCA these days? ’cause this isn’t the first time we’ve come across articles where it’s like, [00:38:00] who wrote this?

Executive Producer Tania: Well, first of all, it was written poorly.

Crew Chief Brad: This is Brad. This is Bradley Iger.

Crew Chief Eric: Must be a Brad thing.

Crew Chief Brad: What? When was the last time I wrote an article?

Crew Chief Eric: So speaking of things that, thank God they’re dead.

Did you know Audi was gonna enter the pickup truck market?

Executive Producer Tania: Who?

Crew Chief Eric: I’m gonna say that again. Audi pickup truck. They called it the active sphere concept.

Crew Chief Brad: Active fear.

Crew Chief Eric: Dude, look at this thing.

Executive Producer Tania: But that’s not a pickup truck. That just happens to be a like lift gate that you can stick your bike out the back.

Crew Chief Eric: Tesla redefined what it is to be a pickup truck. That’s a pickup truck. Now

Crew Chief Brad: there’s not a pickup truck.

Executive Producer Tania: I would

Crew Chief Eric: not, doesn’t look like a cyber truck.

Executive Producer Tania: Thank God it doesn’t look like a cyber truck. But also it doesn’t look like a pickup truck.

Crew Chief Eric: It also has the same amount of trunk space as a cyber truck is pretty terrible.

Executive Producer Tania: I mean, you can’t even put the bike all the way in The fuck is that shit. I’m sorry. Just put a bike rack on the back. Why are you never? That is the dumbest.

Crew Chief Eric: It looks so stupid,

Executive Producer Tania: useless crap. [00:39:00] What is that? I’m sorry. That’s stupid.

Crew Chief Eric: I just like the fact that it has like a reverse sunroof. Did you see how the trunk opens?

Executive Producer Tania: I don’t wanna see it anymore. This is Ong, like you just wasted any sort of cargo space to hang your bike halfway in. It’s still halfway out. Leave the damn thing all the way out.

Crew Chief Brad: It gets better. If you click on the other article about it, the Audi active seer concept a little further down. It’ll take you to another article.

There’s a picture of it with golf clubs in the back and you can’t close the boot with the golf clubs in the back. Oh, where?

Executive Producer Tania: Where, how do I click that? Where do I click that? I don’t see a link.

Crew Chief Eric: Here’s the best part of all that. All right. As you read this article, you realize this is Volkswagen Audi at its finest because they are competing with themselves because they can’t leave well enough alone.

All of this atmosphere. Comes from the fact that they’re gonna make a pickup truck over at Scout, which is owned by Volkswagen because they can’t just swim in one lane. So now we’re going back to, [00:40:00] well, if, if Scout has a pickup, then Volkswagen has to have one. An Audi has to have one. Next thing you know, there’s gonna be a Porsche badged pickup truck, probably built by Toyota.

It’ll be a Tundra with a Porsche badge on it. But this is stupid.

Executive Producer Tania: Why would you drive around with your golf clubs exposed? Aren’t they really expensive of a good set?

Crew Chief Eric: Yes,

Crew Chief Brad: could be. Yeah.

Executive Producer Tania: This is so

Crew Chief Eric: stupid

Executive Producer Tania: dumb.

Crew Chief Brad: So you were asking earlier, why wouldn’t Porsche just go to Volkswagen and Audi? This is why this is the bullshit that they’re fucking making.

Porsche is like, no, thank you. We’ll, outsource

Executive Producer Tania: Porsche is like, I want rear real drive, front engine, mid, mid-engine, super sports car for the people in in Volkswagen, I was like, here’s about this pickup truck that doesn’t actually fit a golf club. This is sad.

Crew Chief Eric: Speaking of things that are bad and apparently still on the table, I’m gonna keep bringing this car up until it goes away.

But unfortunately, it is, quote unquote, the new design language for Audi. Audi [00:41:00] confirms the concept C project still on. Despite the rumors, this ugly heinous eyesore won’t go away.

Executive Producer Tania: What would you rather this AI generated? Crap. It’s not even real. What would you rather this or the pickup truck?

Crew Chief Eric: Am I allowed to burn it to the ground?

Crew Chief Brad: It’ll burn itself to the ground. It’s electric.

Crew Chief Eric: That’s true. God, they’re terrible. They’re all terrible. Oh man. This is bad for some angles and the other one’s bad from some angles. If we could maybe smash them into each other, we could have one decent looking car. ’cause the front of the other one’s not bad, but the, the back of this one’s horrendous.

God,

Crew Chief Brad: I think you mean smash them into each other and destroy both of them. I think that’s what you’re meant to say.

Crew Chief Eric: The end result. Yes. This, they’re just terrible. I do like that one picture of this heinous AI car, and there’s this black hole and it says, this is just the beginning.

Executive Producer Tania: Yeah. Of the end.

Crew Chief Eric: Pretty much like that is, that’s the shoot where the poop goes.

Crew Chief Brad: [00:42:00] Open butt hole,

Crew Chief Eric: inter,

Crew Chief Brad: inter suppository.

Crew Chief Eric: Again, there’s certain car companies we say we’re not gonna talk about, and then they just poof, come up with something else that we can’t resist talking about and maybe this should be part of the showcase, which as you notice, there’s a theme here we’re continuing to extend throughout the episode.

BMW’s new M three. All I have to say is quad motor and not the petrol kind. Is this the nail in the coffin for the M three? Is this what’s gonna kill it?

Crew Chief Brad: Probably. It

Executive Producer Tania: needs quad motors because it weighs 10 million pounds.

Crew Chief Eric: Oh my God, it’s so awful.

Crew Chief Brad: 5,000 pounds.

Executive Producer Tania: You know what? Honestly, it’s hard to tell what it’s gonna look like since it’s under total camo, this, that, and the other.

The front, what you can see of it, is sort of reminiscent of a 2002 in the grill style with the lights, which if done correctly. Might not even be a bad [00:43:00] thing. Be better than those buck tooth, badger kidney grill things that have been going on recently. But I thought BM BMW was one of the ones that was all about the combustion.

Crew Chief Eric: Yes. Until they’re not when it suits them. Tell me that The back of that doesn’t look like a Pontiac G eight

Executive Producer Tania: from the one angle. Yes. Or Alexis.

Crew Chief Eric: It’s really big too.

Crew Chief Brad: If you go a little further down, there’s a link. It’s the new electric M three lapping the berg ring.

Crew Chief Eric: Oh yeah, I did see that. Uh

Executive Producer Tania: oh yeah, I see that.

Crew Chief Eric: I’m sorry. But to add insult to injury, and we didn’t get to talk about this last time, so it fits right in here with this car’s gonna be put together with that screw, that BMW made. That’s impossible to screw unless you have their special. Have you seen this thing?

Executive Producer Tania: Yes.

Crew Chief Eric: The screw head is a round L. I mean, there’s schwabing tools and then there’s this kind of insanity.

And when that strips, because it will,

Executive Producer Tania: you’re fucked. You just gonna have to get a new car. [00:44:00]

Crew Chief Eric: The whole car’s gonna be put together with these. It’s bad enough when they use torques, the six points like This is stupid.

Executive Producer Tania: What happened to Right. To repair what?

Crew Chief Eric: Yeah. They’re gonna find a way to take that away from you without having to do it with the laws.

They’ll make everything some special, ridiculous tool.

Crew Chief Brad: I think this is creating a whole new aftermarket for screws and people. BMW owners are just gonna buy a kit for like $1,500 to replace all of their screws.

Crew Chief Eric: I didn’t think about it that way, but that’s, that’s a good point.

Executive Producer Tania: The new ECS tuning billet screw kit

Crew Chief Eric: for your VW.

Bag of screws. Bag of screws.

Executive Producer Tania: Or you’re gonna get a bunch of people that are gonna 3D print some sort of adapter wrench, screwdriver, or whatever the mechanism is. I don’t know.

Crew Chief Eric: Well, since we’re talking about things that are closing, dying, going away, should remain dead. However you wanna phrase that. We don’t have any new EVs or compec cars.

We don’t have any Asian stuff. We don’t have any bikes. We don’t have any [00:45:00] lost and found. We don’t have any uncool wall. This is a hell of a season closer. We got no Tesla news other than what we already talked about.

Executive Producer Tania: Well, we had the JDM news with the Toyota CEO swap change thing, and then Mazda recently was just awarded, I don’t know if awarded, but apparently they’re now the safest car.

They’ve outshined Volvo in their safety performance record. So look at that. Unexpected.

Crew Chief Eric: That’s awesome. That’s because Volvo’s also run by bean counters and can’t build the safest car, but you make outta tinfoil. You know when they used to make Outta Iron Girders, the same ones that they built the Empire State Building out of?

Yeah. Volvos were safe. That was available on the Volvo, two 40 wagons, iron Bridge girders, but not so much anymore. So moving right along as we fast forward to, seriously what could go wrong. Tanya, I’m gonna ask you this question until you get your Apple subscription.

Executive Producer Tania: Nope.

Crew Chief Eric: Did you watch the F1 movie?

Executive Producer Tania: No.

But apparently they’re already in talks for another F1 [00:46:00] movie.

Crew Chief Eric: Are you gonna wait for the second one and watch ’em back

Executive Producer Tania: to back? What would you call F1 the movie two. F two

Crew Chief Brad: FU.

Executive Producer Tania: We just went backwards from F1 to F two to F three. We’re getting slower.

Crew Chief Brad: God, it would be two F1.

Executive Producer Tania: I have not seen it yet. Pose when the Apple subscription’s unlocked, I suppose I will then Grace the movie with my eyeballs.

Crew Chief Brad: We’ll add it to the list. We’ll watch it after Days of Thunder.

Crew Chief Eric: There you go. I don’t see what a sequel would bring to the table.

Is Brad Pick gonna be in it again?

Executive Producer Tania: No spoilers.

Crew Chief Eric: I want all the spoil. Uh, all right. We started off this conversation talking a little bit about the Olympics and talking about the Super Bowl. So we have some winter sports and obviously, you know, we’re gonna talk about Rolex here in a minute and stuff like that.

So since we’re in the midst of winter sports [00:47:00] enthusiasm, I’ve been watching a lot of the ski jump. Mm-hmm. And I began to realize, you know, the old Audi commercial where he drove up the ski jump and how fun is that? And you know, how real was that? I guess it, apparently it was very real back in the eighties, but we haven’t let that go in Germany of all places.

They do car competitions in the snow up the mountain.

Executive Producer Tania: Amazing.

Crew Chief Eric: With all these whacked out all wheel drive cars and this video is just unreal.

Executive Producer Tania: It’s amazing.

Crew Chief Eric: My favorite though. My favorite is that quantum station wagon. I wanna know what’s in that.

Executive Producer Tania: That thing was awesome. I mean it outdid the sport. Quatro

Crew Chief Eric: Ballistically quick.

And for those that don’t know, the VW Quantum Station Wagon Synchro is actually an Audi 4,000 underneath. So it’s all in the same family now. The Fox is the one that I was kind of scratching my head. ’cause that shares a lot of 4,000 DNA, but that must have been swapped to all wheel drive. But that too was just a beast.

I was like the [00:48:00] two oldest cars there basically were like the fastest ones. It was, it was awesome.

Executive Producer Tania: It had that powered weight ratio,

Crew Chief Eric: that wagon, it’s like a shot out of a gun.

Crew Chief Brad: The RSS four wagon

Executive Producer Tania: yellow one.

Crew Chief Eric: Yeah.

Crew Chief Brad: Yes.

Crew Chief Eric: Yeah, it’s awesome. It’s a great, great thing.

Crew Chief Brad: This is an amazing event. It’s like,

Executive Producer Tania: I wanna do this.

Crew Chief Eric: I know. I love it. Peak.

Crew Chief Brad: Peak. But it’s snow.

Crew Chief Eric: It’s the slowmo instead of the schmo. See, they got to go up and they come across the top and then they come back down. Yeah.

Executive Producer Tania: But like how stiff is that sport? Quatro? It’s like a board. It just like,

Crew Chief Eric: it doesn’t wanna play ball at all. No, it

Executive Producer Tania: just bounces air under the tires.

No, like it’s so stiff,

Crew Chief Eric: but the sounds, can you imagine hearing all these fire breathing five cylinders just running up the mountain at like 9,000 rpm. It’s amazing.

Crew Chief Brad: We need to find out when this is going on. Next year.

Executive Producer Tania: Yeah. Right.

Crew Chief Brad: Is that black car? Is that a skyline?

Executive Producer Tania: Yeah.

Crew Chief Eric: Yeah.

Crew Chief Brad: Holy shit. That’s amazing. It’s

Crew Chief Eric: not just Audis.

Executive Producer Tania: I’m pretty sure I saw A BMW earlier.

Crew Chief Brad: Yeah. There was a BM BMW one series.

Executive Producer Tania: [00:49:00] Well, what’s still the fastest up that hill, I think is the snowmobile.

Crew Chief Brad: Oh my God. The skyline was doing donuts and then he hit the

Crew Chief Eric: Yes.

Crew Chief Brad: Did the snow baker? Yes

Crew Chief Eric: he did.

Crew Chief Brad: He did the snow machine. This is awesome.

Crew Chief Eric: Yeah, it’s good stuff. Last time we had asked time, you know, we’re, we were, we started off talking about car commercials and we were supposed to find interesting car commercials for every drive through.

You found something for us?

Executive Producer Tania: No, no, no. So it’s a deep fake. No.

Crew Chief Eric: Is it really?

Executive Producer Tania: It’s clickbait. It’s clickbait. So I was searching celebrity car commercials, right? And then go ahead. And what did I come up with?

COMMERCIAL: Make your move to Chevrolet’s new celebrity.

Executive Producer Tania: The Celebrity Chev. Oh

Crew Chief Brad: no,

Executive Producer Tania: I got Rick rolled. Watch the whole thing. ’cause this is a 1984 baby, so we gotta shout out to the Olympics at the end.

Crew Chief Eric: Oh yeah. [00:50:00] Oh wow. Look at that styling. Hmm. $8,456. Did we convert that to today’s dollars? What is 8,500 in 1984 In today’s dollars,

Crew Chief Brad: if it’s for a Chevy, it’s.

500

Crew Chief Eric: lemons won’t even take that car.

Executive Producer Tania: $26,516 car.

Crew Chief Eric: Damn.

Crew Chief Brad: That’s actually still pretty affordable for today’s dollars.

Crew Chief Eric: I wouldn’t want it though for that price.

Crew Chief Brad: Well, yeah. I’d rather have an Ultima.

Executive Producer Tania: So I will warn that you can go down a rabbit hole on Celebrity Chevrolet or commercial that exists.

Crew Chief Eric: Oh man. Ha ha.

Again, seriously, what could go wrong?

Executive Producer Tania: And then the celebrity Chevrolet car commercials lead to the Beretta Ooh Chevrolet car commercials. Ooh. And the Beretta was the Heartbeat Chevrolet.

Crew Chief Eric: I drove a Beretta. I know somebody that owned a Beretta. I got her to buy a Volkswagen instead. It was a good move.

Executive Producer Tania: But I have some leads on some actual celebrities in car commercials.

I left this one in [00:51:00] ’cause it Rick rolled me and then it had the Olympics tie in. So full circle moment.

Crew Chief Eric: No book club this month ’cause I’m in the middle of reading a book. We will move on to rich people. Thanks.

There’s a Ferrari ev coming out.

Executive Producer Tania: What a clever day.

Crew Chief Eric: The lu chick, which means

Executive Producer Tania: light and not ’cause it weighs little,

Crew Chief Eric: no, it weighs as much as the Hummer. Evie co-designed by apple’s. Johnny, ive

Executive Producer Tania: Who Just kidding.

Crew Chief Eric: I’m sure William will do a whole episode about this on the Ferrari marketplace. Let’s just do our own little review of what we know about the Ferrari Luce and what everybody’s raving about is its interior.

Executive Producer Tania: The interior looks like a toy,

Crew Chief Eric: right?

Executive Producer Tania: Who made that toy when we were in our generation with kids and you had that little console of a car.

Crew Chief Eric: Don’t say it’s the racing thing where it like moves around on the little black screen with the knobs.

Executive Producer Tania: Not quite that, but there was the other one with the steering [00:52:00] wheel and had like the little like yellow shifter thing.

Oh,

Crew Chief Eric: the Fisher pricey thing. Yay.

Executive Producer Tania: I think it was the Fisher-Price thing. I’m not sure. I don’t wanna offend Fisher-Price, but this reminds, gives me vibes of that Fisher Price store. I don’t,

Crew Chief Brad: Hey, this has the iconic three spoke studio. Hey,

Crew Chief Eric: now. Oh, is that a speak and spell? What is that?

Executive Producer Tania: The steering wheel thing.

Crew Chief Eric: Oh, there, see, it’s the modern version.

Executive Producer Tania: This is the modern version.

Crew Chief Eric: God,

Executive Producer Tania: little yellow Ferrari on the center. You’re good to go.

Crew Chief Eric: Like I have mixed feelings about this. I really think despite the fact that the dash is like digital, I think it looks really cool. It’s very like eighties Ferrari with the dials and the way they look, even though they’re fake, but the rest of it is way too iPhone.

Executive Producer Tania: Well, you said it was a dude from Apple.

Crew Chief Eric: Yeah. It’s just no. What do you think about it from the outside?

Executive Producer Tania: You know, honestly, they’ve made uglier Ferraris, but it doesn’t look like a [00:53:00] Ferrari.

Crew Chief Eric: If you painted this dark green and put some lateral aerodynamic roof rails on it, would this look like the Hyundai?

Executive Producer Tania: Like if you took the emblems off of it,

Crew Chief Eric: would you believe it was a genesis?

Executive Producer Tania: Oh, I would believe this is a Japanese car. If it didn’t have Ferrari badges on it.

Crew Chief Eric: I like the AI Recolored yellow one that looks even.

Executive Producer Tania: I don’t know if this is actually the final version of it. So who knows what it’ll actually look like.

We all can’t afford it, so there you go.

Crew Chief Eric: Oh yeah, that’ll be 350,000 to start for sure. This goes back to the Stellantis EV thing. Does Ferrari have to make an ev? This is where they lost $26 billion creating this thing that nobody wants, that nobody’s, how well did the Pru Sangwe sell?

Executive Producer Tania: If you can afford a Ferrari, I don’t know why.

You care about the price of fuel,

Crew Chief Eric: right?

Executive Producer Tania: And you probably, not all but percentage. You don’t care about the environment either.

Crew Chief Eric: Smoke, what are you saying? What are you, take that time.

Executive Producer Tania: I’m [00:54:00] just saying sometimes when you have too much money, you don’t care about things.

Crew Chief Eric: Well, that’s rich people things. So, yeah, I’m sure William will do an episode about this in the future, but I also do want to give him a quick shout out.

He got together with Chris Meley from Prancing Horse of Nashville to go behind the scenes and talk about the truth of the Bachman collection and the sale that happened in Mecu. A lot of people are still up in arms about why did they sell for so much, why this, why that, and blah, blah, blah, blah. So William called up Chris and said, Hey, you were the broker behind all this.

Let’s have a real candid conversation about what happened during the sale of the Bachman collection. So that episode is in our catalog. You can’t get any closer to the source of truth than the guy that actually sold the cars. So check it out in our catalog and tune in for other Ferrari Marketplace episodes as we continue Rich people ths.

Do we have an extra value meal this month, Tanya?

Executive Producer Tania: I did not capture one this month.

Crew Chief Eric: All right, well then we’re gonna move right along to fan [00:55:00] favorite. Are you faster than an interceptor?

Executive Producer Tania: I swear we did this one already. ’cause I remember a

Crew Chief Eric: no, no, no. We talked about it, but we didn’t do it.

Executive Producer Tania: Is that what it is? Yes. So remember having the conversation of figuring out what it was.

Crew Chief Eric: Correct, but we never talked about it on the drive through.

Executive Producer Tania: Okay. I literally went and pulled up this last one, thinking we did it already then.

So the first one is a Michigan MAN story, if I have that correct?

Crew Chief Eric: Yes, you do.

Executive Producer Tania: And apparently at the Detroit Metro Airport, McNamara Terminal. Someone decided that that was where the car park was and they blazed through, which is confusing. ’cause then essentially they, the speed at which they were going, we all have been to an airport, the [00:56:00] road and the airport terminal.

They’re parallel to each other. Like it’s really diff it’s not an intersection of some sort. Right. Like, so to carry that much speed and like enter perpendicularly into a building, it’s quite impressive. And I wish there was like an outside camera. There

Crew Chief Eric: is. I found it and then I lost the link.

Executive Producer Tania: Ugh.

Crew Chief Eric: He comes barreling down.

He must like and hooks a hard right turn.

Executive Producer Tania: Handbrake turn into the, into the thing.

Crew Chief Eric: Yes.

Executive Producer Tania: Which is a modern car. So there’s no handbrake to pull on. But man, he must have just yanked all the

Crew Chief Eric: steering wheel. You just cranked the wheel and then stood on it

Executive Producer Tania: and we decided it was a Mercedes.

Crew Chief Eric: Yes, it was a Mercedes.

Maybe he, he had clear plus. Plus. That’s the new perk. You could just drive straight into the airport.

Crew Chief Brad: He thought TSA precheck would curse this.

Crew Chief Eric: I love how they drag him out of there and he is wearing like a Detroit Lions jersey and he’s just yelling like, wow, that guy went to jail. He did not pass, go. He did not collect $200.

Crew Chief Brad: You think he missed his flight? You

Crew Chief Eric: don’t say,

Executive Producer Tania: I think he’s gonna miss many flights.

Crew Chief Eric: You know [00:57:00] how I’ve said before? Where’s that guy trying to park? Is he trying to park in the store? Trying to park in the airport? He did. This guy did it. He’s like, I can’t get any closer than the Delta terminal counter.

Crew Chief Brad: This reminds me of the, I don’t know if you all have seen the videos of people doing this on Instagram when they drive past like an accident or something, or somebody does something stupid with their car as they’re driving by, they’re filming and they say, Hey, you can’t park there at the most inopportune time.

Crew Chief Eric: Well, it goes right along with this next one, which is same, same but different. Brad, this is in your great state of Virginia. I’ll read the headline. Car on Metro TrackX shuts down traffic on I 66.

Executive Producer Tania: That’s

impressive.

Crew Chief Brad: Yeah. I don’t consider Fairfax County part of Virginia. That’s Maryland adjacent right there.

Crew Chief Eric: Hey, it’s below. It’s on the other side of the river. That’s yours and you can keep it.

Crew Chief Brad: No, no, no, no. We’ll, we’ll take Tiger Woods.

Executive Producer Tania: So if you look, I don’t know exactly where this is on 66. I’m sure I’ve passed it at some point, but they’re basically a ramp. [00:58:00] So he must have like ramped shot over the fence and landed on the tracks.

Crew Chief Eric: He went full Bo Duke.

Executive Producer Tania: Yeah, this

Crew Chief Eric: is Duke’s a hazard right here.

Executive Producer Tania: Honestly, at first I was like, how do you do that? But then seeing the ramp, you could a hundred percent jump that fence. And end up on the tracks. And what does that look like? A Honda?

Crew Chief Eric: I’m trying to tell by the lights. I think it might be a Hyundai.

Or It’s a Honda. It’s one or the, it’s close. It’s probably a Honda though.

Executive Producer Tania: Can’t tell.

Crew Chief Eric: It’s not an Ultima. Actually, if it had been an Ultima, he would’ve driven away from this. Yes. They would’ve caught him driving down the railroad tracks at like 80 miles an hour. Because it would’ve survived. Because as you said, the Altima is here for all of it.

Executive Producer Tania: Yes. It’s,

Crew Chief Brad: I like how they say it’s an unauthorized car.

Executive Producer Tania: I, you know,

Crew Chief Brad: excuse me, sir. You’re unauthorized. You can’t be here.

Executive Producer Tania: I dare say that. Yes, that was unauthorized. It was not a car with the, uh, train wheels on it that was meant to [00:59:00] be going down the tracks for service.

Crew Chief Brad: Yeah.

Crew Chief Eric: Well, Brad, you brought us this next one.

Crew Chief Brad: I didn’t actually read it,

so let’s all read it together.

Crew Chief Eric: Florida man arrested after 13 hit and run crashes on Valentine’s Day.

Executive Producer Tania: Oh yeah.

Crew Chief Brad: Over the course of like five hours. Five and a half hours.

Crew Chief Eric: Police report. The 34-year-old is a Florida resident that lives at him as currently homeless. No, he lives in the jail. That’s where he lives right now.

He covered 80 miles smashing into cars

Crew Chief Brad: and Chevy Colorado is in rough shape. No shit.

Executive Producer Tania: Was this a whistling diesel? No, I’m just kidding.

Crew Chief Eric: It kind of looks like that, doesn’t it?

Executive Producer Tania: You know, they don’t talk much.

Crew Chief Eric: The Florida men or what?

Executive Producer Tania: We don’t know anything. Like why was

he

Executive Producer Tania: drunk? Was he on drugs? Was there an alligator in the car with him?

Crew Chief Eric: It’s, it’s none of that. We just, it’s not a very well written Florida man story, but it was a Valentine’s Day Florida man. Story. Story. It’s [01:00:00] important that we highlighted it. Vehicular nonsense. On Valentine’s Day,

Crew Chief Brad: man. This was in Virginia as well.

Crew Chief Eric: Starting to see a pattern here.

Executive Producer Tania: It was a Florida man in Virginia.

Crew Chief Brad: Yeah.

Crew Chief Eric: Yes.

Executive Producer Tania: Oh, you’re right. You are right. Sylvania County. Did he crash his way up from Florida?

Crew Chief Brad: Yeah, these are just the Virginia cars. They’re still,

Executive Producer Tania: oh man.

Crew Chief Brad: You know the Carolinas in Georgia down there.

Crew Chief Eric: Oh man. This next one is like that song. What’s that song? About how she slashes the seats of the car and the tires and like she vandalizes the jeep.

What? How’s that song?

Executive Producer Tania: Louisville Slugger. That’s how the song goes. The Louisville Slugger to his taillights. Some some something. Something something Something something. Something something.

Crew Chief Eric: Keep Your Day Job.

Crew Chief Brad: Oh, carry Underwood song.

Executive Producer Tania: Yeah,

Crew Chief Eric: yeah, yeah, yeah. That would, you can sing it for us, Brad. Yeah.

Pancakes and sausage and stuff.

Crew Chief Brad: Yeah. I, I came, yeah. I can’t sing Gary Underwood. Sorry,

Executive Producer Tania: I don’t remember that song. It’s like god knows how old now. 2005. It’s [01:01:00] 20 years old.

Crew Chief Eric: Play it on the radio. Like if it was just yesterday. ‘

Crew Chief Brad: cause you’re listening to the oldie station.

Crew Chief Eric: Yeah. Right. What is going on here?

Executive Producer Tania: Apparently this dude at the Publix, he mistook the SUV that was parked there thinking it was his ex. And so in a fit of rage of revenge and God knows what are the drugs they were on, basically, I think took a hammer. It started like beating on the car, except it was actually a Publix employee’s car.

It had nothing to do with this person.

Crew Chief Eric: Oh wow. Can you imagine?

Executive Producer Tania: Can you imagine coming outside and it’s like your car is destroyed like this?

Crew Chief Eric: Oh, that’s terrible. What is in the water down there? That’s what I wanna know.

Executive Producer Tania: I dunno.

Crew Chief Eric: Well, on that note, it’s time we go behind the pit wall. Talk about,

I don’t even know what to say about this one. IJ maybe I should just read the headline. President Trump [01:02:00] celebrates American greatness with the Freedom two 50 Grand Prix of Washington DC

Executive Producer Tania: sounds like a terrible idea.

Crew Chief Eric: Indie cars in DC

Executive Producer Tania: I mean, I guess, Hey, DC’s finally gonna get paved the streets.

Crew Chief Eric: No, there’s no chance in hell.

They didn’t pave Baltimore when they ran the Grand Prix there. You think they’re gonna pave dc? Yeah, right. What about the manhole cover? They’re gonna have the same problem that F1 has in Vegas with manhole covers flying off everywhere.

Executive Producer Tania: Well, we’re not gonna make it one laugh of this race

Crew Chief Eric: then. It’s never gonna happen.

It’s gonna be terrible. Well,

Executive Producer Tania: there’s that.

Crew Chief Brad: There’s just gonna race in their dailies.

Crew Chief Eric: Somebody asked what the ticket prices were gonna be for this. And I said, they’re gonna be huge.

Executive Producer Tania: They can pay me to stay away.

Crew Chief Eric: Yeah, a hundred percent. That’s the day I take a vacation on the other side of the country.

Crew Chief Brad: Wait, were you guys aware that the Daytona 500 happened this weekend?

Crew Chief Eric: I was aware

Crew Chief Brad: we are not going to, we’re not gonna [01:03:00] mention the Daytona 500.

Executive Producer Tania: We’re not gonna mention the massive crass on the last lap that wiped out like half the field or something like

Crew Chief Brad: that.

Oh no, the, the, yeah, the, the complete insanity that was the last lap that basically handed, it didn’t hand. Michael Jordan’s team number 45. The win,

Crew Chief Eric: I can’t name three drivers in NASCAR right now.

Crew Chief Brad: The only reason I know about it’s ’cause I was at a bar watching the hockey game and then it ended and then there were like five laps left.

Crew Chief Eric: So you saw the most important part of the race. Then

Crew Chief Brad: of course it’s the most important part of anything the last five minutes.

Crew Chief Eric: And that’s sad to say because it is NASCAR month and all of our coverage on the empty N is NASCAR related. But I, I haven’t followed NASCAR in a while. Like I, I think I’m just stuck in the eighties with nascar like Rusty Wallace still out there.

Executive Producer Tania: We got what days have done

Crew Chief Brad: had I not been out already watching something else, I would not have known.

Crew Chief Eric: You would’ve missed it all together. Yeah.

Crew Chief Brad: I would, would’ve missed it all together. Yeah.

Crew Chief Eric: Yeah.

Crew Chief Brad: Um, but yeah, congratulations to Tyler Reddick and his number 45 car and the Michael Jordan team for finally getting that big [01:04:00] win at Daytona

Crew Chief Eric: and didn’t Biffle pass or something recently too, like that was in the news as well as with respect to nascar.

Executive Producer Tania: Um, by, you mean die in a plane crash?

Crew Chief Eric: Yes. I was trying to be nice about it

Executive Producer Tania: tragically with his family. Yes.

Crew Chief Eric: Yeah.

Crew Chief Brad: Yeah. That’s the,

Crew Chief Eric: uh, sad news there too. Hmm. Much like the Super Bowl this year’s Rolex, the 60th anniversary race. Oh my God, was it boring? Why is everything on Peacock so boring? There were 900,000 Olympic commercials, which made the coverage just completely meh to go along with their meh commercial that they show all the time for YouTube tv.

It was really hard to watch. I don’t know what it was about this race. And then we had what that fog delay in the middle of the night. So if you went to sleep like I did, ’cause you’re like, man, there’s nothing to watch right now. You didn’t miss anything when you got up in the morning. It was such a bad race.

And then I don’t understand Porsche, well, it’s Penske, right, because Porsche retired the 9 63. But the 9 63 is still competing this year, but we’re not gonna see it at Lamont unless [01:05:00] Penske, you know, it’s like a whole thing. Realistically, the most interesting thing about the whole race. Was that battle between the GT Amateur class, not even the pros.

Everybody was so spread apart. It was the amateurs between the Mercedes and the Aston. And I was like, what are we watching?

Crew Chief Brad: Yeah, I didn’t get to watch much of the race.

Crew Chief Eric: You didn’t miss much,

Crew Chief Brad: apparently.

Crew Chief Eric: Well, since we’re talking about Rolex, Tanya, you watched the race. I think the most exciting part was the new Reptile tire technology.

Remember that?

Executive Producer Tania: I didn’t watch the race.

Crew Chief Eric: We talked about the reptile tires. Remember they looked like crocodile print and how Michelin is all about sustainability and it’s made from like 90% recycled materials and, but then they had all those issues when it got cold so the tires wouldn’t stick so that everybody’s like flying off the track.

Executive Producer Tania: Now I remember. Only watched for like an hour.

Crew Chief Eric: Well, you didn’t miss much. So out of the other 23 that were there, it was like me. So anyway, there’s some more news shaking up the endurance car world. The FIA [01:06:00] is bringing about a new streaming service and they’re combining it with wec. So they have FIA we plus streaming service

Crew Chief Brad: because does this mean it’s not gonna be on HBO anymore?

Crew Chief Eric: It says here it’s the goal is delivering a significantly improved streaming service with access to all FIA we content worldwide. So that should include the 24 hours of lamont.

Crew Chief Brad: Did you ever watch any of the Super bike races on HBO?

Crew Chief Eric: No, I didn’t. Did you?

Crew Chief Brad: I tried, but the color was weird. Like wasn’t an HDR or It didn’t, it wasn’t compatible with my HDR tv, so it looked all gray and washed out.

Crew Chief Eric: Oh wow.

Crew Chief Brad: Which may me not wanna launch.

Crew Chief Eric: Yeah. And it says we are pleased to confirm that all FIA WEC races will be available in the United States in Canada with no GEOBLOCKING restrictions. Most notably the 24 hours LAMA will be available live on FIA WEC streaming platform for the first time ever in the United States.

Marketing in major milestone and blah, blah, blah, blah, blah. Marketing, marketing, marketing, marketing. I don’t know what this means because isn’t there a lot of shuffling going on at [01:07:00] HBO because it’s partnered with Warner Brothers and all that other stuff and maybe Netflix is buying it so that the FIA say, you know what, we’re not here for this guy as we’re just gonna go do our own streaming platform.

Crew Chief Brad: Maybe.

Crew Chief Eric: Maybe no hobo Max for WEC races anymore. So that was like a two year run, getting outta racing. All right. Well, a quick update on the virtual stuff I’ve mentioned in the past. You know, I’ve got some of the newer titles been trying ’em out. A SETO corset, Evo just got updated to version 0.5. We’re not even a version 1.0.

But 0.5 just got pushed the other day. Bunch of new cars. There’s like seven of them and then there’s two new tracks. Gotta say Watkins Glen is one of the new tracks and it is spot on. It’s the new track, definitely laser scanned. It is really good. Just very well done. Now as far as the cars go, not gonna list all of ’em, you know, new nine 11 new, this new that they introduced the Audi Sport Quattro.

It’s an absolute beast.[01:08:00]

They brought the mark one GTI, and to keep with realism. It is slower than slow.

It struggles to get to a hundred miles an hour. But it is an absolute riot when you’re out there with 25 other ones just beating the doors and, and going bumper to bumper down the track. Now, the surprise of surprises because their little trailer video, which I shared with you guys, which I thought was super entertaining when they revealed version [01:09:00] 0.5 at the very end, there’s this whole kind of initial DA 86 and then they kind of forecast what’s gonna come in the next release, which is gonna be Sebring and a bunch of stuff.

So that a 86, I was like, you know, I’m gonna try that out. I mean, again, these cars are talking to me, they’re all from the eighties. I’m loving it. And so I’m looking through the cars. There’s a couple different versions of the original 80 86. There’s the black and white, there’s the all black, there’s, you know, whatever.

And then at the end there’s the Fuji Tofu Shop, one from initial D, and I’m like, oh, that’s cool. Well, they kind of did the skin and it’s a little blurry so it doesn’t look exactly like, you know, and they don’t get any copyright infringement or whatever it is. I decided, you know, after doing a bunch of laps at Watkins Glen, I was like, oh, I’m gonna go to Laguna Seka instead, and I’ll try the Toyota there.

And it runs in the same class as the Audi and some of the other cars, you know, the BMWM three and the Mercedes 2.3 Evo and all that kind of stuff. I looked down at the dash and I’m like, does that say that? Does that [01:10:00] doesn’t say, no, it can’t. It says 10 10. 10 ISN in 10,000 RPM and I’m like, nah, that’s, that’s a joke.

Light turns green. Drop the clutch.

This sucker is like straight up race car. Like it sounds amazing and you bury the needle at 10 grand because just like the initial D 80, 86, it pulls to 11 and it’s just all of awesome. So I’m like, okay, so it’s the initial D car. Maybe they’re all that way and they’re just skins. Oh, no, no. This is like the jewel that they didn’t tell you about in the promo videos.

This is a special car. It’s not just a skin. All the other regular 80, 80 sixes you get into.[01:11:00]

7,000 RPM. It’s got that nice Toyota twin cam sound, but it doesn’t sound like a formula car like the other one does. The driving experience is awesome. Like you can hang the ass out, you can drift it all over the place and it’s just wicked quick. So I found that to be an awesome surprise and if you haven’t done it and you haven’t tried it yet, cannot recommend upgrading to version 0.5 just for the smile factor that comes from the initial DA 86.

And by the way, they made the F 40 worse, so it’s like impossible to drive. So I’m gonna be having fun driving the Toyota for sure. Kudos to the a Seto course of guys Speed. They might be slow rolling this thing, but it’s, it’s getting better with every release except for the F [01:12:00] 40. In other racing news, I don’t know really where to qualify the 12 hours of bathhurst because it’s sort of endurance racing, but it’s sort of just crazy Australian V eight supercar guys decide to drive something that isn’t a muscle car for 12 hours.

Bathhurst is a mess every year, and I know a lot of people watch it for the crashes. And the crashes are unfortunate. And this year. More so than ever. Mercedes a MG factory driver, Roth Aaron fractured his back in a very serious accident at Mount Panorama. And we have the link to the video and we have a link to the follow on article.

I mean, I watched it and I was completely blown away. I was really surprised that the corner workers didn’t flag earlier. It reminds me of the races at like, it’s like Macau or whatever, where they go those super narrow roads where there’s only room for one car and then they all pile up and the race is over by like lap three.

’cause they’re all, you know, I, I don’t know what the racers are doing. They are, you’re not situationally aware like what the hell is going on. It’s really [01:13:00] unfortunate what happened. Rough. And you know, we wish him a speedy recovery and hope to see him back behind the wheel of a Mercedes again soon. But it’s stuff like that that really makes you question the safety of racing in 2026.

Crew Chief Brad: I think it’s amazing.

Crew Chief Eric: I really do believe Bathurst is probably one of the most dangerous tracks that’s out there.

Crew Chief Brad: I love that track,

Crew Chief Eric: but it’s also super sketch.

Crew Chief Brad: Oh yeah, for sure. But I, it’s still amazing.

Executive Producer Tania: So you missed a piece of Rally news.

Crew Chief Eric: I thought we weren’t talking about, I thought I wasn’t allowed to talk about that.

Executive Producer Tania: I never said that.

Crew Chief Brad: No one listens, but you’re allowed to talk about it.

Crew Chief Eric: So what piece of Rally news did I miss?

Executive Producer Tania: A US. Rally stage.

Crew Chief Eric: Yes, you’re right. I forgot. I I am following that as a matter of fact. So WRC is scouting out areas like around Tennessee to see if they can Kentucky, do a WRC America round. And I, and if that happens, I’m gonna go check it out.

I think that’s super awesome.

Executive Producer Tania: There you go.

Crew Chief Eric: Thank you for reminding me. I’ll go

Crew Chief Brad: with you.

Crew Chief Eric: Let’s go meet Terry Neville.

Crew Chief Brad: Yes’,

Crew Chief Eric: be perfect. Well, our Motorsports News is [01:14:00] brought to you in part by Enduro verse, powered by Hyper Dev. Endur Averse is America’s premier endurance racing community. Check it out online today and become a member@www.enduraverse.com.

Alright, well it’s time for the GTM Trackside report, and as promised, we’re gonna give you an update on our unfocused Performance Lemons project. It has stalled thanks to two feet of snow, which turned into permafrost and glaciers boxing the cars in the trailers, and so we haven’t been able to get it out to our fabricator to put the cage in.

But that is coming up quick. By the time we have the next drive through episode, hopefully it’ll be off to get the wrap done and get all the styling stuff done. We do still have a way for you to contribute and be part of the team. We’ll include that in the show notes. You know, we are looking to raise some money if you want to come and help out, hang out, all those kinds of things.

The details are in the link in the show notes with this episode. But since we’re taking on this new project and all of us are checking our safety gear, and there’s been some public service [01:15:00] announcements from various tracks around at least the East coast, talking about how if you’re planning to come to the track this year, they’ve taken a year away from you that you normally have a grace year on your helmet.

Expirations.

Crew Chief Brad: You can correct me if I’m wrong, ’cause you’ve been in the sport a lot longer than I have. Was that. Extra year, that grace year kind of due to like supply chain issues with being able to get access. So maybe the supply chain issues aren’t as much of a problem anymore. So you don’t really have that excuse to lean on.

You just need to stop being a cheap ass and upgrade your equipment when you need to.

Crew Chief Eric: 2020 was really the bad year because that was the COVID year.

Crew Chief Brad: Yeah,

Crew Chief Eric: but the grace period had always been there because to your point, when they say they’re gonna make a 2025 helmet, they start making them in 2025 and then they have to have enough supply and it becomes an issue and it takes almost a full year before there’s enough out there that people can actually get that year’s helmet in hand.

So you sort of lose a [01:16:00] year, but you gain a year on the other side. But now the tracks are saying, Nope. We have said that even though the industry says 11 years is fine, it’s gotta be 10 and you have to buy a new helmet. So if you’re going to places like New Jersey or a Lime Rock and you have a SA 2015 helmet.

You cannot use it this year. They’re checking helmets, they’re being strict about it. You need to buy a new helmet. You do not get the grace year through 2026. So if you’re looking to get a good deal on helmets, reach out to our friends at OG racing. Ask for Mark Francis at or mark@ogracing.com. Email him directly.

Tell them the guys from Grand Tour Motorsport sent you. And same is true for Limerock. Like I said, NJMP and Limerock are strictly enforcing the role that you need. A new helmet 2020 or newer rated helmets, even if you’re in New England and you have stable energies nearby, they’re offering a 15% discount to Audi Club members if you’re shopping for a new helmet.

Crew Chief Brad: Also, they usually sell helmets [01:17:00] at the track too. They’ve got the, the pro shops at each track where you can get a helmet if you’re in a pinch.

Crew Chief Eric: I don’t know. I guess you could go either way. There’s no financial gain in it for the racetracks because they’re not selling the helmet. Right. And the pro shops a lot of times are independent of the racetrack.

Like those people actually lease the space from the track and they’re running their small business and all that kind of stuff. Like OG Racing has its shop at Summit Point as well as their main shop there in Sterling. You know, that doesn’t benefit the track. They’re just cracking down and saying, no, you gotta go buy a new helmet.

Because they are safety conscious and they’re safety cautious and we’re litigious country. So it is. It is what it is, right? Yeah. So, but yeah, I mean, I’m still good on my helmet for a while. I know what I’m buying if I buy another one, you know, I’m pretty brand loyal and all that kind of stuff. But for those that haven’t thought about it, as we’re coming out of hibernation and looking to the track season and the schedules are starting to open up, now’s the time to not only check your helmet.

Check your shoes, check your gloves, check your Hans. If you have a Simpson, make sure all the straps are up to date. Like if you co-term all the dates of your stuff, [01:18:00] they’re all gonna be due at the same time. And that goes for your belts in your car. If you’re using harnesses as well as your seats, you gotta check the organizations to make sure the seats are still valid too.

How the seats expire, I don’t know, has to do with the fire safety rating. Go back to our PMX episode with John Koffi. He kind of actually explains how all that works and the dates and and why and whatnot. But that’s pretty far back in the catalog. But yeah, there is rhyme and reason to this whole thing, Brad.

Yeah.

Crew Chief Brad: And if you’re not quite ready to hit the track, don’t forget that you can find tons of upcoming local shows and events at the ultimate reference for car enthusiasts, collector car guide.net.

Executive Producer Tania: As we close out this season finale, we want to say thank you and that we appreciate everyone hanging in with us for six seasons, over 600 episodes, but we’re not closing up shop anytime soon.

And we want to remind you that Season seven kicks off in March with our International Women’s Month celebrations and more awesome stories to come. So be sure to jump back into our podcast catalog and check out other programs we offer, like the Ferrari marketplace, the [01:19:00] motoring historian evening with a legend, the racers round table, formula, fanatics, break fix, and of course the drive through.

Crew Chief Brad: And if you enjoy our various podcasts, there’s a great way for you to support our creators on the MPN. There’s tons of extras and bonuses to explore on our updated Patreon page. Learn more about our bonus and behind the scenes content. Get early access to upcoming episodes and consider becoming a break Fix VIP when you visit patreon.com/gt motorsports.

As always, thank you to our co-host and executive producer Tanya, and to all the fans, friends and family who support Grant touring Motorsports, as well as the Motoring Podcast network. Without you, none of this would be possible.

Crew Chief Eric: Remember, Brad, failing to prepare is just preparing to fail. Okay?

Crew Chief Brad: I have to go to the videotape. Let’s see, 2026. Let’s

Executive Producer Tania: pull up the replay.

Crew Chief Eric: Are you muting the [01:20:00] Olympics? Yeah, man. What are you watching?

Executive Producer Tania: I don’t know, because I gotta turn it on. I don’t know what’s on

Crew Chief Eric: Earlier. It was the big hill ski jump. Well, actually it was the Nordic combined, but they were only showing the ski jump part.

That’s good stuff.

Executive Producer Tania: Oh, well obviously I could just turn the volume all the way down the old fashioned meat way.

Crew Chief Eric: It’s the first time she’s said to go get a snack

Crew Chief Brad: that we’ve seen and consider becoming, shoot. I actually don’t see the outside pictures.

Executive Producer Tania: I had to go to a car and driver article.

Crew Chief Brad: I’ll just Google it.

I don’t know why it went to Yahoo though. Yahoo. Fucking Yahoo. Yeah, no.[01:21:00]

Executive Producer Tania: The drive through is our monthly news episode and is sponsored in part by organizations like Collector Car guide.net Project, motoring Garage Style Magazine, the Exotic Car Marketplace, and many others. If you’re interested in becoming a sponsor of the Drive-Through, look no further than www.motoringpodcast.net.

Click about and then advertising. Thank you again to everyone that supports the Motoring Podcast Network, grand Touring Motorsports, our podcast Break Fix in all the other services we provide.

Highlights

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

  • 00:00:00 Drive-Through News #65 Kickoff
  • 00:01:27 Olympics Banter: Speed Skating, Biathlon & Curling Controversy
  • 00:02:47 Super Bowl Ads: Were There Any Car Commercials?
  • 00:11:57 Best Super Bowl Car Ads of the Last 20 Years (Top 5 Countdown)
  • 00:14:36 Stellantis’ $26B EV Struggle: Charger EV, 4xe Hybrids & What Went Wrong
  • 00:18:01 EPA Rule Swings: Stop-Start, Emissions, and the Return of Big Engines?
  • 00:20:04 Aftermarket Shock: StopTech Stops Making Brakes (and what’s next)
  • 00:22:35 Cars on the Chopping Block: Honda Prelude Hate & Tesla S/X Discontinued
  • 00:24:50 The Grand Tour ‘Returns’: Throttle House Rumors & Why You Can’t Replace the Trio
  • 00:30:19 Legends Lost: Ed Iskenderian Tribute & Robert Duvall Remembered
  • 00:32:35 Porsche ‘Not Dead Yet’: EV Cayman/Boxster and the Toyota MR2 Clickbait
  • 00:38:11 Thank God It’s Dead: Audi’s ‘Pickup Truck’ Concept
  • 00:40:50 Audi’s ‘Concept C’ Design Language: The Ugly EV That Won’t Die
  • 00:42:05 BMW’s Electric M3 Rumors + The Infamous ‘Special Screw’ Repair Nightmare
  • 00:44:47 Season Wrap & Pop Culture Detour!
  • 00:51:04 Ferrari’s First EV ‘Luce’: Toy-Like Interior, Not-Quite-Ferrari Looks
  • 00:54:52 Are You Faster Than an Interceptor?
  • 01:01:49 Behind the Pit Wall: IndyCar in DC, Daytona 500, and a Boring Rolex 24
  • 01:05:54 Sim Racing Update (Assetto Corsa Evo 0.5)
  • 01:12:00 Bathurst Crash, WRC America Rumors, and the GTM Trackside Lemons Project Update
  • 01:14:52 Safety Gear PSA & Season Finale Thanks, Patreon, and Sponsor Shoutouts

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