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Lamborghini: The Man behind the Legend

Set against the backdrop of post-war Italy, Lamborghini: The Man behind the Legend mirrors the complex transformation of Ferrucio Lamborghini’s homeland. From his modest beginnings building tractors to the infamous rivalry he shared with Enzo Ferrari, his unparalleled genius made him a true icon in the automobile industry. However, his passions also ignited emotional turmoil in his personal life, which was full of both romance and tragedy. Told through a tightly constructed narrative style and imaginative visual design, this film is the true story of the man behind the machine.

“You drive a Ferrari when you want to be someone, you drive a Lamborghini when you ARE someone!

With that let’s welcome back Steve & Izzy from EILFM, as well as executive producer of the Drive Thru Tania, and Mountain Man Dan to Break/Fix

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Notes

  • The life story of Ferruccio Lamborghini, the founder of Lamborghini. Starring Frank Grillo, Mira Sorvino and Gabriel Byrne.

and much, much more!

Transcript

[00:00:00] Hello and welcome to the Gran Touring Motor Sports Podcast Break Fix, where we’re always fixing the break into something motor sports.

All right, you guys ready for this? We’re gonna do it again. Set against the backdrop of post-war Italy, Lamborghini. The manned behind the legend mirrors the complex transformation of Faro Lamborghini’s homeland From his modest beginnings, building tractors to the infamous rivalry he shared with Enzo Ferrari, his unparalleled genius made him a true icon in the automobile industry.

However, his passions also ignited emotional turmoil in his personal life, which was full of both romance and tragedy. Told to a tightly constructed narrative style and imaginative visual design. This film is the true story of the man behind the machine. And with that, let’s welcome back Steve from everything I learned from movies as well as our executive producer of the Drive-through [00:01:00] Tanya and Mountain, man, Dan, for this, what is going to be a beautiful crossover review of Lamborghini, the man behind the legend.

Yeah.

Yes. I am Steve. From everything I learned from movies. Hey everybody. Izzy couldn’t make it due to a last minute scheduling conflict, but she did send a message. Oh, she would like me to read. For everybody it says, This was a movie, and then it goes into caps. How dare they make Lamborghini boring? Fuck that noise.

Go watch Ford v Ferrari instead. End quote. Well, that about sums it up. So that’s our shortest episode ever. . Thank you everybody for listening. Enjoy the rest of your day. . Try the veal. We’re here all week. . Where do we even start with this dumpster fire? We needed Brad here so you could sing lowered expectations.

little weird expectations. No problem. Steve could do it. Yeah, see, I got this. Yeah, . Well, all right, [00:02:00] so you guys mentioned this movie. I didn’t even know this thing existed until you had mentioned it. It says it was released in November. Where I don’t remember seeing anything about it. Was it even released in theaters?

Straight to Amazon Prime, I think. Yeah, Amazon Prime. And then Voodoo picked it up and that’s the only two places you could find this thing. At the moment, that’s more than enough. I did a little research into this movie because you know, not hearing about it, it’s like, okay, maybe it’s like a visionary director from writer director Bobby Maresco.

And you guys know who that is? I do not. Who is that? I’ll give you a hint. He wrote a couple episodes of that Lance Hendrickson TV show, millennium back in the day. That was awesome. Oh really? And then he wrote Academy Award-winning movie crash. This is an Academy Award-winning writer and director. Of Crash

And then also did like the TV series Crash spinoff, some movie called 10th and Wolf that apparently was pretty good. Created a couple TV shows that lasted a season called The Black Donnelly’s at a hundred Code. So what you’re [00:03:00] saying is he made crash and then that’s basically . You get that award, you know, you, you can keep it forever.

Right. Nick Cage . Okay. He also did a Colin Quinn comedy special in 2019. In 2018, there was a Carl Urban movie called Bent that also had Sophia Vergara and Andy Garcia in it. Never heard of it. And this Wow. Wow. Yeah, I, I mean he might have been better off just going to Nicholas Cage’s house and talking to him about his Lamborghini.

If Nicholas Cage played Enzo Ferrari in this movie instead of Gabriel Byrne and his goddamn Scottish accent. Thank you. I’m so proud of this beautiful car. It’s like a dream. What are you doing? He stands like he owns the world. See my caval with my name on my own car. It’s beautiful. He does. Thank you. Of all the people on the planet to play.

Enzo, it would’ve been horrible, but we could have at least gotten like, I don’t know, Al Pacino [00:04:00] or Marlon Brando, I don’t know. No, he’s dead. The other one, the old man is in everything. Yeah. Dan Niro. Yes. Dan Niro or some . It’s like the other guy in the Godfather, like there was like more than three. I know everybody who could possibly be adjacent Italian was in Godfather.

They could have used a regular Italian, they could have also recast the guy from Ford versus Ferrari who looked like Enzo, Gabriel Byrne and Robert Carlisle looked more similar than he does to Enzo. It’s like it’s so bizarre, and he didn’t even try to put on an affect or an accent or anything. I mean, the acting was just so subpar, ladies and gentle.

There are more Academy Award winners in this movie. Oh, because Mira Sono shows up as the second wife for the second half of the movie, , when they decide to just change actors halfway through . Has she done anything in the last 20 years since Romeo Michelle’s high school reunion? I’m sure she has. I mean, it’s probably stuff I haven’t watched, and of course, Frank Grill.

obviously he is [00:05:00] gonna play Ferucci Lamborghini, you know, the guy from all the action movies. The only similarity he has to Ferucci Lamborghini is the Pompadour hairdo that they gave him, because any mobster lounge singer from Las Vegas in the seventies could have easily played the part of Frucci Lamborghini in this movie.

Yeah, this movie starts with Questionable, but hey, you never know. It could turn out to be a really good movie. I mean, as ridiculous as the accents were on House of Gucci, allegedly. It’s a good movie, . I haven’t seen it, but you know, lady Gaga and Adam Driver and stuff, doing a ba, babo, baba Boo, little Jared Ledos in there.

Apparently at least Lady Gaga has some Italian heritage, so I’ll give her that. Oh, okay. Well that was it for that movie at least. Frank Grillo. and I guess Mayor Serino, technically , uh, well, I mean, yeah, at some point . Yeah. I, I, I do like that they weren’t going like full Mario and Luigi with the accents. . I mean, obviously Gabriel Byrne just [00:06:00] did whatever, but they weren’t even trying, because I think those younger actors were actually maybe like Italians.

I’m like, you have the worst accents looking at the cast. Everybody else in this movie is like Italian. Like their names are like . They all end in vowels. Yeah. Enzo Scott Ucci or, you know, it’s, it’s like a, a goddamn menu looking at the cast. Right. , would you like your spaghetti with meatballs or without, you know, good Lord you guys be wondering.

How much do I have to pay to watch this if I wanna watch it tonight? It was six bucks on Amazon. It wasn’t a lot on Voodoo either. So it’s not like we’re breaking the bank to watch this. Yeah, to your point, it was captivating. It’s like there’s plenty of movies about Ferrari, there’s plenty of stuff about Porsche and, and other races and whatnot, but when you see Lamborghini, it’s like, oh my God, we got, we got show.

Check this out. Like sexy. Sexy. Yeah, exactly. Right. And you’re like, so I gotta give it some credit despite the weird race, which we’ll talk about as we go. The opening scene, the flashback to Chano, Italy, [00:07:00] you know, which is a suburb outside of Denon, things like that. I was like, cool, this is gonna be a neat little, like we’re gonna start at the beginning and we’re gonna work through this and, and so on.

It fell apart like almost right away. , you mentioned the race, like we start off and we see a agent, Frank Gorilla with the chalk in his hair and Gabriel Byrne. They’re like in their respective Lamborghinis and Ferrari at a random red light. Start that race. We’re gonna cut back to this just randomly for like 10 seconds throughout the movie.

Like anytime it’s like scene change. We’re gonna get a couple seconds of that and maybe even the same one from the last scene. Change . Oh, you noticed that too? Yeah, . But wait, do we address the elephant in the movie now or do we We wait. No, we wait, we wait. Okay. Yes. There’s a lot of continuity problems with this movie.

You have to be more specific for me. But yeah, , there’s a thing that happens in that scene that like you should just end watching the [00:08:00] movie. All right. So I have to ask, cuz I am not in any way knowledgeable of the history of Lamborghini. So how much of this was. From someone who has no knowledge. It wasn’t hateful for the, what it was, I guess, presenting as a biopic, but I was like, I don’t know how much it, why do you wanna wait, Eric, to not cover this?

I mean, this just sets the tone for the whole movie. Just go, go for it. Tony, Eric, I don’t know, but can I guess at how much of it is true? Sure. Go ahead, Steve. I was surprised that Fario Lamborghini didn’t direct this movie . I assume maybe it was his son, like actually wrote it and like, no, no. I mean an Academy Award winner guy at to help out, blah, blah, blah.

Because it’s a weird tone though, because. This is what happens when writers stop writing and they use chat g p t to develop a screenplay from No, no, no, no, no, no, no, no, no, no. Chat. G P T would’ve gotten this, right? Because when chat G p T goes in, what year [00:09:00] did Enzo Ferrari die? It would’ve found the answer to be 1988, making it impossible for Enzo Ferrari to be racing Lamborghini in 19 effing 92.

Oh my God. Really? Yes. The ghost of Enzo was in that Ferrari, apparently. , oh my God. Fario Lamborghini died in 1993, a year after the supposed drag race occurred between him and Enzo. Well, that makes sense because spoiler alert, at the end of this movie, apparently that was all a fucking dream, I assume, a Jacob’s ladder situation.

He just imagined it on death’s door. He also was 95 when he died, so he was like, damn good looking 90. Four year old in that scene. Yeah. Yeah. That was a sexy 90 year old right there. Wait, wait, wait, wait. Ferrari was 95? No, no. Ferrari was dead for four years. Oh, yeah. Oh yeah, yeah, yeah. Well, okay. Wait, so he was 45 during World War II when he came back for World [00:10:00] War ii.

Enzo Ferrari, most people don’t realize, was born in the 18 hundreds. Oh, okay. Okay. But wow. Wow. Fario was in his eighties when he died. Yeah. There you go. Yeah. Still, what brings that full circle to Dan’s point about how accurate this is, if you did what Tonya and I did, which was painstakingly sit through the credits, there’s actually a blurb at the end of the movie that basically says, All of this is fake.

All of this is made up. All characters are fictitious and are not based in any reality, blah, pretty much because it’s not officially licensed, sponsored by Ferrari or Lamborghini. And I mean, it’s got this big disclaimer at the end, but how can they use the fucking logo? Okay. All right. All right. I don’t know.

All right, so chapter one, dreams, , world War ii, I guess just wrapped up. We’re in Shinto, Italy, some, I don’t know, 18 year old kid hops off the bus returning home to his palatial vineyard . But apparently he was in his mid forties [00:11:00] when this happened. And Italy at that time would’ve been just decimated. Oh yeah.

Post World War ii, especially right at the brink. It was famine. I mean, our grandparents as an example. They left Italy because there was nothing and they were in the bread basket of Italy where all this took place. Now obviously Enzo started his company, you know, Ferrari in 1947. So they were making progress, rebuilding was happening, reconstruction was happening, but it was not this beautiful vineyard in Napa Valley that they showed in the movie and let’s fact.

Correct. So we’re not as bad as the movie cuz I was misspeaking confusing. Enzo, Lamborghini, Ferucci, Ferrari. So he was, Lamborghini was 77 when he died, so he was 29 at the end of World War ii. Okay. Late twenties. All right, I’ll buy it. But the kid in this movie looks like he’s 18. Oh yeah. He’s probably like 21, 22 or something.

But hundred percent it, it’s totally like fresh-faced like, uh, I’m going to propose to my feta girlfriend. [00:12:00] It’s going to be a great . Now it is not quite that out of an accent, but , we were trying to figure that out as well. Was she German? The actress was, yeah. Okay. Yeah. Cuz the accent was very wrong. It was all, yeah, very access powers.

I mean they had to make her stand out. I mean whatever. Different parts of Italy, you can make arguments. There are blondes in Italy, but a lot of them are burn. She been on the run there in the, the mid forties though. Like just hiding out there in Italy. Yeah. So yes, he comes home to open arms. Yeah.

Including his father’s who owns this palatial vineyard. And the family is doing quite well for what should be a war ravaged Italy, . But he’s trying to find his purpose and basically like, Hey, I’m gonna build some tractors. All right, cool. Half the price and twice the power. It’s, I can engineer it. I, I did it in the war.

Okay, cool. Cool. So that’s where the first inconsistency starts with me. I could be corrected by our listeners, but the way [00:13:00] I understood the story, the beginnings of Lamborghini and why he wanted to build the tractor was because he had gone. Tora, who was already building tractors and he wouldn’t sell Faro a tractor.

So he said, screw it, I’ll build my own. Did Fario not have money? ? That part of the story, I don’t know. But what I understand about the rivalry between Ferrari and Lamborghini is it started much earlier and a lot of people are like, wait, Ferrari built tractors? Well, like, got news for you. Yeah, we did an episode on this.

Porsche built tractors too, because back in those days, post World War ii, the only companies under all these rules, especially with American occupation, was that engineering companies or auto manufacturers were the only ones that could build that type of equipment. Yeah, makes sense. Here we go again.

Right. So there’s already this inconsistency here with the racing stuff and, and the tractors and whatnot. I’m like, whatever. How’s he gonna finance starting this tractor company? Uh, first I got the winner this first race, but it’s not gonna be me. It’s gonna be my friend Mateo, and you know, I’m just gonna help him build a car and it’s gonna [00:14:00] be great, but we don’t have a car.

I know I’m gonna build it, but what was the whole thing? Like how, how are you gonna pay for it? I was like, . You know, a man who has no debt, has no reason to work. Yeah. I was like, what? I was like, that’s an interesting idea. Okay. All right. All right. I get it. You know, it’s funny cuz I’m fact checking some of this, oh, no.

In that BS racing scene where then like, he’s like ripping the steering wheel out of the other guy’s hand and like crap. I’m like, how? What the damn my God, nevermind. Apparently that never happened. But what he did do is built that car and then entered it into the Mil Amelia race, 1940. Ah, that’s not what that race was.

No, not at all. That was like a race around the church in the Yeah, yeah, yeah, yeah. This was like the church cookout. Oh, by the way, we’re gonna have the kids race go-karts kind of a setup , because up until that point I was like, all right, it’s suspension of disbelief. We’re gonna take some artistic license.

I turned to Tanya immediately when I saw the Porsche and the Benz, and I said, those cars are wrong. And she’s like, what do you mean? And I said that 3 [00:15:00] 56 is like a 3 56 B from like the late fifties or early sixties that Mercedes. The 300 SL convertible they were using, that car didn’t even come out until 1952 and it didn’t look like that.

So I was like, this is all freaking wrong, . And that’s where it just again, started to completely fall apart. This movie had such potential , you see what I mean about the W 1 94 big grill and logo and that. No bumpers, no nothing. Yeah. I don’t remember what it looked like in the movie, but I’m pretty sure it doesn’t look like a W 1 94.

No, it doesn’t. Mercedes. No, but I’d have to watch it again. But that would mean I’d have to watch the movie again. Nope, I’m not gonna do that. No, no, no. Don’t do that. No. Nope. Not worth it. , after they lose that race, because he just yanks the fucking wheel for some reason. I don’t even know why. He is like, you’re gonna miss the turn.

He’s like, no, I’m not. I’m fucking driving. Like, oh, no, dude, miss it. Ah, they go off the road, whatever. One more thing about that. It’s a lot like trading paint. Did [00:16:00] they go over 20 miles an hour at any point? No. ? Not at all. They did do a little bit of fast and furious shifting constantly though. Oh yeah. Yeah.

They didn’t have like the 12 gear engines, like a semi-truck or anything. . Although it was so terrible. I don’t know what was worse, the modern race or that race, but we’ll go back to the modern race many times over. Oh, we will. Ferrari’s like a, they’re at race day to like announce. We want to congratulate everybody, but it’s like he full fucking Scottish, like it’s like, alright boy.

Oh, we’ve got the fun race day ahead of you. . Awesome. So bad. Top of the morning, . Yeah. So then, uh, I don’t know, it’s 1946. You just said something important, Steve, 1946 Uhhuh. . But I was confused about the year and I wrote it down several times and I have some notes actually. Is it 46? Is it 47 or 48? Yes. And the reason I ask is they say Enzo’s about to start his company, da, da da da da.

That happened in [00:17:00] 47. He was still with mm-hmm. , with Alpha Romeo and all that stuff up until that point. But then if you looked at the newspaper in the background, it said 1948. So which is it? There was like this whole inconsistency and the New Year’s was like going into 1946, I think somebody said. So it’s like, was the race really that long?

is that how long it took to do like 250 miles is like 18 months. Shouldn’t have no by, no, it just made no sense at all. So here we are, to your point. New Year’s were with the girlfriend. I, at first I thought they were singing karaoke or something cause they were just up there like with the band singing and blah, blah, blah.

And I’m like, wait, was Lamborghini also like part of a musical troupe, like singing uh, big band songs or something? It’s like, oh no, it’s just a New Year’s thing and blah, blah, blah. I, I turned to Tanya and I said, where’s the accordion that was missing? It’s northern Italy. There’s gotta be a squeeze box in this band.

I mean, it’s, it’s not right. And the girlfriend’s German, she has to have one. Doesn’t seem period appropriate not to have it. Exactly. But yeah, we get the whole like, oh, [00:18:00] I, I love you forever. Me and my, my single friend Mateo, we’re, we’re like a, a, a throuple we’re, it would be nothing but happy days forever and ever.

And I’m. All right. One of them’s dying soon and the other one’s just gonna leave. I don’t, not sure which is which. Cause I don’t know the story, but I know this story , I’m not trying to be like whatever, but I think he was in a relationship with his nose cuz they cast the guy with the biggest schnoz they could find that sort of looked and sounded Italian to play this Matt Mate.

Guy. Did you notice he turned and I was like, holy crap, it’s Adrian Brody. Like, it’s like, yeah. . Yeah. The Mateo friend. I, I, I actually like had to look it up like, is that Adrian Brody? I mean, it looks too young, but Yeah. . Oh yeah. So then we cut forward to sometime and uh, the girlfriend’s like walking in with breakfast and I’m like, wait, it’s nine.

Breakfast for like late dinner kind of a thing. I, I don’t know, it was a weird, but somewhere in that breakfast, they got married. Right. , because it’s suddenly, apparently they lost the race. And it’s like, oh [00:19:00] cool, you lost a race. Whatever. You have to get money some other way. I don’t know. Believe in your dreams.

And then he is like, well I had this idea about a rowing machine, the, you know, so people can work out and stuff. And I’m like, is this a thing? Nordic track by Lamborghini. Yeah. Sudden he pulls out, oh God. What were those things? Chuck Norris and Christie Brinkley sold in the eighties. Both Flex. Both Flex.

That’s it. Yeah. What about your knowing machine idea? That was a good one. Nobody needs to lose weight. All the will during the war, I might need one. Need enough, I dunno. Eight, nine a month. I said I might need a weight loss machine in about nine. You, I will think again. She’s having a baby fool. . . Yeah. So then he goes to, uh, the Banca de Santo, and he’s standing outside the bank looking at it.

I just see like in his head, like he’s looking at like, this looks like a bank. Like that’s the only thing I can assume. He’s contemplating with that expression on his face looking at the bank. [00:20:00] He’s like, huh, ain’t that weird. There’s a bank. Like next to the church, next to where you’re building a tractor, right?

I mean, come on. Yeah. I mean, it is Italy, so everything would be next to each other. What do you need a car for when you could walk? That’s how it works, right? They deny him. So then he goes to talk to his dad. His dad who has this palatial vineyard, that is, I guess, been in the family since the eighth century or something.

I don’t know what, but he’s like, dad, I need money. And then the dad leaves and comes back with one of those like Danish cookie tins, right? that I expect him to open and have like a bunch of spools of yarn and shit or something there. . A little bit of thread, like I noticed your, uh, suit was a little shabby.

I thought I’d pitch that up for you. No. Right. But said it’s a bunch of cash and, and I love how, uh, Brucio’s response is just like, it’s not enough, dad. It’s not. . So he mortgages his family’s farm for I guess enough money to make one tractor. And I’m like, okay. So he is a selfish dick . I mean it’s a huge risk for sure.

[00:21:00] That’s what his wife thought. The wife is the voice of reason. She’s like, that’s very selfish. You need to take this money back now and give it to your father. And he is like, I don’t think it works that way. And I’m like, you know, he’s got a point there too. I don’t think that’s how it works. You just go back to the bank, handed back and like, look on second thought, nevermind guys.

On top of the fact of that, like during that time, I can’t imagine how stressful making payments post-war would’ve been. Yeah. A fresh mortgage. It’s like the timing of that is like complete insanity when I. Like what are they thanking? Not only that, what money was there to borrow? Italy was bankrupt. I don’t get it.

Oh, you could get wheelbarrows of that stuff. It just didn’t mean anything. Of course, , it mean it looked like the vibe of the town and like when you went to the bank and everything, it was as if there had been no war that devastated in an entire country and countries. I will say they did paint the picture that it was like the Dolce Vita times, like the early sixties where they had reconstructed and life was turning around and things were good, and Northern Italy was doing what it does [00:22:00] to keep things going, especially for food and for industry and all that.

but war torn Italy. Barely a year, let’s say. After the war was over, everybody was destitute. Here’s another part of the movie that I was waiting to come in at this point too, cuz it’s the family farm. We know he has brothers that work on the farm and like all these other people, the farm has been mortgaged.

The brothers and sisters and everything have nothing to say on the subject. Nope. They’re not even in the movie other than like, nope, in the background plucking grapes and shit. So, well they ran outta money for that part of the cast. They had to dismiss all them. So for me, like when we started building the tractor, I’m curious how he could market something that was just other companies parce.

He hodgepodged together to create it. This is Italy. Well, I don’t know why you’re asking that question. . Yeah. I mean, come on man. Seriously, how dare you talk about eBay that way? Kidding. , they went to a a salvage yard and got. A truck chassis and cut it down. I think they did bend some tins for like the hood and stuff.

Now when we do get to the part where he [00:23:00] is building the tractor and he suddenly he can afford a garage in the middle of town across from the church that they raced around and all that, that mockup that they built in there, if you look up the history of Lamborghini tractors does look like the original Lamborghini tractor.

So whether or not the final product in the movie was one from a museum or something like that, neither here nor there, I didn’t even bother to look that at least they got right. It wasn’t like, oh, we got a John Deere and sprayed it orange, which I took issue with the spray guns that they were using and the air compressors and like, oh, whatever.

Anyway, , no, but apparently fact checking. So he was getting parts. However, he was getting them from some sort of government military entity, and so he was buying like old military stuff and that’s how he was making the tractors. And then the. Engines all came from Morris trucks and in whatever that fuel thing is, like he actually like invented that himself.

Yeah, I was, I was intrigued by the dual fuel, like starting it off one, especially cuz I know some of the [00:24:00] old farm malls around like that. I wasn’t sure how true that was, but it was definitely an interesting thing that they threw in there. You know what I did appreciate is that he used copper and that’s a family tradition.

So now I see that it’s an Italian thing. It comes from Lamborghini, the use of copper in a vehicle, tractor, whatever. I mean I was down on that. That was good. A hundred percent full sin with the copper. Yeah. Always, always. So Steve, keep us going. Where are we at now in this, this tragedy, romance comedy that we’re reviewing?

Wait, now listen to this to just muddle the timeline even more if this is true, and I quote, Lamborghini was taken prisoner when the island fell. He was on whatever island of roads territory in Kingdom of Italy back then. When the island fell to the British at the end of the war in 1945 and was not able to return home until the next year, just in time for New Year’s Eve.

So he wasn’t even home till what? 1946. Hopped in a race car and built a tractor. Boom. All in one day. Yeah. Yeah. It was a [00:25:00] very busy 18 months once he got back, had a kid, didn’t see a wedding, new German wife, but then his wife died in 1947, so, oh shit. . Oh my God. What a mess. Oh shit. You know what the tractor was?

Fucking time machine. That’s why it’s so muddled. They got all mixed around and so it like doesn’t make sense really. But it’s like these are the events as they happened, but then you like would forward back to the future. It was all part of a Ponzi scheme. I’m sure it’s whatever. He was breathing in on that orange paint.

Whoever the writers were, all they had to do was read Wikipedia to have gotten it like 80% Correct. . And the whole thing about this movie is like, you know, the Ford v. Ferrari came out a couple years ago. Great flick told a decent story. Yeah, they took some liberties with this and that, whatever. But this was supposed to be like, yeah, Lamborghini v Ferrari.

That’s not really the movie. Nope. It’s more how did Lamborghini be a dick his entire life but become rich and then according to the story, made it all good in the end in a way or [00:26:00] didn’t. Who knows who. Like Ferrari is a ridiculous side note in this movie. Basically they could have left Enzo out and it would’ve made a bit of difference at the end.

Well, with the fact that all of the facts and like details are so wrong on this, I didn’t go to look to see if there were any reviews on this movie, but I’m curious if the only review would on saying it’s wrong. I’ve got a few, I’ve got critic reviews to uh, share with everybody too. It’s gonna be great.

Oh yeah, yeah. As we get to the end and wrap this up, but you’ve now talked about the death of his wife. We’re going there. So let’s talk about the delivery of his son. Oh God. The most realistic and gory part of the film. I would’ve thought this part was a part of a Bruce Campbell Sam Ramey film. It was. I didn’t understand why we needed to see like the red death, like what is this?

Oh, it’s pretty bad. And you knew something like that was going to happen as he was like, you know, our baby’s being born tomorrow, so you can’t stay working late and be like, oh, don’t worry, I won’t guess what I would do, [00:27:00] take the day off. My baby is being born. What’s gonna happen in this tractor in six hours?

Nothing. He had to wait to get the emblem placed. Yeah, no, for the fucking emblem. Guess what? It’ll be there the next morning too. So that was another thing to baffle me about it because back during that period, it wasn’t common for the fathers to be allowed in like the birthing areas and stuff. So unless Italy was different, cause I know in the US it wasn’t a common thing until probably late sixties, early seventies, where the men.

Welcome to come into the delivery room and stop. Okay. I’ll give you that. But still, just knowing he’s there, like when she’s screaming Ferruccio from the dungeon or whatever, that she’s bleeding to death in, you at least hear back. I don’t even remember what his wife’s name is. Oh, Matilda. Uh, it’s okay.

It’s okay. The doctor saw that for you and then they squirt more blood out onto the table. Oh, so nasty. Yeah, so like, okay, she died. That’s fine. It should be covered. However, that scene was so out of place with the rest of the movie Uhhuh . [00:28:00] I was like, why did you have to pick her dying in childbirth as if we were watching Saul?

I was waiting for Grisham in the rest of the cast of C SSI to come out at the same time, like . I don’t understand. It was so vivid. It. Oh my God. It was like those sex ed health class birthing videos. I mean, it was just so dramatic. . Yeah. All this is immediately after there’s a scene where he’s hanging out with his buddy Mateo, like at a cafe, and there’s the bus that comes through town every day and there’s this hot brunette check that gets off and Mateo’s like, oh, she’s so beautiful.

I’m already in love. You’re like, Paul, why don’t you just go talk to her? It’s like, I can’t just talk to a woman. I’m like, this guy isn’t fucking Italian. No . Yeah. I have never seen an Italian person that’s like, I can’t just talk to her. It’s more, I can’t possibly not talk to her, even if it makes her incredibly uncomfortable.

I’m gonna talk to her just louder. So, so they did the whole Cno de Berger act trope. Go say hello because you like her. Maybe she doesn’t like [00:29:00] me. You’ll never know if you don’t talk to her, you go over, you let your mouth, any. Hello. Anita, say hello to my friend Mattel. Hi. Hi. What he meant to say is, why don’t you sit down and join us?

Oh, I can’t. I will be late for school. What? What are you studying? Economics. Oh, and Mattel’s, the greatest race car driver that the world has ever known. He knows more about engines than anyone else. No, it was just so terrible. Like, oh, Farouk’s my wing man. Oh, it was, he’s a greatest driver at Olivia Italy.

No, I’m not. All right, well, why wing man? Duties are done here. You all have fun. And then she’s like, ah, I gotta get the class. Bye. . Oh, so bad. Jump back to the birthing scene for just a moment, right? Yeah, yeah. Okay. Yes, please. Let’s do, so after the birthing scene is all said and done with, should have put a screenshot of that as my backdrop,

No, no. He ends up back with the tractor and he’s like beating up the, the shop, right. Oh, [00:30:00] he’s fucking that place up. Just like right. I mean, it’s like he’s looking for, Secrets or something. I don’t know. He is turning tables over and then suddenly he’s like, I’m gonna beat the tractor. Where is the fume?

Yeah, exactly. And it’s like, like he’s gonna take it out on the tractor. What dawned on me in the middle of this, I turned in Tanya and I said, who’s taking care of the kid? Yeah, still in the hospital I guess, eh? Yeah. His parents cuz he lives at home. The servants back at the vineyard. I just, I didn’t not, but he was just born.

I’m like, shouldn’t you be there? No, you left and went back to the tractor. No, no. He’s destroying everything around him and he is just about to plow that tractor and he is like, wait breaks. Nope. Can’t do that. This is my livelihood. I’ve already lost my wife. I’ve got a baby that I don’t even know what it is.

I didn’t even check if it’s an any or an Audi. I mortgaged my father’s farm. We’re gonna lose the farm. Meanwhile, six minutes later he sits down with Mateo’s girl that he can’t make a move on. He was like out having a smoke or something somewhere and she like came out to him. She was beautiful. She was everything.[00:31:00]

I’ll sit. I will let you, yes. What will happen and only take what you have to give me because I need. And someday you’ll hate me for it. No, don’t want Mateo. I want you Forio. And I’m like, why? Why? Because he is such a nice guy. Because he’s got the smell of placenta on him still. Probably. I don’t know what, but she’s like, no, you’re so amazing and blah, blah, blah.

I like how we should basically be like, look, I don’t give a fuck about you. Right. And I’m like, well, apparently that’s her type. So sure. , I was beside myself. I mean that’s even if that was real. Yeah. It’s ballsy. Why is it in this movie, if it’s trying to be like Lamborghini, this great visionary, blah, blah, blah.

Totally doesn’t give a fuck about anybody except for his dead wife. It may just be his excuse. Like, no, it was the one love and now after that, all these bitches don’t mean a thing to me. They made him out to be like the biggest tool on the planet. It’s like, yes, the entire movie, I don’t get it. But it makes sense for you at the end of like, oh yeah, [00:32:00] Lamborghini has nothing to do with this.

Then it’s like, oh, so they’re gonna get sued for the box office of, I’m assuming 12 grand, half of which is here with us. Yeah, right. God. So yeah, apparently they’re a thing now, but Mateo’s super jelly cuz he’s like, Hey, that was my girl basically how cold it was. Cuz at this point he’s like, doll’s eyes, like, he’s like, Sharkey.

Yeah. Just not giving a fuck about anything it seems And Mateo’s like, What’s the smart one? She said nothing could come up this and look what happened. I want 25% of the company. The rest is yours. All right. I’m just gonna leave town. Did he get 25% of the company? That doesn’t matter cuz I was like, what an idiot.

Who negotiates? That way it says, I only want 25%. Like seriously, to be fair. Wasn’t he basically just the driver or was he also an engineer and stuff too? He was also an engineer. They were both. Oh, okay. Okay. They both learned in the military, however true that is. Okay. Supposed to be equal partners in this and then he’s like, I [00:33:00] only want 25%.

Maybe he’s on an island Barbados or something relaxing the rest of the time. He’s on the island of Capri. He’s got a mansion with his mere 25% for not doing a damn thing and Right. I didn’t get it. That was so bizarre. I mean we, we had a good laugh about it cuz it’s like, who negotiates like that? Like you’re an idiot.

Well, and at that time, what would 25% of the company have been worth? Nothing. Zero. I mean, one.

A quarter of the steering wheel . So now we start chapter two, the golden years. Don’t worry guys, there’s only three chapters in this, in this novel. Jumps right to 1963. So we fast forward quite a bit, and now Frank Grillo’s back in the movie , he’s in his forties or fifties or whatever now looking like an Elvis impersonator at the same time.

Good Lord. Totally got the like. Robert Evans vibe from, uh, Frank Carrillo . And then the wife is also the brunette, but it’s now Mira Sino instead of like some 18 year old Italian chick. They’re having a fight cuz she’s like, you [00:34:00] need to spend more time with your son Tonino. And he is like, my what now, ma?

Who? Yeah. You got a goo. Yeah. You’re like 16 to 24 year old son. Depend on whatever year it really is. Oh, cool. Yeah. I’ll, I’ll take ’em out on the boat or whatever and blah, blah, blah. And they have a little chat. They never get on that boat because I assume there were very specific instructions. You, you guys do not take this out of the slip.

That’s Lamborghini’s boat or something. Or you know, somebody’s boat and they slapped a Lamborghini sticker on it. No, that like, the tractor I think was a legit bulk outta somebody’s collection or a museum or something. Yeah, yeah, yeah. There was no way they were putting that on the water. Yeah. That, that’s like from like Lake Arrowhead or something.

Like where they shot that probably gorgeous boat. Right. It looks like an old bond boat from the sixties or whatever. Beautiful, beautiful piece of, uh, but they’re like, don’t you even start this thing up? No. You, you do that shit in post or something. Special effects, you know, . So we’re in the factory now.

The Lamborghini tractor factory, right? Yeah, yeah, yeah. And did you pick up on the, Tanya did. Right away she’s like, oh God. And puts her, you know, [00:35:00] her head in her hands cuz they start using New York slang. We got all the, the fales and the funks and like . All this like, Baba Boo Brooklyn. You . It was like, wow, okay.

That’s what Italian is, right? Like I, I’ve seen a Scorsese movie. I know what’s up. Hua Gaba too. Dignify this Gomi. What gets me, and I don’t know if Dan picked up on this, Faro, Lamborghini drives Ferrari. And they talked about how he’s got one for every day of the week and yeah. Dan, did you notice the car was actually period appropriate?

It was the same Ferrari in a different color as the one from Ferris Bueller’s day off. I don’t know if if anybody caught that. So it’s a two 50 California, right? Yeah. Ow. Bow. That said he’s working on the car, right Dan? He’s looking clean. His all got out with his lab coat on and all this kind of thing.

What is he working on? Well, wasn’t it the clutch he was working on at that point? From what angle? Yeah, from the top of the car. . [00:36:00] Yeah. Yeah. Okay. I thought that was weird too. I’m like, well, maybe it’s, maybe I just don’t know my Italian sports cars and they got it all like backwards and upside down. But yeah, no, I don’t recall him wearing a lab coat.

I thought he was wearing, he had the long, he had that long coat or whatever the hell it was he was wearing. Yeah, his, his science coat . Either way he was way too clean to be working on a car. A thousand percent. . Didn’t he have the Kiwi driver friend that showed up like the scene before? Dude, help him out.

Bob Wallace. Yeah, we’re gonna get to that. We’re gonna get to that. But then again, again, this is the thing I took away from this movie is they had a lot of budget for some really good, authentic props. So we got the tractor, we got the boat, we got a two 50 California. None of these things are cheap. They might have all came from maybe the same collector or collection, but to me, I was like, all right, that’s cool.

You got that much. I mean you can rent this kind of stuff in Vegas, I’m sure, but you know, , it might have actually been a Dotson leftover from Corvette Summer, but you know, whatever. , . So yes, enter the Kiwi. Bob Wallace, uh, looking this up real quick, Eric, it was actually a replica car. Was it [00:37:00] really? Oh, okay.

It’s the internet movie card database that actually shows each of the cars in the scenes. Oh, nice. I’m pretty sure it’s the same one that they used when he was working on there, when he pulls up outside when they were testing one of the cars and saying, uh, Ferrari two 50, TESO 59 replica. All right, so we come to the final meeting, Lamborghini v Ferrari.

Fario is just hanging outside, I guess the Ferrari headquarters or whatever, and Enzo comes out with his, you know, bodyguard or driver. I don’t know what exactly, but it comes out and he is like, Lamborghini. I know who I am. Oh yes, you’re my tractors and air conditioning and evening, I’ve got a dinner appointments.

Forgive me, but do you? Clutch does not live up to you guys. I come as a friend, I’m sure you know this. I’m not the first appointed out. I have a solution. If you consider a partnership, Pari Lamborghini, you make the best cars in the. Go back to the tractor farmer. I’ve noticed something with your cars though.

The, the, the clutch, uh, it’s, it, uh, sucks the balls, you might say

It’s, [00:38:00] uh, we had, you know, to be fair, , there are different ways to go about this partnership than just kind like running up on somebody and being like, yo, yo, your car sucked, but I can help you. It was so skeezy. I mean, it was just like, wow, really? You might as well have been selling in vacuum cleaners and Encyclopedia Britannicas at the same time.

But , I didn’t even take issue with that. It was Enzo gets in a car Yeah. And drives away. Did anybody notice what Enzo drove away in? Wasn’t a Mercedes. Not a Ferrari ? No, no. It was a Rolls-Royce. Yeah. Yeah. Okay. Yeah. And I’m like, hold on a second. So I had to go back and I talked to some people that know and things like that.

And, you know, I did some fact checking of my own through the community and everybody says, That Ferrari drove himself to and from work every day, and he either drove a Fiat Dino or a Ferrari three 30, which he designed for himself as a daily driver. So where the hell did this roll rice come from? To be fair, the Ferrari in this [00:39:00] story is apparently an 80 year old Scottish man.

There’s a different parallel Ferrari that none of us have known about this whole time. This is the multi. Yeah, it’s a Star Trek time loop continuum thing. Next up, John Delane shows up as q and solves all the problems. This is the man in the behind legend , the little, little, little misquote from the title there.

Ah, . Okay. Oh yeah. He sees the bull fighting art or whatever and has a vision of like, no, and the logo must be the pool. And I’m sure had one made by, uh, artisan for like $5 million. I will say the Lamborghini logo itself is pretty cool. Like whoever designed it, the story behind that would be cool to like investigate and whatever.

It is iconic. There’s nothing else like it out there. It’s pretty wild. And it is true. All the Lamborghini are named either after bulls or bull fighters. So it’s kind of neat, you know, when you look at at least that part of the story, except for the very first Lamborghini, [00:40:00] which is just the number Yeah, the L three 50 GT or whatever.

Yeah, exactly. Uh, yeah. So we get the, uh, creation of this little montage where, uh, was it fall of 63? And he’s got all the people from Ferrari and Maserati and Alfa Romeo all coming together, working together, trying to brainstorm, all right, we gotta do this, but we gotta make the engine lighter. Well, what if we made it outta aluminum?

You can’t use aluminum. It melts too easy. Well, maybe we can put the things around, you know, they’re brainstorming. It’s like half the way and, and also like I was like, oh yeah, we’re gonna debut this at the Geneva Car Show. So that scene was actually pretty cool, which I don’t know if you noticed they did that kind of stop and they added the captions to point out the three engineers that had come from Alpha Rome, formerly Ferrari.

Ska Bi Zini and Delara, right? Those are three big names in the Italian automotive industry. Delara is still around. Obviously Bi Zini left and he went and created his own car, which is very similar to the second [00:41:00] car. The Lamborghini built all this kinda stuff. Obviously he had inside baseball on, on what they were developing and whatnot.

So I really liked that part. I like the fact that they included them and they acknowledged them. I know Tanya has a sweet spot for Delara, but I thought that was pretty cool that you had those three people kind of singled out in that particular scene. During the montage. They like mentioned the headlights flipping up and he is like, no, no, no, not this time.

Save it for the sequel. You know, like basically like save it for the second one. We gotta do this in six months for this Geneva show , which again, it’s like major time crunch for staking your very profitable tractor business on making a car. Just because Enzo Ferrari was like, yeah, go back to your tractor’s, farmer.

Yeah. And then we took it a, a bridge too far and we started talking about side mounting carburetors and all this stuff that completely lost anybody that wasn’t into cars. I mean, Dan, come on. I mean, even for us we’re like, seriously? Was it truly that detrimental to the storyline? It was like filler is what it was.

Yeah, a thousand percent. And I was curious about it. I was like, how much of [00:42:00] that legitly done on that cart? You know? Cause I’m not familiar. Italian cars and I was like, okay, is this something I actually did on that car? Was it something new? At that time? I didn’t know, but I know I was cringing in the back of my mind, thinking of like the Transformer movies where, what’s her name looks Megan Fox under the Hood and she’s like, oh yeah, your carburetor.

Something like that’s a fuel injected engine. There is no car rear. Yeah, a thousand percent . You ask my wife anything about Transformers, that’s the first thing she’ll bring up about any of ’em is like, oh God, that first one, Megan Fox looks under the hood and is so full of shit. She doesn’t even know what she’s looking at.

Exactly. And I’m like, oh yeah. Was she talking? Who knows? . Yeah, . I’m sure I’ll be run up on a pike for saying this, but classic car world. Everybody has their opinions. I personally do not like the three 50 gt. I think it’s ugly. I don’t like the headlights. I don’t like its shaped. I don’t think it’s a beautiful car at all.

You’d have to convince. Well, funny you don’t get to ride. . So what you’re saying is you needed the popup headlights for it to be cool. It’s so iconically [00:43:00] Lamborghini to have popup headlights. He’s got popup headlights on his Dotson. What are you talking about, ? I don’t know. For me, it’s not my cup of tea, and I’m not saying I’m biased towards something else, it’s just I look at the later Lamborghini and we’re gonna get to one of the most iconic Lamborghini.

But if you put this picture in front of anybody and took the emblem off of it and said, who do you think made this car? You wouldn’t say Lamborghini when you look at it. No, no, not at all. No, no. Not even close. Like I have a very specific Lamborghini in mind when I hear Lamborghini, and it’s the one that was on every teenager’s wall in the seventies, eighties, nineties, thousands.

Yeah. . The Kuta. That’s right. . It’s the one in all the rap videos that it ain’t that car. David Hassel Kung Fury. True survivor. Exactly. Yeah. It is the ultimate music video car I have said. It doesn’t matter what music you put to the Kuta, it works. Period. . Well, I’m going down the bridge and to see my sister.

Yeah, it works there too. I mean, come on. But the blue car in the Enzo versus Lamborghini [00:44:00] race is a Kuta. Yeah, and I’ll get into the Ferrari they used for this, cuz at first I thought it was one and it’s actually something else. But we’ll get into that later. Uh, so, so, so there’s family drama too, because we get a nice little scene where he’s, I guess, having dinner with his wife, Mira Sorvino, which was not the name of his second or third wife.

He had three wives. Apparently he had three wives. He had a second kid. Whoa. Whoa. What? Yes, he had a daughter, petitia. Oh, nobody cares about women. These writers. chat. G P T only goes to 2021. It doesn’t know these things. A lady Genie? No, no, no. Not in my story. A lady Guie. I like . But yeah, so they’re fighting.

Like a crab on the front of the ocean. I dunno who I married someone who could talk. Not only yet for that, I have bread and I have a lot, I don’t even know what they were fighting about other than like, oh, I need to spend more time and blah, blah, blah. But she’s just chucking, forgets him like over and over again, pelting him with it.

And I like how he just like grabs one [00:45:00] off the table. I was like, all right. No, no, no, no. It was like the reverse of that Seinfeld episode, right? I have bread for you, . Oh, and I fired the blonde. You’re fucking, ah, yeah. Right. And I’m like, oh my God. Uh. in the background. They have these shelves that have like, uh, you know, show they’re rich or whatever.

I swear to God, it’s those plastic shelves you get at Costco that you put in your garage just painted white. And they have his and her wine decanters. And I’m like, that’s how you know you’re living. There’s a little bit of drama with the one designer when you, he’s like, uh, talking about the flip up headlights.

It’s like, yeah, you’re design, it’s a, it’s a kind of shit. Uh, all I’m asking is for you to start over and do it again. That’s all. That’s all. You’re, you’re the best designer. Just start from the beginning and do it again. And then, yeah, the whole thing about the carburetor being too high and they, well, like tip it to the side and Bob wants to test drive it, but who gives a shit?

So now it’s like Christmas. We gotta get to Christmas because he has like, a reporter come and like interview him on Christmas Eve. And of course the wife’s like, why? What the hell are you doing [00:46:00] this? Blah, blah, blah. And it’s like, it’s so special. It’s that one thing you never forget. It’s like losing your virginity or you know, shit like that, like to a reporter.

And I’m like, they can’t put that on there. Well, it is Italy. I’m sure the reporter can take her top off if they really wanted to and be like, yep, there’s a rainstorm coming into Umbria region. You’ve seen the game shows. Then you, you, you got it all figured out. I watched the Senate documentary like with Shusha Juha.

Oh God. So, okay. That’s, in my opinion, the most memorable part of that whole thing is when he is on Shusha and uh, he is like, oh, is it you want for Christmas? And he is like, I have Buffet. I can’t tell you on the kids show. I’m like, whispers in her ear. You can basically see the flood watch below her, like just, oh yeah.

We were talking about how like there was some, like the family drama and stuff, and one thing that stuck out to me at one point was where he was with his son. and because his son was like failing classes or something, and oh, he like, he’s like, yeah, bought this for you because you fail. And then he made a comment [00:47:00] at the end of the conversation with his son, he’s like, yeah, if you keep doing this, I’ll get you something else.

And it’s like, why are you reward your child for doing bad? You know, that’s just setting ’em up for failure. He said, if you don’t improve your grades, I’ll get you a Ferrari. And I’m like, wait. So is the Ferrari the punishment? Because Lamborghini car isn’t a thing and it like, I thought it was like a dig of like, I’ll get you a piece of shit Ferrari or something.

Right? But it’s like, no wait, he’s still working on that first car. Like what All messed up ? Is this supposed to be later in the movie? Like, I don’t know, ? So are we at the concert at Christmas time? Are we there yet? Oh, okay. We’re, yeah, it’s uh, Valentine’s Day where it was the concert and I swear to God it was Yani up on stage, dude.

So Tanya had to look this up. Cause we were like, is this guy made up? Is he like some bur backer, act wannabe? It just sounded fake. It seemed fake. But to her credit, he is legitimate And he’s still alive at 84 years old. I believe you said 84 years ago. But yes. Tony Renis, was that his name? Yeah. Renis. Yeah, he is [00:48:00] still alive.

His real name is Ellio Chedi. But I don’t know why he would go by Tony Renis. Too many syllables. Honey Ren sounds weird. Rhymes with something else. But that said, did you notice as they panned around, they showed him more than once? Cuz we were laughing about this. Oh, there’s a dude, he looks like Fabio’s dad.

Yeah, that’s the guy. I think it’s Yani. like, cuz Yani like, looks like that when he is on tour and stuff like that. Like it’s full blown, like, I swear it’s a wig, but it’s like the Sam Elliot beard like kind of thing. I was like, it’s a good look. I was a guy like, why do we go back to him several times? . Yeah.

It’s, it’s like a three minute music video for the worst lip syncing I’ve ever seen in my fucking life with the like 20 year old kid that’s like, oh, supposed to be singing the song like it is rough. Yeah, I mean there, there’s so many pieces of this movie you could have deleted, you probably wouldn’t be left with the movie.

Yeah, it could have been like a seven minute short instead of a 95 minute movie or whatever. It would’ve been better as like a John Wu film like he [00:49:00] did back in the two thousands for b bmw. Like just show the racing, polish it up and move on. Lamborghini, he’s sitting there, we just see him at like a dinner table by himself and scribbling a on a napkin, like designing the car, some hot shit comes over and starts talking to him and he is like, oh look, I put eyelashes on the car.

So it’s beautiful, like you. And, and of course that’s when this wife and the son arrive at the restaurant and see he’s flashing a napkin at the lady. And of course the wife’s like, what was the kid’s name? Tonino? Yeah. Go Wait outside. Go wait outside. Go wait outside. I’m going to. Fucking kill your father, you know, that kind of thing.

The whole falling out and she’s like, I don’t hate you. I feel sad for you. And like, we are getting divorced. And he is like, well, what about Tenino? And I like, she’s like, well, what about Tenino? Right. Are you suggesting that you’re going to have the son you barely talk to away from the mother who has raised him?

Is that what you’re suggesting? Through Ucci? . And he’s kinda like, all right, good fucking point. . Yeah. Get that sack of potatoes outta here, right? I mean, it’s like, yeah, dude, what a dirt car. Get the weight off [00:50:00] my neck. Yeah, . Yeah, exactly. Exactly. So yeah, the car he’s sketching on the napkin is what becomes the Mura and one of the most iconic cars of all times.

It actually set the stage for supercars in general. It is like the original, it is the genesis of Supercars as we know them today. If you fact check Ferruccio, Lamborghini didn’t design the Mura. It was designed by those other three guys. Those three guys shot. But earlier I, I think that’s the theme of this movie.

He drew some shit on a napkin. Those guys designed cars. Yeah. But he’s Lamborghini. He’s the man behind the legend and the man behind the legend is just kind of a fucking prick. Right? That’s the point of this movie, right? Uh, that’s the what I took away from it. . I mean, it’s Elon Musk before Elon Musk kind of right?

Like Musk in design a of that. But guess what? He got fucking rich off it. He’s taken credit for it too, right? So, yeah. Yeah, he’s, he’s the financial backing. He’s the emblem. He’s the name. Unlike Ferrari and Porsche, [00:51:00] which most people do recognize today are both engineering firms, right? And they always have been.

Yeah. So it’s like a whole different, you know, style. I feel like it’s sizzle over stake in a lot of ways. Now, granted Lamborghini later, not Lamborghini, the man, the company developed a lot of really cool stuff. Some trend setting cars and always kind of breaking the mold. But at this point, he’s the new kid on the block.

Literally, Lamborghini is still one of the newest Italian car manufacturers, cuz everybody else had started in the early 19 hundreds. Fiat via alpha male. Ferrari was the new kid because he was post-war. And then you know, Lamborghini comes along. So yeah, that brings us to Geneva. 1963 ish. I’m not sure.

Yeah, 64 ish. Yeah, yeah, yeah. And yeah, so he is unveiling his new car. I mean, the mural was built in 1967. So again, we’re wrong in the timeline. Yeah. Where are we? Well, well say, but it’s not the mirror that was being released though, wasn’t it? It was the three 50 gt. Yes, correct. I was still on the napkins.

Sorry. [00:52:00] Yeah, either way. Fario Lamborghini is actually like the 14th time Lord from Dr. It doesn’t matter at all. Again. He’s like, I gotta go back and make things right. Oh shit. My wife still died. Picture it. Geneva, 1964, question mark. Sounds good. said Estelle Getti. He’s unveiling his car, but he says he’s gonna draw a little sketch and have a hot model check handed off to Enzo Ferrari right before.

Who wants to take this part? ? Describe this part. Dan should, I think it was a very agricultural description of the relationship between Ferrari and Lamborghini. Wouldn’t you say? Wasn’t it the bull like mounting the car? Yeah, a hundred percent. Yeah. The bull mounting the horse. Yeah, yeah, yeah. A horse. Yeah.

The Ferrari logo basically being raped by a bull SNL celebrity Jeopardy moment. This is what I expected between Sean Connery and Alex Trebek . That that was a serious suck at Trebek moment. That’s right. . And then, yeah, we cut back to 92. Whoa. [00:53:00] Whoa, whoa, whoa, whoa, whoa, whoa. Whoa. The best quote of the movie comes out at this point, right after he is given the card and all this kind.

Yeah, yeah, yeah, yeah. They unveil the three 50 gt and you know, they have the woman reporter there and she’s talking in, you know, Ferucci, what do you think? What, what do you say? And he goes To drive a Lamborghini to own a Lamborghini, you must not be shot. Mr. Lamborghini, I know there are many questions about what’s under the hood of this car, but my first question is, what is the price tag of the Lamborghini g?

What is the place of a beautiful woman, a great bottle of wine, a pasta, you remember the rest of your life. These things are worth whenever they ask you to pay. You buy a Ferrari when you wanna be someone. You buy a lamborgini when you are someone. And I was like, yeah. And then he drops the mic, uh, whips his dick out, waves that it ends a little bit.

It was a very hard R moment. This movie was rated R. Oh shit. It was, yeah. Yeah. Well, no shit. There was a blood scene of like whatever in the first 20 minutes. God. Okay. So a couple F words and I don’t [00:54:00] know, one scene from The Shining that Harley makes an R movie. BG 13, for sure. Yeah. That scene was no PG thirteens When the baby comes out of the elevator doors.

We’re back to 1992 for chapter three, Laine again. Remember 1992, Faro Lamborghini dies in 1993. Yeah, he’s on death store, right? He’s like 80 some years old. Fine, whatever. Enzo’s already dead. Keep that in mind. 1988, he died after the F 40 came out. What kills me about this is the two cars that they. In the race.

So he’s got a Kuta, the blue car and the red Ferrari, which at first I was like, oh, because certain angles and I mistook the hood. I thought it was a 3 0 8 GT four, which is the predecessor to the car they actually used in the movie, which is one of the ugliest, worst Ferrari like of all time, in my opinion, which is the Manal coop.

It is a pathetic 2.9 liter, barely makes [00:55:00] over 200 horsepower v8. And then you have this 12 cylinder kuta. Again, we have a dead man in one car, , number one that’s on death’s door, ghost race. Well, I just have to say the whole time continuum through it from the first time you see Enzo at the race in the little town to this point when he.

Car. He never, he didn’t? Nope. Not at all. Nah. What the hell? And and even if this didn’t take place in 1992, it took place earlier. The cars are all wrong. It’s just all wrong. Right. . Not only that, I was like 1992. The Diablo was already out. Yeah. So if anything, they should have replaced the Kuta with that.

They probably couldn’t get one on loan. Fine, whatever. What a freaking mess. Union’s going on strike oils went up like four times overnight, you know, because of Desert Storm and stuff. Right. What’s Fario too? He’s selling the company giving half to his son and half to his brothers. Rumor. He had brothers 50 years ago, he’s found.

Oh yeah. So we can keep the Lamborghini name. You [00:56:00] guys can split it amongst yourselves and your families go for it. And then he is having dinner with his son and they are just eating carrots and bread. You noticed that too? Yeah. Yeah. Oh, I didn’t notice it. Izzy noticed it and she’s like, are they only eating carrots?

And we like when it shows the whole table and there’s like, Five platters of sliced buttered carrots, . This is when the Coast War menu came out. Well, at least the bread was consistent. I mean, we started that way early on. He’s gotta have that bread with dinner cuz, you know, he was chucked at his head all the time.

So he is telling us, I’m like, Hey, you’re gonna get half the company. And uh, the son’s like, was it with it Papa? Wait, what are we having different conversations right now? It’s like, and then, yeah, this is where we like go back to that race and find out it was all a dream and blah, blah, blah. And, and I’m gonna throw this out there.

So nothing happened between 1964 and 1992, right of interest. Nothing except for the birth of one of the second most iconic cars of all time. The kuta. Yeah. Right. I mean, come on. So yeah, basically the Geneva thing where he drew the picture and Mike dropped cut to, [00:57:00] he died 30 years. , that’s it. They teased that he was going up against Ferrari.

Nothing happened after that though. They Ferrari’s just kinda like, whatever, do your thing. I’ll do mine. We’ll both get rich. Cool. Yeah. Nobody knows, right? Yeah. And, and then that’s just it. There’s, there’s so many holes in that story because Lamborghini didn’t really go into racing, not until the modern times, because they’re backed by Volkswagen.

So it’s a whole different thing. So Ferrari was always about racing. It was always Formula One. And you know, you know the stories like, you know, Ford v, Ferrari, Lamonds Rush, which is the, you know, the James Hunt, Nicki Lauda story. It involves a Ferrari. There’s always a Ferrari involved. You don’t see Lamborghini out there.

Right. You, because they were building these high class sports cars, let’s call them that. But they sort of only built one model at a time. You know what I mean? Yeah. So they were all these evolutions. So when they stopped producing the mur, then Diablo or something, well then the Japa came along and then the Kuta came along, and then it’s like they would have these little runs and then they would sunset a car and then start another one.

Because really as an outfit, they were [00:58:00] never as big as. Alpha Romeo or Fiat, which backed Ferrari in those groups. So they were a boutique manufacturer, right? They could only build basically one car at a time. Then he steps outside. He’s of course at the family vineyard, they’re in, uh, Santo right in Italy, rubbing his hands in the dirt.

and then he just looking at pictures of earlier in the movie and some random sketches, . So what got me about that scene is if you spent any time watching Picard, Uhhuh , I was like, did they lift this? It’s, it’s really Patrick Stewart’s hands touching the dirt on, you know, Chateau Picard or whatever. I’m like, this is such a rip off of stuff we’ve already seen.

It’s lit exactly the same way. Like lens flares, but also like dark filter, like very lush. Every scene at the vineyard. Yeah, I was thinking of Picard. I was waiting for him to pop around the corner. There’s a rom Mullin in the background somewhere. Yeah. Riker pops outta nowhere. Like, hello, captain. Hello, number one.

So they’re seeing, uh, publicity stills from [00:59:00] earlier in the movie. Hopson is a Lamborghini. Mira starts thinking about his first wife and taking the loan out and Mateo and all the other bullshit we already forgot about long ago because he forgot long ago because it’s 60 years ago. And it’s like, oh, yeah.

Thinking about him for the first time. We get a little thing that pops up saying like, oh yeah, the, it was the MoMA, it was the Museum of Modern Art. Said the MI is the most beautiful car in the. Roll credits. Yeah, right. Beautiful car. I think we can all agree the Murra’s up there with the Jaguar E type and a bunch of the old Ferrari and stuff like that.

It’s a gorgeous car. There’s no contesting that. But I took issue with the scene. The sound was wrong. I mean that’s a v12, it’s a screamer. It has a very unique sound because of the way that car’s built and all that kind of stuff. And if you ever want to hear one, the sound is actually more right, because there’s a very similar scene to the scene we saw in this movie at the beginning of the original Italian job.

So they tried to sort of play off that where the guy’s slow [01:00:00] roll in the MUR through the country, you know, mountain Road there. And I saw that and I was like, man, when does Michael Kane step out? , you know, in a truck and try to steal the car or something. Like it was a good sort of ending, but I felt like I’d seen it before, but then the audio was wrong and it, it didn’t help that car in any way to really kind of give it that ferocity that a Lamborghini has because even the Kuta is quite.

Shrill and it, it gets under your skin. And it would’ve been cool, but I figured they were probably dragging that car with piano wire at like five miles an hour. Cause it barely looked like he was moving. Yeah. And if it was a real mur, I mean, that’s a seven figure car. Easily. I mean, good on them. Right?

Unless it’s a kick car on Dan’s list. Oh, it’s all C cgi. Yeah. Right. . And the big thing about, it’s like you guys are saying like the ending where he just starts driving off. It’s like when I was watching this movie, when it comes to the end, that’s all it, its like comes to an end and you’re like, what the hell?

It’s like, you, you left with so many more questions than you started with, in my opinion. Yeah. Yeah. It’s like, so wait, what? That’s it. That’s where we’re [01:01:00] gonna leave off in 1992. Um, death story. I have so, uh, roll credits. I think we got Eric’s review. The sounds were all wrong. That’s his only note. Oh yeah.

That’s my only note. . So why don’t you hit us with some stats. What did the Oh, critics think of this. Stellar. Oh, right, right. Before we get to that, would you guys recommend this movie? No, no, I would recommend a refund. Oh, e everybody’s shaking their head and or leaving the chat, so yeah. I’m gonna take that as a no, I, I would’ve to agree.

I’m, I’m on the fence about it because here’s the thing. How many times did you watch it? That’s the bigger question. Oh yeah. There we go. Once, here’s the thing. Knowing this information now, I would’ve never watched it to begin with. Yes. But going into blind and ignorantly, it was entertaining. It was telling a story.

Even though the story was, apparently this guy’s an asshole that stuck out more than anything. I was like, this guy is such a freaking toll. If you wanna watch a movie like this, but is actually done, well, there will be blood. That’s how you do it, . Yeah. And that’s probably more based in reality too. It’s the thing [01:02:00] like, uh, they actually use.

I don’t know, dates and facts and figures, and it’s holding a nice operatic matter. This one’s kind of messy. Yeah, I, I can’t recommend it. What do you guys think? The Rotten Tomato score on this one is from the critics. I mean, if it’s single digits, it’s a lot coin. 7% low is all I can imagine. Tanya, you won 7%.

One positive review out of 15 from top critics. Wow. But as we say on our show, nobody gives a fuck about the critics. What about that audience score? Ooh, ooh, ooh. Did anybody actually watch it? Other than the critics and us? I think there was like a hundred or so reviews or something on there. That’s more than I would’ve expected.

This can go two ways. Yep. There’s the crowd of people that watched it. They would know nothing about it. Mm-hmm. and probably would give it a mediocre score. Then there’s the people that would watch it and knew a little. and would poop all over it. And then there’s the third option, which is when I sit down with people at a bar and they say, oh, you’re a car guy.

You [01:03:00] know, I saw that Lamborghini movie, blah. And I’m like, it’s all crap. And they’re like, what do you mean it’s all crap? I was like, did you see the disclaimer at the end? Well, yeah, that’s that first group of people that were, they’re all gonna believe it. And that’s the travesty. Exactly. It’s terrible.

What’s that number then? It’s gotta be less than 10%. I’ll be optimistic and say 2012 Dan’s closest 25 with the audience. Wow. So not, not good with the audience score. It’s tough to get into single digits. Like we’ve only done maybe three movies on our podcast that specializes in bad movies that have been single digits.

Wow. I think the lowest I saw was we watched was 3% to its credit. There isn’t a. Of information on the Lamborghini story. It’s not like you can go to autobiography on Motor Trend or go to Seduce by Speed or any of those types of ary type of things that they’ve put together, even on the noted automobile channels and stuff.

So it’s sort of [01:04:00] like Lamborghini’s been untouched for so long. It’s like stories handed down from his family, basically. Right? Or you know, like news clippings, but it’s basically them blowing Lamborghini like, oh my God, the greatest, most beautiful cars ever. All, all Italian treasure. So it’s, yeah, . Maybe this is the attempt to fire a shot across the bow.

Well, Lamborghini is now owned by Volkswagen, Audi group. Right. So maybe to get their attention, say, You need to do something to fix this. We need to write a wrong here. Yeah, yeah. And produce a real film because again, there’s plenty of documented movies and, and other things about the Ferrari story, about the Porsche story, et cetera.

But Lamborghini just seems to always be off to the side, and I don’t wanna say forgotten, because they’re realistically iconic. . It’s good that somebody went out on a limb and did something. Yeah. But to Tanya’s point, if you had just followed the Wikipedia , you would’ve had just touched better film. I mean, there’s still people alive that were intimately involved with the beginnings of [01:05:00] Lamborghini, so they must know how he was, who he was and what went down.

I mean, Delara, as an example, is still with us. So is the other guy you mentioned Bini. Brei. Sini, yeah, Sini. He’s still alive too. I think that we, what we need to have done is the, like the two engineers that were involved with the beginning stuff, we need to have like reaction video of them watching this Brady.

Yeah. Yeah. That would be perfect. That sounds interesting. Maybe we’ll get in the sequel. No, we probably won’t because I think this costs more than, its 1.6 million worldwide. Gross. I don’t know where that would’ve come from, but $6 at a time, people watching it on, uh, Amazon or Voodoo or whatever. What? It really grossed that much.

That’s surprising. Yeah. Yeah. That was kind of surprising to do. So maybe it was like released in Italy. That’s what, oh, so many angry Italians with pitchforks over there. Like, no, it’s the bullshit. Yeah. A thousand percent. As I mentioned, there was one lone positive review of this movie. Would you guys be interested in hearing it?

Yes, please. It comes from, uh, [01:06:00] Eddie Harrison of film authority.com, a strip down, but appropriately stylish and personal tribute to a man whose passion for cars changed the way we drive Three outta five. That’s the one positive review of this movie, and it’s still like it was okay. Yeah, the middle of the road is the best.

That’s said. The top critic, Robert Abel, of the rap said Emz biopic. That does the easy thing. Beautifying Italy and vintage auto. Stalls with everything involving humans and top critic, Morata Elfa, the AV Club. Fortunately, the movie is only 97 minutes long, but even this grace note comes at a cost to the viewer.

The end of the story comes out of nowhere as if the filmmakers ran out of money and stopped shooting before they were really done. D. So Tanya did say that when we were watching the film, cause at one point we paused cuz we, it was, you know, building up to Geneva and we’re like, wow, this is gonna take a while.

Yeah. If the end goal here is to get to 92, like we got a ways to go. So for whatever reason, you know, maybe it was get a snack or a bottle of water, it was like pause [01:07:00] and then we’re like, dang, we’re 80% of the way through the movie. Like this thing’s almost over here. Here’s the thing, Geneva should have been like the second act, like yeah, the rise to glory and blah blah blah.

And then, you know, the fall or you know, at least the battle with Ferrari coming after him and there’s low points and actual character growth and blah blah. Nope, we just cut it 30 years later when he died. So bizarre Chapter three was more like the thank you note at the end of a book, flat line. Thanks for reading.

Yeah, a hundred percent. By Lamborghini, you know . Exactly, exactly. But we got some more of that awesome race and you know, him pushing model cars on his desk, which didn’t understand that either. Oh, Jesus. The imagery there, the metaphor. I mean what, but guys, do you know who was originally cast to be in this movie?

Ooh. Ooh. This oughta be good as Ferruccio. Both as Ferucci Lamborghini. It was gonna be played by Antonio Bandera. No, . All right, cool. I mean, if Frank Guillo, let’s [01:08:00] go with that. In the role of Enzo Ferrari, Alec Baldwin. No . Yeah. Keep in mind, this was more than a year ago, , when they were shooting us pre Russ, he wasn’t making westerns and you know, whatever that would’ve turned out like framing John DeLorean.

I mean, can you imagine? Yeah. He would’ve reprised the role of El Hek from 30 Rocks.

Alright, well, alright, by then, if you guys were casting a a real Lamborghini movie, who would you have as Lamborghini and uh, Enzo Ferrari? I don’t know. Based on this picture of Fuo, I like Baldwin with dyed black hair. Actually might have been a better Lamborghini . I would go with Wayne Newton for Ferucci cuz they got the same style in the hair.

He still spray paints his hair black. And I think for Ferrari, I would’ve pulled the dude from Ford versus Fry cuz nobody remembers who the hell he is. His name is Ramo Remo. Jerone. Yeah. Yeah, because yeah, I remember him being really good. What [01:09:00] was the Timothy Dalton movie where Wayne Newton was the bad guy licensed to kill?

Yeah. Yeah, see? Yeah. Yeah. It’s a great flick. White suit and the Pompadour. I’m telling you, Wayne’s too old and had too many plastic surgeries. I feel like they could have cast anybody in this movie. There’s a whole country of Italian. Just saying. Yeah. Yeah. Roberto Bonini. Uh, Enzo Ferrari. Yeah. Would’ve been more convincing.

I would’ve replaced Mia Sino too, cuz it was like she just felt out of place in this movie. I absolutely agree. She should be Marissa Tome. You know? That’s a good call actually. I know , they did a good job pairing the younger version of her with Mia Serena. So whoever they found, yeah, that actress who was a no name, basically.

I was like, okay, I can see the transition. You aged her up gracefully. It just didn’t fit at the end of the day. I was totally expecting Adrian Brody to come back later in the movie. , right? As Mateo or whatever. . No, no, no. That dude took his 25% and went away. . Yeah. He’s [01:10:00] in Argentina or something, but I’m like, yeah, what happened to that guy?

Like what’s his story? He probably never existed. That is probably true too. He probably represents like the other investor in Lamborghini, whoever it may have been, or he represents the 25% of the audience that liked this movie. Yeah, Mateo loves this fucking movie. That’s basically it. , he’s the only person in this movie that loved it.

Even the dad was kinda like, EH, two outta five. Oh, and guys, we gotta find out, because I don’t know if you know this. We’re on a podcast called Everything I Learned From. What did we learn from Lamborghini? The man behind the legend. Well, I didn’t learn anything. What I learned was through Wikipedia that he had other children and grandchildren.

I also did not learn much. But that fact checking is important. And you shouldn’t use chat g p T to write a screenplay. I just got confused. I didn’t learn anything. I just got confused. , what did you learn, Steve? I learned that those Danish cookie tins have been around forever and they would be like, they’re basically the equivalent of like mason [01:11:00] jars buried in the backyard.

in Italy. Find those on Oak Island suit too. , right? Native Americans used these upper centuries before the white man came over. Like how the fuck did they get ’em? ? And there’s still dance brand too. There’s only one manufacturer of those shortbread cookies. That’s it. Yeah, exactly. Well, that being said, folks, if you enjoyed our review of this extremely terrible movie, you can find a lot more of ’em with Steven Izzy over at everything I learned from movies.

So, Steve, tell the audience how they can get ahold of you guys. Oh, well, of course we’re on all the major pod catchers under everything I learned from movies. Or we can end up directly on Twitter, Facebook and Pat Peto on an E I L F movies. That’s everything I learned from movies. It’s a little better when Izzy’s here and we can harmonize when I say that.

Mm-hmm. for the next couple of months. We just started here in February. We’re reviewing porns because we drew the theme of porn month that was suggested to us. Actually just today, our episode for Hot and Saucy Pizza. Girls just dropped in, [01:12:00] man. Oh man. Was that fun? So if you wanna hear Izzy almost vomit in some scenes, listen those episodes or come back to our regularly scheduled bullshit when we start Marky March, talking about Mark Wahlberg movies.

And then Ari and May, you guys may really be interested in May because we’re talking stunt movies and so we’re gonna see a lot of fucking cars doing cool shit and blowing up. Oh, that’s time to invite us back. That’s right, . It’s, you know what I’m happy though, is we found a new movie that we could all review together.

Oh, it follows suit. It is terrible. So this is great. So now we get to look forward to whatever the next one is. Absolut.

If you like what you’ve heard and want to learn more about gtm, be sure to check us out on www.gt motorsports.org. You can also find us on Instagram at Grand Tour Motorsports. Also, if you want to get involved or have suggestions for future shows, you can call or Texas at [01:13:00] (202) 630-1770 or send us an email at crew chief gt motorsports.org.

We’d love to hear. Hey everybody, crew Chief Eric here. We really hope you enjoyed this episode of Break Fix, and we wanted to remind you that GTM remains a no annual fees organization, and our goal is to continue to bring you quality episodes like this one at no charge. As a loyal listener, please consider subscribing to our Patreon for bonus and behind the scenes content, extra goodies and GTM swag.

For as little as $2 and 50 cents a month, you can keep our developers, writers, editors, casters, and other volunteers fed on their strict diet of Fig Newton’s, gummy bears, and Monster. Consider signing up for Patreon today at www.patreon.com/gt motorsports. And remember, without fans, supporters, and members like you, none of this would be.[01:14:00]

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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.


Pit Stop! Meet the Lamborghini’s

Steve and Izzy watch bad movies, drink good beer, funny third thing. Cheers! Learn more about them by catching their podcast “Everything I Learned from Movies (EILFM)” on all your favorite podcast apps. Or follow them on social @eilfmovies. Look forward to more quarterly crossovers with this dynamic duo and the GTM team! 


Fun, Fun facts – in fact… they are Super Fun Facts!

  • Writer/Director Bobby Moresco – Wrote 2 episodes of Millennium, WROTE Academy Award winner CRASH, director 2 episodes of TV series, wrote & directed 10th & Wolf, created the Black Donnellys & 100 Code (1 season), 2018’s Bent (Karl Urban, Sofia Vergara & Andy Garcia), Colin Quinn comedy special in 2019, THIS
  • Frank Grillo as Ferruccio Lamborghini, Mira Sorvino as Annita, Gabriel Byrne as Enzo Ferrari
  • 5.3 on IMDb, 7% on RT critics (1 positive of 15 reviews), 25% audience score!!!
  • Lone positive review: Eddie Harrison of film-authority.com: “…a stripped down but appropriately stylish and personal tribute to a man whose passion for cars changed the way we drive,” Original Score 3/5
  • Top Critic Robert Able of TheWrap: “A pamphletized biopic that does the easy thing — beautifying Italy and vintage automobiles — but stalls with everything involving humans.”
  • Top Critic Murtada Elfadl of AV Club: “Fortunately, the film is only 97 minutes long. But even this grace note comes at a cost to the viewer. The end of the story comes out of nowhere, as if the filmmakers ran out of money and stopped shooting before they were really done” Original Score: D
  • $1.6 M worldwide gross!!! Released Nov 18, 2022… but where?
  • Antonio Banderas and Alec Baldwin were originally cast to play Ferruccio Lamborghini and Enzo Ferrari respectively. Who would you cast?

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Motoring Podcast Network

Reimagining the DeLorean: A Designer’s Tribute to Legacy, Passion, and Possibility

On this episode of Break/Fix, we dive into the living history of automotive design with two extraordinary guests: Angel Guerra, a visionary car designer from Seville, Spain, and Kat DeLorean, daughter of the legendary John Z. DeLorean. Together, they share the story behind a next-generation DeLorean concept that’s more than a car – it’s a tribute, a dream, and a movement.

Angel Guerra’s journey began long before he could speak. As a toddler, he was known for pointing at cars on the street and naming their make and model with uncanny precision. That early obsession evolved into a lifelong passion, eventually leading him to abandon a career in engineering and pursue car design against all odds.

With no clear path in Spain, Angel took a leap of faith – quitting his job, securing a bank loan, and enrolling in a prestigious design school in Barcelona. From there, he freelanced across Europe, working with elite brands like Porsche, Mercedes, Bugatti, and Rimac. But his heart remained with the cars he sketched as a child, and one in particular: the DeLorean DMC-12.

Tune in everywhere you stream, download or listen!

Listen on Apple
Listen on YouTube
Listen on Spotify

Angel’s concept car, designed during the pandemic in 2021, is a modern homage to the original DeLorean. Inspired by Giorgetto Giugiaro’s clean, clever lines and John DeLorean’s visionary packaging, Angel sought to channel both men’s spirits into a futuristic reinterpretation. “If they had a meeting today,” Angel mused, “what would they create together?”

Photo courtesy of Angel Guerra, DeLorean Legacy Project

The result is a design that feels instantly familiar yet thrillingly new. It’s not just a copy – it’s a respectful evolution. Angel’s engineering background adds depth to his artistry, allowing him to balance aesthetics with functionality, just as John DeLorean once did.

Synopsis

This episode of Break/Fix centers around the stories of automotive enthusiasts and professionals, particularly focusing on the DeLorean DMC-12. The episode features Angel Guerra, an automotive designer, and Kat DeLorean, discussing the legacy of the DeLorean DMC-12 and its modern reinterpretation. Angel shares his passion for cars from an early age, his journey to becoming a designer, and the challenges of transforming classic designs for the modern era. Kat speaks about honoring her father’s vision and the future of the DeLorean brand, including potential new technologies and design enhancements. The conversation covers themes of passion, innovation, and staying true to the original spirit of the DeLorean, while adapting to contemporary automotive standards.

  • Where did your passion for cars come from? Tell us about what it takes to become a car designer. Is it art or science, or both? Talk us through that journey. 
  • We hear that you are a big John DeLorean fan.  How did he inspire you?
  • The Model-JZD Design, revisiting Giugiaro’s original creation – and the evolution
    • Will the body be made of Stainless like the original? Carbon-fiber painted to look like stainless? Or some other new/feature tech? 
    • Mid-engine instead of Rear-engine?
    • Interior design … where is the “extra space” behind the driver? Would you lose that because of the mid-engine design?
    • It’s been a couple of years since your initial ideas, is there anything you see changing about the design?
    • Do you have to make special accommodations for different power plants? What is the thought process: EV or Petrol, Hybrid or optional?
    • How big will the vehicle be (compared to the original); Purposed weight?
  • Outside of the design of the Model-JZD, how are you going to be involved in the build process for the new car? Are you going to be in Detroit for the unveiling?

Transcript

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

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

Crew Chief Eric: And by the renowned car, motorcycle camera, and firearm designer, Giorgetto Giugiaro, the DeLorean DMC 12 is an American sports car that debuted in 1981. And despite a brief production run, it became a bonafide automotive icon when it was thrust into the cultural mainstream.

Upon the DeLorean’s 40th anniversary, Spain’s Angel Guerra was determined to bring the steel bodied, gull wing doored DMC 12 squarely into the 21st century with a next generation concept. And with that, my [00:01:00] co host for this episode is the one and only Kat DeLorean, along with Angel, dialing in from his home in Seville, Spain, to tell us all about this revolutionary new car.

So welcome to both of you to Break Fix.

Kat DeLorean: Thank you for having me back.

Crew Chief Eric: Hi, everyone. All right, Angel. Like every good break fix story, there’s always an origin. So tell us about your journey as a petrol head and how you became a automotive designer. Where did your passion for your cars come from? How did you become a designer?

Angel Guerra: I can tell you a story that my mother used to tell to some friends and to everyone. So in my neighborhood, it’s. I didn’t know how to speak yet. I was famous because of my mother. When she took me for a walk, I was pointing at any car, you know, that I saw on the street and I used to say the brand and the model, why I don’t know, but I used to say, you know, it was a Mercedes.

It was a BMW, but not, not only the brand, also the model, you know? So to be honest, to be a car designer is something that. [00:02:00] You need a really big, big background of knowledge, and this knowledge, you start to get it when you are a baby, when you are a kid, and when you are playing with cars, watching cars on the TV, on the street, I will say 90 percent of the background that you need to be as a car designer.

Then I was a bit lost, you know, because you grow up, you just have to do a different since you became a teenager. So you don’t know what’s going on. And I will say that they took not the right direction. Because I studied as an engineer, but actually what I do to design the car, not the proper word of an engineer.

So when I was working as an engineer and I finished my career, I say, okay, this is not what I want to do. And I decided to break away of this. Where can I go to be a car designer? In that time in Spain, I didn’t have any reference about people or places where to go. To learn this, looking in internet, I found a school in Barcelona in the north of Spain, [00:03:00] a really expensive one.

I wasn’t sure about what to do to look for my dream, you know, a bit crazy, and I did it. I went to a bank, I asked for a credit, and I went to study to Barcelona. I quit my job as an engineer. After two years, I was already working in a design studio. Then I remembered to say, okay, should I stop here in Spain or maybe to move into another places because at the end I’m living out of my place.

Um, and it went through many places around Europe. I went first to Paris in France, and then I realized that. You know, the big brands are in Germany. I found some projects always as a freelancer in Porsche, in Mercedes. Then in Munich, you have BMW and many brands from Europe and from China working. They have a place in Germany and a studio where they develop their cars.

It was there where I really get the proper knowledge to say, okay, now I’m a car designer. You know, I think that to begin a car designer, you know, each of us are a car designer. We can say [00:04:00] we’re like this, I will change that. Oh, I don’t like how this from bumper ends or wherever this proportion and the like, this is because we have a background as a petrol head, you know, but not only as a petrol head, we love vehicles in any way, motorcycles.

Tracks banks, you know, anything, anything. So if you don’t like this, since you’re a kid, it’s impossible to be a company center. So I don’t really know when this hobby has started to be something that is a profession in my life. The difference when I sit to work, for example, the DeLorean project, I did it in my free time.

And when I have to work. For Bugatti or for Rimac, I don’t feel the difference. The difference is that I prepare an invoice by the end of the month and they pay me back. But I’m having the same fun, to be honest. I don’t know what is the split line between how to be a car designer or how to become a car, maybe the experience or the knowledge to develop a car.

But when you are eight years old and you are painting a car, even a [00:05:00] horrible car on a paper, you are a car designer. You are, I can tell you many histories about the people that I found in my career, in the early years, in the high school, even in the university, they saw me skating, for example, in a class where I should be attending to another subject.

And the teacher told me, ah, so you like to get cars. And I say, yeah, I mean, they, they asked me, would you like to be a car designer? I say, it’s quite difficult. It’s quite hard, but I would like to have the possibility at least to try. And they told me that. I wasn’t good enough or Spain is not a place to be a car designer.

You know, instead of motivated, they told me, no, it’s impossible for you to do that. You know, I maybe it was 15 years old and I was already a car design, not a professional one, but a teenager with the hope to be one day a car designer, you know, a professional one. Even if I don’t reach this dream, I’m a car designer, you are a car designer, that is a car designer, everyone could be a car designer.

There is [00:06:00] a day that someone pay you for a job and you say, okay, now I’m a car designer, but no, you are a car designer much earlier, I would say.

Kat DeLorean: You’re describing the difference between a professional and somebody who is the thing you’re saying. Just because you’re not a professional yet and getting paid doesn’t mean you’re not a car designer.

I hadn’t heard that whole story before. I can’t stop smiling because that is the story behind everything we’re doing. I’ve always told people it’s never too late to change your mind. As long as you’re following your passion, you’ll be successful. And that if you follow your passion, then you will never work another day in your life.

I’ve had that experience in my career where I woke up every day and couldn’t decide if I was Getting paid to play or work because work was so much fun. So I cannot be more excited in this moment right now, because that is just the most perfect story for D& G.

Crew Chief Eric: And you hit on something really, really important.

It’s a sentiment that I’ve [00:07:00] also heard expressed by other leaders in the space. And if you go back and even look at John DeLorean’s stories or Lee Iacocca’s or others, they say, you know, I started as a designer or an engineer at such and such company, but I didn’t want to be the guy designing the ashtray for the right rear door of the new Cadillac.

And you said that yourself, you’re like, this wasn’t for me. And then suddenly you went from engineer. to artists. So I’m wondering when you went back to school, did your engineering studies help you in becoming a car designer? Or did you have to check all that at the door and basically start over again as an artist, especially as a graphic artist in today’s world?

Angel Guerra: Not really. As an engineer, I learned 99 percent of my skills, um, working, I would say, or by myself, not in the school, not in, in the university. No. Maybe right now you have more opportunities because there are many tutorials on the internet, many videos, and now you can learn a bit more by yourself, but not like 20 years ago.

It was impossible. [00:08:00] So the only possibility to learn something about how to become a car designer, because at the end it’s a mix of, as you say, art and technique, is really hard. Because if you have to sketch, you have to be able to transfer this sketch into a 3D. You must be able to massage and to go step by step and do a lot of iterations about this 3D until you have an early volume and idea of the car and you finish that into a production model that could be, you know, it depends on the technology, this part could be 3D printing, molding, milling, whatever, you know.

When or where do you get this knowledge? I will say you get it working. It’s strange, you know, because of, for example, if you want to boil houses, you know what you have to study. If you want to learn how to cook the same, but if you want to learn how to make cars. There are not many places to learn this, but it’s not only in Spain or Europe, it’s the same in USA, [00:09:00] you have two or three good places, that’s all.

In Europe, the same, two or three. Maybe in Asia, you have a couple of them. But, after years I met the same people around the world, you know, I found out a colleague that I was working with him 15 years ago in Germany. And now I know that, for example, he’s working with me. There is not many people doing that.

We are almost the same guys. You know, it’s funny because it’s hard to know where to study. And for example, now I get a lot of messages from students. Oh, I would like to do what you are doing. What should I do? I did this question to myself, but 20 years ago, I suppose that they already know where to go. If you Google it, you should have an answer, you know, and the problem is that the answer that you get back in Google is a school, but maybe it goes 30, 000 years per year.

So It’s impossible for almost everyone to go to study into these places. You can do it by yourself, but at the end you need a [00:10:00] master’s degree in transportation design to open the doors of any studio, you know? I did it 20 years ago because it was a bit cheaper. I will tell you something funny. 20 years ago, I went to ask for a credit into a bank.

I want a credit to study. And the director of the bank told me, this is a lot of money to study. And say, Yeah, but this is they told me, Will you get a job after this master? And I say, I have no idea. I just want to go there to study this and to get this education. And he told me, you shouldn’t do that. This is the money that people takes to buy a car, for example.

This is the level of people when you say, I want to go to start, I mean, a person who has a high education, you know, I want to study this and they say you shouldn’t do that. It’s expensive. And maybe you don’t get a job after that. This is the problem that there are many people with talent. that they’re looking where to go and study this and they don’t have any idea.

So when Kat told me that she wants to create a program for [00:11:00] students to show them a way where they can learn about automotive, let’s say design, engineering, ergonomics, aerodynamics, tooling, production, whatever. I know that many students will say, Hey, we want to do this. So this is one of the best idea that I, you know, and she’s got the Lodian, everybody knows about her.

So I’m sure that she will get a lot of students knocking the door and say, Hey, we want to be in this course for sure. So when you say, Oh, they’re a designer, you know, everybody sees about German, Italy, and actually. They are right. I mean, the best schools are in that places. Many people from Europe, from Asia, from India, they used to travel to Germany or Italy to study there.

And it’s really expensive. So I would like to share my knowledge, not in a, in a, in a school. where they charge a lot of money to a student. You know, I want to share my, my, my knowledge with Kat. We can [00:12:00] prepare some class. For example, I can teach some designs or give some thoughts about my experience, but also about, okay, let’s just speak about how we design a car, you know.

And for free. And if we achieve this, I think that it will be something unique in the way that there are no people offering this, and it will be quite successful.

Crew Chief Eric: So let’s expand upon that thought for a moment. So you mentioned in the early days you were freelancing and you name dropped Rimac as well as Bugatti.

So I’m wondering about your relationship with Italdesign How does that work? Did you work for, as we like to call him, Il Maestro himself, or how did you take your inspiration to design the car that we’re going to be talking about here in a little bit?

Angel Guerra: Giugiaro is the top designer. Giugiaro and Gandini.

Ital design was famous in the eighties, in the nineties. I think Giugiaro left Ital design long time ago. So there is a proper Ital design, but Giugiaro is not working there. So for me, it’s not the same Ital design [00:13:00] than before. I have a lot of books of car design. I know the history of Giorgetto Giugiaro and Gandini because for me, it’s my reference.

So talking about Giugiaro, that was the designer of the DeLorean, what he did, he was to create something, in my opinion, really clean, really nice, in a really clever way. And one of the design that I like the most, I say, okay, I would like to take a look and to the original model and to redesign the original model.

Where to get inspiration? So the inspiration is the model itself. I don’t need to get more inspiration. So my job as a car designer with my skills, with my tools, with my knowledge is to transfer this design into 2021. That was when it was done. What I took from him, the regional model, but I also took some reference from John DeLorean, you know, because at the end the car was theater was done by Gito Giro, but the package and everything was done by John DeLorean in this [00:14:00] mix became something unique.

That it was the, the design of the D DMC 12. I say, okay, should have something from geo geo design, but also from John DeLorean. When I look at John DeLorean, I see a clever guy. It’s a very elegant, you know, and sophisticated. And also I was thinking, Okay, if you’re in the Laurian had the opportunity to make another DeLorean taking care about the previous design, I think that he won’t just copy the design into nowadays proportions.

You should do the same but different. You should do something that should look like at the previous DeLorean, but with a modern treatment, and it should look futuristic. Nowadays, you know, as the DeLorean look. futuristic in the 80s. I tried to respect the original design from Giorgetto Giugiaro, but also take something from John DeLorean and to bring them into this 2020.

So just thinking about if they have a meeting today, [00:15:00] both, what they will do. I didn’t think about, okay, if I would make the DeLorean, you know, thinking about myself, I will do it like this or I will insert this element I think most of the designers, they have a lot of ego, and this is the worst. You have to take a look into the model, think about it, think about the age that was done, the people who was involved, and to try to transfer all this.

in 40 years forward in time and what you have to give is to give the modern treatment and to find something that will make the car unique nowadays. At the same time that you have to respect the originals and keep it simple, clean, clever. Elegant and it’s difficult, you know, but this is my job. My inspiration was Gito Giro, but also John DeLorean because I think that the car is so good because of them, because I, I, I knew that John gave to Gito a package, and [00:16:00] he had to redesign the idea that he had to, the packets that John wanted.

They, they were working quite close, and the result was. I

Kat DeLorean: think that your background in engineering is particularly helpful, especially in this project. I actually think it’s an asset because a lot of times when I have conversations with Angel about the car and how I want to change things and modify things, it comes down to not just how it’s going to look, but how it’s going to function from an engineering perspective, that background allows you Angel to be a little bit of both, that is truly a unique scenario that can create.

This spirit of the DeLorean in a way that literally everybody in the entire world agrees is unique and incredible. It really does capture the spirit of the car in a way that je So I cannot put it into words why this car just does what it does, but you’ve nailed it. It tugs on that familiarity while being new and [00:17:00] exciting.

And it has elements that allow you to just feel. For me, I can see his whole automotive history. I can actually see elements of the GTO and the Corvette, all sorts of things, just these little touches where I can feel his evolution over time in this car, which may be because the DeLorean was the culmination of all of its years, but it really does capture it so well.

Crew Chief Eric: Thank you. To your point, the design that we’re talking about now has been around for a couple of years. You designed it, like you said, on the side back in 2021, the middle of COVID, while we’re all kind of stuck at home, wondering what to do next and talk about a passion project at the end result of this folks that I’ve shown this to the same gut reaction is in concert with what Kat just said.

The first word out of their mouths are. Now this is a DeLorean, right? That’s usually the visceral reaction to when they see the design that you came up with. Mine was slightly tweaked on that where I went, that looks like something that Jujaro designed, [00:18:00] not knowing that you had designed it, because it spoke to the original design, knowing that the DMC 12 was designed by Jujaro.

So it makes me wonder if we kind of Peel this back just a little bit. We’re all children of a certain age in a certain era. So what did you think when you first saw the DMC 12 as a kid? You spoke about, I could name the car and the model and this and that. So when you saw DMC 12, what did that make you think?

And was there something that also propelled you to become a designer?

Angel Guerra: Spain at the end of the 80s. As a kid, you play on the street, you don’t have any kind of digital entertainment. I remember to listen something about Back to the Future, but I didn’t have any idea what was it because when they released in that time a movie, they released it in Spain, maybe three years later.

Oh, there is a movie Back to the Future, but I didn’t have the opportunity to go to the cinema. So you have to wait and to rent it into the video club, but you know, you have one chance per week to rent a movie because of, you know, your [00:19:00] parents, they give you only a bit and you say, okay, I have to, you just, you stay in this video club for one hour choosing one movie and you between 20, I never had the opportunity to watch what to the future.

So I have to wait to watch it on the TV. I say, okay, I will watch it on the TV. And I remember one month. It was on a spot on TV. Okay. In one month we will put back to the theater in TV, you know, and it was the first movie in Spain available in stereo on the TV. So I remember that day at home, my father plucked the Hi Fi stereo into the television and we start to watch.

back to the future. I didn’t have any idea that I will see that kind of car. So when I saw, you know, in the impact of the future, when the track opens the door and you see the back of the DeLorean rolling down the track in that moment, I felt something special. I don’t know what to say, but you know, you have this kind of feelings in your life, [00:20:00] you know, when you met someone, when you are in love, when you live a really special moment.

So for me, it was an special moment because I knew that I was seeing something unique and it it’s not related to the time machine? No, no, no. The, the, it, it wasn’t about the time machine or the elements and components around the car. I was fascinated about the car and say, what is this? I had to go look for Atlo, Delorian and I, I try, do you know the DeLorean brand?

You know, it was already, I think. 1989, so nobody could tell me what is Laurean? What is the valorian? I know Ferrari. Mercedes, what happened with DeLorean brand? Until I didn’t get proper access to internet, I couldn’t look for the answers. But I will say that that feeling, the, the feeling that I felt.

Watching that car, somehow it was the starting point to say, wow, one day I want to do something like this. [00:21:00] And maybe it sounds a bit strange, but there are two moments in my life. Really important because of it was in the early age where you know, that cars are really important in your life. One moment, this one, another moment, it sounds funny, but when I bought my PlayStation.

And I started to play my first video game about cars, Gran Turismo. It was the first time that you spent hours and hours and hours playing with cars in 3D. My mind was working in a different speed when I, like, overclocking your mind, you know? My brain started to think about cars and cars and cars and I started to sketch, sketch, sketch.

Somehow I started to say, I like this. I like to spend my free time sketching cars, thinking about cars. I didn’t stop since that moment, but this is, let’s say, how I keep thinking about cars, but I remember the feeling, you know, I will never forget the feeling when I saw the first time the DeLorean. At the end of Back to the Future, [00:22:00] it’s a, to be continued.

The next day I went to the video club and said that I need money. I need to rent the second part because I need to see the DeLorean flying back to the theater. So nowadays we say in the future we will have this, but in the eighties, I think that they develop products that say you don’t have to wait for the future.

The future is here right now. You know the Deloria is here and I’m 40 years old, but I can’t imagine if you are 20 years old in the eighties and you see a deloria, you will say, what is this? Nowadays? Maybe you are in a meeting with hypercar. You have a Bugatti sheet on Ferrari, LA Ferrari, McLaren, P one, Che 90 team, and suddenly arrive at theorem.

And everybody look at the DeLorean. And it’s not because of the Back to the Future or any kind of movie. It’s because of what’s so unique design. You have to choose three cars in, like, the best cars anytime. One of these three will be the [00:23:00] DeLorean, for sure.

Kat DeLorean: Your story, it fits so well. It’s hard to believe that you found me and that your narrative fits.

My goal is so well, it’s overwhelming how I call, I call this car, the, the supercar built by love.

Angel Guerra: But

Kat DeLorean: that’s what it is.

Angel Guerra: God, you know, the way that I found you.

Kat DeLorean: Yeah.

Angel Guerra: One day, and I knew that you are Kat DeLorean. But I watched it, to be honest, this movie framing DeLorean. And I saw one interview. And I know that you and your brother, you are not really happy with the Lord and history and everything, you know, I never wanted to look for you to write you something or whatever.

And one day in Instagram, I saw a picture of you and your father and I say, okay, I did this start thinking about your dad and trying to make a tribute to his legacy. I think, you know, if you are proud of your father, I have to tell you this. It was the way that I [00:24:00] approach to you, like a God and angel. And I did this project because of.

We are in love with the work that your father did, and it was something that suddenly happened. I didn’t look for that, you know, I saw you in Instagram, your picture with your father, and I say, Okay, I will do this.

Kat DeLorean: It’s amazing, too, because The way the timing of all of this has played out, so the other half of that story is my side, where I showed up to try and connect with the fans again, and connecting with them, hearing stories like yours over the years, the car now represents dreams, and now my dad’s dream.

Everybody’s dream and it’s so special to me and it’s such a unique perspective that I believe I have because of who I am and everybody tells me their story when you showed up into my life, I was trying to find a web page. to have a space where we could all gather and collect these stories. I literally was yelling at somebody saying, do you think I can [00:25:00] register just this one domain name?

Because I really want this one. And then you messaged me saying, by the way, I just registered this domain that you’re currently upset about not being able to get, would you like to have a website where people can submit stories about how much your father means to you? Just like everything else in this whole journey of building this car, I set out to do something and suddenly somebody says, hi!

Here’s a completed thing that you need. You know, we talked in the beginning about how to pronounce your name, and I am working on pronouncing it correctly. I’m not there yet. So I’m not going to say it. But to me, I have to call you Angel. And I’m sorry if that’s an insult, because to me, that’s where you came from.

That’s the only explanation is that my dad tapped you on the shoulder and said, Hey, go find my daughter. Otherwise, I’m crazy and imagining the whole thing and we’re all being filmed and I’m on the Truman show or something,

Crew Chief Eric: right? But I think that’s a great segue back into something that Angel said earlier about your dad being a clever guy.

And so I wanted [00:26:00] to kind of transition us into the new car by talking about the old car 1 more time. Angel, your gut reaction to the DMC 12 is in line with a lot of other people’s. It was one of these, wow moments. I always followed the evolution of Giugiaro’s designs. Parents coming from Italy, everybody kind of knew what Il Maestro was up to.

And when you look at the DeLorean, the joke used to be, well, there’s the Scirocco and then there’s the Audi coupe and then there’s the DeLorean and it’s like all medium and large. And so those designs all went together, but you look at the DeLorean and you go. Hyundai Pony 74 Concept Coupe and the Scirocco, which were both penned by Jujar.

You put the two together, you get the DeLorean. But the trick, the clever part, to hone back in on that is the packaging. And when you look at a DeLorean, most people that don’t know go, it’s mid engine. Oh, a mid engine sports car. No, it’s laid out like a 9 11 and to fit the motor and everything in there in that way in that design, it’s almost an optical illusion.

And that’s what [00:27:00] brings us to the new car is that when you look at it, you’re never really sure where your eyes stops. It’s constantly moving around the design of the car. And so that leads us into, I guess, questions about your design and how they may play out into the future. One of the top questions I got when we polled our audience was, is the new car going to be made out of stainless steel?

Kat DeLorean: I have to answer that question. So, I mean, Angel can try, but, but I actually know the answer. There’s one of my five core values is what would John do? We have to do everything that we do, engineering, design, all of it has to be done with my father in mind and doing it the way he would get it done. While that is key and super important to what’s happening right now, I also have to honor the fans.

I have to honor and respect the people who have kept this car alive for all of these years. We have to honor the fans because without them, the movie aside, somebody cared for these cars. [00:28:00] Somebody kept the culture alive and somebody gave me back this car enough to show up and have been to fight. So I have to honor what they want.

What we are currently doing is we’re looking into how we can make stainless steel, not just feasible, but also something that is a little bit more moderate, an updated way to add stainless steel to the car to actually address some of the issues that come along with it. Can we make it lighter? Can we make it easier to form?

Can we find different ways to actually address some of the challenges in the stainless steel? What I tell people when they ask me if the car is going to be made of stainless steel, I tell them that’s our goal. But part of what we’re doing right now is telling the story of the challenges my father faced, different decisions about what engine he wanted, everything that he had in his mind, he had to examine which are the things that I have the funds to create custom tooling for, and which are the things that I have to go with what somebody already [00:29:00] has.

If the car doesn’t get made in stainless this round, we plan on finding a way to make it stainless and we will continue to work to bring to the fans what they want, but we’ll also tell you why it couldn’t be, what the challenges are. Can we work together to come up with a way to actually make this a feasible option for you?

Because I don’t want this to be secret. I want this to be something that not just allows us to build a car and change the world and bring education. But it gives me a chance to tell my dad’s story, the one that the fans asked for, and that a documentarian told me nobody’s going to listen to because it’s not sensational enough.

So here we are, you’re going to watch, and you’re going to learn, and we’re going to find out.

Angel Guerra: No, I mean, I totally agree with that. There are many ways to make this possible. If this is more a production issue than design issue, you know, the good thing is nowadays there is a really [00:30:00] huge evolution about how to produce all this and to make it lighter, maybe you can create that kind of composite material.

It could be a stainless steel. Mix it with carbon. No, no mixes, but you can create a layer of carbon fiber and then to put on the top a really, really thin layer of stainless steel. It will depends of the guys that will be in charge of this technology and I’m sure they will find a way to reproduce or to have the same appearance that the original car, but improving the result for sure.

This is not a question that I can answer in the way that this is another field of the automotive engineering, but I’m sure that we will get something quite unique, I will say.

Crew Chief Eric: And I know that could be a major sticking point, but it goes right back to the point about being clever. And so in talking with some fellow automotive historians and enthusiasts alike, one of the things that was brought up about the original construction of the DMC 12, because I don’t think Giorgetto wanted to build it in stainless steel.

It probably wasn’t his plan. It was John’s plan to [00:31:00] do that. But you have to kind of look at sequence of events here. Your father was friends with Malcolm Bricklin. Bricklin was experimenting with fiberglass and other composite plastic materials to build his vehicle. And we saw how that turned out. I’m speculating.

Your dad probably said, we’re not going that way, but I want to do something different. And stainless was the option because aluminum was too expensive to handle and deal with. So now if we think about that, it’s kind of this cutting edge out of box, quote unquote, clever thinking the DeLorean next generation vehicle.

Needs to be some sort of cutting edge space age technology that is yet to be produced on a vehicle. So something beyond carbon fiber. And to your point, Angel, that combination giving us that retro feel of a layer of stainless, but something else much more modern underneath. Being able to bridge that gap from the old to the new.

And so I think that would be my major rebuttal to everybody that’s, you know, banging their fists on the table saying it must be made of stainless steel is to kind of think about it from the perspective of the time to say they were very [00:32:00] forward thinking. So what’s our forward thinking approach with the new car?

Kat DeLorean: That’s a great point because that’s exactly what I said to the team when we were talking about, there are a lot of challenges. In forming stainless steel, not the least of which are, most people can’t do it. There’s a lot of challenges, and one of my father’s key factors was creating a car that was inexpensive to purchase and inexpensive to own.

And so what I said to my team was, I said, A lot of things have changed since back then. What was the positive intent? that my father had by creating it out of stainless. Part of it was style, but a lot of it was a couple of things. And I don’t know that I’ve seen these things discussed a whole lot. I know it may be out there, but these are definitely things my father talked to me about.

One of the ideas of the body panels was not just that it’s easy to buff out and you don’t have to paint after an accident, but it kept the cost down of replacing panels because. He could remanufacture them for you at a low cost because the doors could [00:33:00] come back and be melted back down. And then that allowed him to provide the parts for you at a low cost for low cost of maintenance over the lifetime of the car.

So when we look at carbon fiber, what I said to my carbon fiber guy was. Unless you can tell me how to keep it out of a landfill. It’s not going on my car. And so he actually has a carbon fiber recycling process that he’s working on. And we’re going to work to try and help him get a patent on it and improve it a little bit.

But that was my first thing I said, the positive intent is that It has to perform what my father wanted not just be lighter, not just be what everybody else wants. He was a unique thinker. So that’s how we’re coming to try and address it. And we have some amazing people coming up with really interesting solutions, such as the one that Angel has described.

We don’t know if it’s possible, but we sure are going to keep trying until we find a way. So the only way it’s not going to be In some form have some stainless option for it is because [00:34:00] we could not make it cost viable, but we will find a pathway to that and share that with the public and say, we couldn’t do it because this, but here’s what we could do to get there.

To try and allow even the public some control in whether or not the car gets made.

Crew Chief Eric: It’s also in the best interest of the consumer too, because if you think about it in terms of the eighties, when the car companies were struggling, it was also a cost cutting measure. I mean, your dad was probably going, if I don’t have to paint it, that’s thousands of dollars.

I’m saving per car, not having to figure out what colors we’re going to use and how to apply them and then clear coat and all this, the stainless is ready to go. I mean, when was the last time? You either wax buffed or painted your kitchen sink. Never. Right. It’s always looks the same from the day you put it into the day you got rid of it.

So the stainless is a really great option for that. It’s easy to clean, easy to maintain, and it doesn’t rust.

Kat DeLorean: It’s funny you say that because one of my guys wanted to put a ceramic clear coat on the stainless and I said, I’m not getting a stainless car. That’s going to force me to buy more [00:35:00] wax. Thank you.

No, a hundred percent. Yeah.

Crew Chief Eric: Yeah, no. That leads to the next big design question. Probably at the top of many of the more technical petrolheads minds, is the new car going to be mid engine or rear engine like the original?

Kat DeLorean: Before he answers that I’ve been telling people that my team is supposed to hold me to the standard, what would John do?

And in this particular case, I made a stupid remark to my team and they all went. Absolutely not. You cannot, because we were talking about the front end of the car and I went, what if we did make it front end? The words came out of my mouth and then I went, oh gosh, but they immediately all pounced and said, no, your father would not do that.

So I’ll let Angel answer what the car’s going to be after my faux pas.

Angel Guerra: What I did is to prepare a package. Whatever the option that you will take could fit. So I think that a mid engine will fit a bit better with the idea of to exchange the powertrain in the way that, for example, if you go for electric, you just need [00:36:00] to put the battery pack in the room that you dedicated to the engine.

You know, the battery pack is really heavy. So it should be closer to the center. You know, if you put the battery back, what is the engine? The engine is behind the rear axle. Not really good weight relation. To design the car, leaving a space for both options. It could be an electric car. In that way, you don’t need the space for the motors because you located the motors.

In the door axle and they are quite a small, this is not an issue. They issue with electric is where to locate the battery. If I located behind the driver, this is the best place because at the end is the natural way where it would be the engine, whatever would be the option. It will work. Her thing is working on that.

Um, what I have to say from my side is. that whatever will be the option, I will be ready to adapt the design to any option. But I’m thinking that the best way for me is to do something that could work with any powertrain. From the same point of [00:37:00] view, it’s not quite complex to say, we’re going to locate the engine or the battery pack.

It’s more important for me to know where will be the occupants, the driver, to see where is the H point, the vision angles and everything. This is what I really care about to design a car because I have to do something or the starting point of a car is to set the A pillar. This is quite important. Where is the A pillar of the car, the door opening, and then you know, that should be an engine in the front and the rear, you know, and I know that it could affect the proportion of the car.

But in our case, battery pack and engine will be in the same position. So it’s not a big issue. It’s not going to affect anything. If you go for electric, if you go for hybrid, if we go for internal combustion.

Crew Chief Eric: Is it going to be a two seat sports coupe or will it be a four seater?

Angel Guerra: Two seats. I’ve been working in cars, two plus two, four seats with a coupe roofline.

And at the end, the person in 9 11, there is this place for kids on the rear, but [00:38:00] who put their kids into a 9 11, you know?

Kat DeLorean: My best friend’s mother when I was a child did, and I never forgave her for it. So yes.

Angel Guerra: Yeah. I mean, I would like to have a 9 11 and to put my kids there, you know, but some people, to put this in this two plus two, this space to put some luggage in our case, I am planning to have a proper place for luggage.

I rather prefer to have two seats. And after that, to use that space for battery pack for the engine, whatever. And to put the luggage into a proper place, you know,

Crew Chief Eric: and that’s good because if we go back to the original car and the original intent, it was sold and marketed as a sports car, a sports coupe.

So I know that a lot of the purists have pushed back and said, well, we really love the little compartment behind the driver and passenger seats and yada, yada, and all this. I get that that’s because the engines way back under the rear end of the car. So you have all that extra space, but when you go mid engine, suddenly the firewall [00:39:00] is right there behind the seats.

And that’s the way of the world. Whether you’re looking at mid engine Porsches, Ferraris, Lotuses, and everything in between. But I think what’s more important to understand here is if you’re going to come in and make a big bang and play in the sports car space, the winning formula is going to be mid engine and you’re 100 percent right about the weight distribution.

If you want the DeLorean next gen to be a performer, people aren’t going, well, it doesn’t do this and it doesn’t handle right. You want them to come out of and go. The driving experience was 11 out of 10. Fantastic handles like a dream and go from there because let’s face it, there’s only one car left in the planet that is still produced with the motor hanging out over the back end.

And that’s the 911. And if you watch its evolution, it continues to get longer and the motor somehow gets closer to the driver every year. Even there, the Germans are like, just keep refining this idea until it gets better. So I’m glad that you I’m a fan of that idea. I think that’s going to make the car that much [00:40:00] better.

It’s going to put it in the hands of enthusiast drivers that want to show up to their next track day and go check out what my DeLorean can do against your Porsche, your Corvette, or your Ferrari.

Kat DeLorean: That’s actually a really good point. And my father, he drove an NSX because of the handling. I could outdrive a Dodge Viper in his six cylinder NSX because it handled like nothing else on the road.

That car is still to this day, one of the most amazing and fun cars I’ve ever driven in my life. And so this car. Has to be fun to drive. It can’t just be pretty. It can’t just be safe. It can’t just be standing with steel has to be fun to drive because that is being forgotten today by all of these numbers.

These statistics. It’s great that it goes really fast 0 to 60. Some of them go really fast 0 to 60 and not even in a straight line very well. And that’s What’s the point? So it’s really important that this not just handle well and not just be [00:41:00] beautiful. It has to be fun to drive. So no pressure. Angel.

Crew Chief Eric: I like the fact that you brought up the NSX because that always had Ayrton Senna stamp of approval.

So that speaks volumes about that car. It’s been a couple of years since your initial design ideas and the sketches and the renderings that we’ve seen. Is there anything about the car? That you see changing at this point. And let’s not talk about power plants and layouts so much as is there anything that you’ve gone back and said, I want to do differently.

I want to do this now that I know more than I did then any other accommodations that you’re making or anything that you’re thinking about?

Angel Guerra: Uh, yes, I need to adapt a bit. The proportions, the roof line is a bit too low. So I need to redesign with a shorter front bumper with a shorter frontier with Different roofline, but I will say that I will keep more or less the original design as it is, you know, I will implement new solutions that I [00:42:00] won’t say yet because of it should be a surprise to me now we’ve got, when we are doing this new model, I have to restart the car for the beginning, I have to rebuild the whole model, you know, and This process, I will use it to improve the model as a setting proportions, but also the surface treatment and also to define a bit more some elements that I didn’t because of this model was done.

I will say really quick. In my free time and just for visualization to make some renders and that’s all now that it’s going to be real and it’s going to be a proper car, you know, should be done in a professional way, getting much more about details. But one thing that I have to say from experience about this car, when you see a car in the pictures, maybe for you, it doesn’t look too good.

And you see in real life, I say, okay, now it looks better than in the picture. Always looks better in real life than in the picture. Always. [00:43:00] Always. So when you see a car that you like on a computer screen, on a magazine, whatever, and you see the car on the street, you will be surprised. You will look. I like when people say, I like the car.

When they see the car in the picture, because I’m sure that when they will see this model in production on the streets with the new treatment, with the new proportions, which everything how should be done in the personal way for a real car, people will say, wow, because I have the same feeling with the remark.

Never. We did this car, the whole car in the screen, because we didn’t have in that time, the money to bake a one to one model. To double check the design, you know, something that you do in any place. But in that time, Rimac, it was a kind of a startup company and we didn’t have the money. We wasn’t sure about the car.

We like it on the screen, but we wasn’t sure. And my boss told me, if you like the car on the screen, you will see it in real life. And I remember when I saw the first prototype of the Rimac Concept 2. Like, [00:44:00] wow. So you see the car on the screen and you don’t really appreciate the proportion. This car is as wider as LaFerrari.

The height is the same that LaFerrari. The proportion of this car is quite amazing. When you will see this light bar. Running through the whole car, lighting this LED with the stainless steel, you know, this combination of material of carbon fiber, stainless steel, LEDs, these proportions, unique elements, like at the door opening, the trunk glass with these plates, the rims, the feeling that I want to, to awake in people is the same feeling that when people saw the original DeLorean.

I have to create different elements, different, let’s say, tricks to feel the feeling. But I think that people will be shocked when they will see this car in real life.

Crew Chief Eric: It’s funny that you put it that way because the more I’ve looked at this car over the last couple of years, the word that has always come to my mind is the word timeless.[00:45:00]

And there’s very few cars that that adjective can be associated with. If you go back super early, 250 series, Ferraris, E type Jags, things like that, the classics. But in the modern times, we’re talking about The FD third gen RX seven, the mark four Supra, the Audi R8. When you look at those cars, you can’t tell what year they’re from.

And that’s true of this design being a couple of years old already. You look at it and you go, what year is this from? And 20 years from now, we’re still going to go. What year is this from? Because it looks so modern and so different, and it doesn’t take the design cues like you would see coming out of Lamborghini, where everything has looked like the Aventador for the last 18 years, and it’s just a variation thereof.

There’s iconic cars like the 911. The 911 has to look like a 911. The minute they change it, It won’t be a 911 anymore, but this, you look at it and again, it’s hard for your eye to stop because of the way it flows. And so the word I want to put with it, ironically enough, is timeless.

Angel Guerra: It’s hard [00:46:00] sometimes to don’t follow the trends on automotive design.

But if you want to make something different, you have to, but I didn’t create anything new in the way that I usually follow the topology of the original DeLorean. This is really easy. If you make a cross section of the car, you know, through the door, you see that this section. From the roof to the side, plus runs down in one line and then change the direction in the opposite direction.

You know, the front and the rear of the delo is different, but the topology is the same. So you just need to implement this into a new model. Nowadays, for example, it’s, I’ll just say, it’s hard to find cars like they, they did it. For example, I think about the the first Audi Dtt. It could be a good.

Interpretation about what is a timeless design. So think about this car. You say, okay, this is, it looks quite simple, but no. All the set line runs with the design lines, you know, from our rear are different, but has the same [00:47:00] topology. You know, maybe before you start to sketching, you have to think a lot. If you want to make something like this, in this case, I tell you it was easy because I only had to look to the previous model.

And to identify why this model is so unique and timeless, and then not to copy, but you need to transfer these elements into nowadays, and then you have to add some new elements, of course, because if not, we are doing the same thing that they did it 40 years ago, but with a model training. And this is not what I wanted to do.

I want to do something that reminds you to the original DeLorean, also that looks futuristic and in 10 years will still, will look good.

Kat DeLorean: Timeless is a great way to go with this car. Cause I remember looking at some of the new cars and then I saw DeLorean next to them not too long ago. And I went, wow, that car just stood the test of time and it looks.

It’s very, very modern. But to your point, Eric, about the flow of the car. So I went to [00:48:00] art school and one of the first things you learn in design one is how to create art. I use photography a lot as an example when I talk about this because you can take a picture this way and you just frame it a little bit different and it’s a whole other photograph.

The principles of design say to look at how we experience life. One of it is how you read a picture. In some cultures, you have to consider they read backwards. So which way do your eyes naturally flow through things? And then how do you create a design that makes your eye continue, like you described? So that is the ultimate goal of any design at the fundamental foundation of proper design is to get your eye to continue to flow through the whole thing.

And I think that element, I couldn’t put my finger on it. I think you just described the quoi. I think that’s it. When I first saw this car and the renderings of it, my breath was taken away. No matter how many times I saw the video, it still happens, but it was that visceral react. I had that reaction. I [00:49:00] had the reaction to this car that everybody has to seeing the first DMC 12.

It’s stunningly beautiful and simplistic in how gorgeous it is.

Angel Guerra: I will tell you one trick that I use it. And also I will show you the way of thinking of a designer. If you take the original model, there is one element that for me looks too old for me. This black stripe running through the whole car, because it’s a plastic that is not glossy and looks like something from the 80s.

So when you say, okay, I need to transfer this. Element into the, the new car, but this looks quite old school for me. What should I do? Should I delete this element or what to do? What I did is like, okay, this element should be in the new car. And for me, it looks too old. So I will do that. This element, it will be.

The most sophisticated high tech thing in the car. So the car will be stainless steel, whatever, but this black stripe around the car, it will be a full LED that it will [00:50:00] be the lights of the car. Also, I will implement into this black stripe. The cameras, the sensors, the lighters, whatever, you know, all the high technology distribute around the car in this black stripe.

This is what I say that this is the clever way of thinking that John DeLorean will try to put into this model. So you keep it and you transform this element into something futuristic. At the end, this is something unique. My idea of the front lights running, not only on the front area of the front bumper that Also turned into the side, you know, this is something I will say new, many brands they are doing right now and the front on the rear too.

This light bar that is running also the side, maybe it’s not legal in Europe to turn this on when you’re running, but when the car is parked and you need to open and close the car or whatever, you can activate it and It could be a nice welcome opening show, you know, for example. I

Kat DeLorean: actually have a plan [00:51:00] for how to argue that it should be allowed in other circumstances other than just parks.

I definitely think it will not pass regulations to have it on all the time. Because then that will result in everybody putting LEDs everywhere. However, as I see it, it’s very helpful for side view. If you’re parking or you’re trying to, you know, move your car around, you can actually see at night what’s around your car, if you can use it for very slow backing up and things like that.

So it’s such a cool feature that was. It was a style feature, but it has these implications that I keep thinking about. Well, it would be very useful for me not to hit the squirrel next to my, I

Crew Chief Eric: don’t know. I don’t know. With goldwing doors, you just open them and look out the side. You can see all everything you need to, right?

Kat DeLorean: Yeah. So there’s one fan who’s really particular about hating that people drive row with their doors open and they say, could you please make it so the door automatically closes if you start moving while it’s open? And I said, I’m pretty sure that will get [00:52:00] me stuffed in a trunk and left somewhere because everybody will be mad that they can’t drive her out with their door open.

But we’ll look into it for you because it’s a safety feature.

Crew Chief Eric: One of the things that John had in mind for the original DMC 12, it was really important, was a target weight. A lot of designers go after a target weight because they want the car to perform at a certain level. Now, because of different things in the motor and packaging and this Now the DeLorean was slightly overweight from its original target, which I would believe is around 2, 400 pounds is what I’ve read.

So what’s the proposed weight of the new design? You, you mentioned that dimensionally it’s similar to LaFerrari, but what are you thinking? Weight wise, where will it clock in?

Angel Guerra: Nowadays, the weight is the tricky area in any car. Most of them, they don’t release the official weight. But it should be something between in kilos or let’s say in tons, 1.

7, 1. 6, 1. 8. It’s impossible to make something [00:53:00] lighter, to be honest. Even LaFerrari’s with the driver and everything is 1. 6.

Crew Chief Eric: So about 3, 200 pounds.

Angel Guerra: Yes, because for example LaFerrari, they have, it’s a kind of hybrid, you know, with the girls and everything. All the sports cars and hypercars, they will be kind of hybrid, you know, and they have electric motors, they have battery pack, plus the engine that is a big engine.

Even when you create a carbon fiber monocoque or they steer in carbon fiber, the weight of the car is impossible. I think you might be able to reduce 1. 6 because of. Also, the interior should be quite comfy. You need a lot of elements for comfort, AC, security reasons, you know, you need the crash screen on the front, the structure on the rear, coolers, fans, a lot of components.

So the only car maybe nowadays that It’s quite light for the standard. She’s the McLaren. They say that’s the only one that is lighter than the others. One on it [00:54:00] goes. A lot of compromise for the occupants regarding the comfort. You have a really good performance on the track, but not for daily drive. So the weight target is quite important.

It should be optimized, but at the end, should be something between 1. 6, 1. 8 tons, more or less.

Crew Chief Eric: If you go full EV, we get it. But if you go petrol powered or petrol hybrid, who’s going to supply the motor? What are you thinking? And what size would it be? Is it some sort of turbocharged, smaller engine? Are we going V8?

What are we talking?

Kat DeLorean: True to my father. I can’t decide on the correct powertrain without a little bit more experience and experimentation. So we actually have three currently in development, and we have not just ice, but hydrogen, and then also our electric. And when it came to the A turtle combustion engine.

I have a smoky eunuch. You know, I don’t want to say that because I don’t want to [00:55:00] pull the eunuchs into this without talking to them. But I feel like that’s what I have. I call him Smokey Wolf because he also has been able to fix everything that’s come up so far. But his name is Chris. And you know what?

I’m gonna murder his last name because it might be Italian. I don’t know. I want to say Chinchis. Because it’s CI and CIS, but he builds top fuel dragsters. I said to him, I made the comment, we should figure out how to make a smoky engine. I want a lot more horsepower and to get killer gas mileage. His stated goal is a thousand horsepower and 80 miles to the gallon.

How close we get to that. I don’t know. I also told him, please don’t kill me. So maybe a little bit more weight in the car would be good. He’s a little insane, and I love it. But that’s what we’re doing. And he’s not just working on one option. He’s examining multiple different ways in which we can meet the challenge of more horsepower, better gas mileage.

And one of the key components that I’ve asked him to try and take a look at is [00:56:00] can we design something that will do this that we can offer to. Existing ice cars because it’s not just about building a new car that people could buy. I love my cars. I’d like to save them. I would like to find a way to make them last as long as possible.

I would also like to find a way to maybe offset them killing the planet, all of these other things so that everybody’s happy if I can. then amazing. If I can’t, then at least I try, but we are definitely going to have something that is John DeLorean worthy when it comes to the internal combustion engine, because I have a true genius working on it.

Angel Guerra: For example, in Bugatti, the new Bugatti will be a hybrid. It will have a combustion engine plus motors, but the combustion engine, it will be a big one. So I think for the next 10 years, we will have combustion engine soon. I hope that they will find a way to fly these engines with synthetic petrol, you know, um, I hope that they [00:57:00] could survive in this crazy thing.

Kat DeLorean: I think we will. I think it’s just a matter of figuring a few things out. Everybody wants to move completely away from internal combustion engines. I actually believe that’s the wrong answer. I believe the answer is finding a way to make them a viable solution. If for no other reason, then that’s a lot of cars to put in the trash.

So let’s do something with them. But I think there are alternative viable options that we’ll be able to find as we start to focus on availability of all things. I love electric cars. My dad loved electric cars. He really supported the electric car movement when it started, but we do have to examine the challenges that we have with electric cars.

You have the battery problems with the sourcing of the materials and issues with the fires that happen. We’re studying all of these technologies. So we may just come back around to some hybrid version of these two technologies is the answer that we need. That allows us to even run it without spilling more carbon into the air.

Crew Chief Eric: Not only that, [00:58:00] if you want the DeLorean next generation to take a seat in the motorsports world, you have to take a page from Acura and a lot of the other design houses out there where there are going hybrid because right now nobody has an all EV. Car to hint, hint on top of that. I’d love to see this design in some sort of livery.

Maybe, maybe we’ll go old school, little Alitalia or something like that. But, you know, it would be nice to see a DeLorean out on the racetrack alongside of the other cars in places like IMSA and WEC and world challenge and things like that. So who knows, right? The future is still unwritten, but speaking of the future, let’s get away from the design a little bit.

So Angel. How are you going to be involved in the build process of the new car? Are you going to be involved in everything that’s happening in Detroit and so on? How do you see yourself involved in the team longer term?

Angel Guerra: The process, the design processes is not so cool as it looks. It is actually, it’s really hard.

So my plan is to create the exterior, the interior, but at the same time, when I release all these parts to [00:59:00] keep the process with the guys that will produce these parts, I’m sure that they will have. Issues when they will try to create the tooling and then they will come back to me and say, Hey, you need to change the blah, blah, blah, blah.

This is a long process. Let’s say that 30 percent is to design the car and 70 percent is to follow the design into production. I mean, my plan is to finish the design of the interior and interior and when I will release the parts for the guys, I will try to be close to them to solve any problems. There is a lot of work do because of there are many elements of the car that should be done.

For example, the lights or some components like the mirror, the rims, speaking about interior, there are hundreds of parts, so there is a lot of work to do. I mean, this is my daily job. I’ve been working on several prototypes, show cars. production cars. For example, the Rima Carnevera, the show car, it was done only by two persons, my boss and me.

You know, the show car that we [01:00:00] presented in Geneva in 2018, exterior and interior was done by two persons. So for me, it’s a challenge. to do the new DeLorean, but it’s also my daily job. I think that this process, it could take 10 months maybe to finish everything exterior and interior and also to, to have the guys to do everything out of the tooling.

And then we will see. I have a, let’s say a fixed position in Bugatti. Um, after many years, I was able to work from home. And come back to my place and start a family before was impossible. You have to be in the design studio, um, that they feel confidence to send you work. And the next day they have back this work.

And they can use it with the time and working really hard. I was able to work now from home. Um, for me, it works. Quite well, I don’t see any problem working here in Spain and sending out my data to Detroit, whatever, and double check with the guys, the [01:01:00] issues, solving the problems. So a bit complex to create a car and to produce a car.

I’m speaking about parts, you know, exterior and interior, maybe not the chassis. There is a designer who must be in charge of this part because are visible. I’m sure that if I have the opportunity to start to finish this project, it will look very good.

Kat DeLorean: In the beginning, Jason and I said, well, why don’t we make this part of the car out of carbon fiber?

Cause we had somebody who could do it easily. And they said, well, Angel said black plastic. Who do we listen to? I said, let me be clear. Angel’s my first dream that comes true with this company. This is his car. This is his dream. This is his tribute to my father. And so he gets to be involved the entire time in all of these decisions because it’s his vision.

Yes, I have input from my father’s side and things like that, but it’s important that this be his tribute to my father. So if I take away what he has, then it loses its [01:02:00] JZD ness in my opinion, because that’s what it is. That’s why it’s called the JZD. Interestingly enough, I did not know that my father’s working name for his first model was JZD.

So this was a really interesting coincidence. They changed

Crew Chief Eric: names a couple of times. DSV, JZD, DMC. Yeah, exactly. So circling back to the beginning of our conversation really quick, you’ve already mentioned a couple of cars that you’ve worked on. So if people were interested in kind of associating you, Angel, with some of the vehicles that they’ve seen in the magazines or on the road or at their local Cars and Coffee or Concours event, what other vehicles have you worked on over the years that people may recognize immediately?

Angel Guerra: I mean, the most famous for now and the one that is a trend nowadays is the Rimac. The official name is Rimac. I think it’s the first electric hypercar. Now you can see many videos, reviews about the car. There is one very famous that, uh, was already published. The one from Tokyo

Crew Chief Eric: where Richard Hammond drives it off a cliff.

[01:03:00] Yeah,

Angel Guerra: no. Yeah. I mean, it was the original concept one. I also work it on that car, you know. But there is a new episode with the new top gear, you should take a look on this on that video because of the car is, it’s amazing that there is a drag race with a Lamborghini Aventador SPUJ, the sport version of the Aventador, you know, you must watch it.

And I’ve been working also. on normal cars, you know, sedans, but also motorcycles. For example, BMW Motorrad. I worked in a BMW RR. I don’t know, it was a naked from the earliest 2010. The last one and a half year I’m working for Bugatti, but this is quite confidential what I’m doing right now. I’m in charge of really cool project that I hope that in this project, it will be real one day.

You know, the design should be done three years before they release the model. So for example, now I can speak about the Remak because they [01:04:00] presented officially, but I’ve been working on projects in 2019 that I can’t speak yet because they didn’t release it. I can’t even mention the brand or the model that I’ve been working for because they didn’t release the project yet.

So this is something that sometimes is a problem because of in this time in Bugatti I’ve been working on cool projects, but probably until three, four years I can’t put on my portfolio or in my CV these projects.

Crew Chief Eric: I think our fans would be remiss if I didn’t ask you at least one very crucial Pitstop question, which is As a car designer, in your opinion, what is the most beautiful car of all time?

Angel Guerra: I would say it’s impossible answer. Maybe was the sixties when it was a time that you can have the fastest car and the most beautiful car at the same time because they didn’t care about aerodynamics, whatever. You know, nowadays, if you want to make supercar, hypercar, you have to care about safety, [01:05:00] ergonomics, uh, aerodynamics at the end.

You have a a lot of constraints. You want to make it beautiful and nice, but engineers say, no, you need to put our air intake here because of cooling. And you say, no, I don’t want to put it there. I want, um, because I want to put it below because I don’t want that you look at this, uh, I didn’t take, they say no, but this is the best.

Place to put the air intake and you have to find an agreement in this fight. At the end is a compromise between everything. But in the 60s, I think we have the most beautiful cars on the fastest. Think about the Miura, the GTO, the GT40. The cool thing is that the guy who had these cars, they could say, I have the fastest car and the most beautiful at the same time.

Something that nowadays is quite impossible. I’m fascinated about the GT40 because it’s a legend in racing. When I saw this car in my first time in real to see how low for me, it’s a car that is like a 10 [01:06:00] yards forward in time. I say 10, but I could say 20. If I think about a beautiful car that for me is also an icon, the Citroen DS, you know, incredible design for that time.

And especially, I don’t know how a mind in that time could do something like that. For me, it was amazing.

Kat DeLorean: That was my thought when you asked him what the most beautiful was, is how do you choose because you can find different beauty in every car for different reasons. And it’s like you asked that card. I start running through all the cars in my head.

Usually

Crew Chief Eric: the reaction is based upon where your loyalties lie with manufacturers, but also it’s usually the car that got you excited as a kid. So you’ll hear people say 365 GT4 Daytona. E type Jag, Ferrari 250 Testarossa, the 911, the 356, because those are the cars that inspired them as petrolheads. That’s why we always ask that question.

Angel Guerra: For example, Ferrari, nowadays, I don’t like the Ferrari Daytona, to be honest. I don’t think that this car in 10 years will look. [01:07:00] But the time is a good thing to see how a model is good or not, you know.

Crew Chief Eric: The DeLorean Legacy Project is dedicated to extolling the positive impact of John Z. DeLorean and his creations on the world.

They continue to this day through his fans and the owners of the cars. The DeLorean Legacy Project’s mission is to change the world one person at a time. To learn more about that effort, you can log on to www.deloreanlegacy.org or follow them on social at DeLorean Legacy on Twitter. If you want to catch up with Kat, you can follow her on social at ka DeLorean on Instagram and at Catherine dot DeLorean on Facebook.

And if you’re excited about the new. Next generation of DeLorean, you can check out the vehicle that has been inspired by Angel’s design at www. dngmotors. com or follow the car’s progress at dng. motors on Instagram and Facebook or at dngmotors on Twitter. That being said, Angel, I can’t thank you enough [01:08:00] for coming on the show and telling us about what it’s like being a modern car designer and bringing to life something that is going to be timeless.

A study of the master’s work brought into the modern times for all of us to enjoy. And like you said, closing that chapter on history and bringing everybody into this. Next generation of what it means to be a DeLorean owner and enthusiast. And to Kat, I can’t thank you enough as well for coming back to break fix.

And we look forward to seeing you again soon.

Kat DeLorean: I would like to thank my entire team that’s working right now. They are all working very hard and they’re doing so with incredible passion for this project. They’re all staying up very late at night. Can’t go to sleep because they’re excited about what they’re inventing for all of you.

And so any success that we have. A lot of people are going to say yay Kat and it’s yay team. I like to tell people if this all goes wrong you can blame me but if it all goes right you get to blame them.

Angel Guerra: Thank you for this interview, thank you to Kat because for me it’s amazing [01:09:00] that I’m working in this kind of project.

I can’t believe that I’m helping to keep John DeLorean’s dream. And I feel really proud, really, really proud is not to work for reenact for Bugatti. This is nice to say for some people, this is cool. But for me, what really made me happy, this kind of projects and sensing that they started as a exercise of free time and to try to make a tribute to a person who did it really well in the automotive world became.

This This is a really amazing history. I will try to do my best to continue this history into the history that should be a nice one. And this is the only thing that I’m looking for to make something for a new generation. Also, that you can use it as an inspiration to see that if you follow your dreams, and if you work hard, everything could be possible.[01:10:00]

And thank you to Kat and thank you to everyone who is involved in the history. I’m sure that when we will present the car and people will look at the real car, it will open many doors. I’m dreaming every night with that day when we will present the car.

Crew Chief Brad: If you like what you’ve heard and want to learn more about GTM, be sure to check us out on www. gtmotorsports. org. You can also find us on Instagram Also, if you want to get involved or have suggestions for future shows, you can call or text us at 202 630 1770, or send us an email at crewchief at gtmotorsports.

org. We’d love to hear from you.

Crew Chief Eric: Hey everybody, Crew Chief Eric here. We really hope you enjoyed this episode of Break Fix, and we wanted to remind you that GTM remains a no annual fees organization. And our goal is to continue to bring you quality episodes [01:11:00] like this one at no charge. As a loyal listener, please consider subscribing to our Patreon for bonus and behind the scenes content, extra goodies, and GTM swag.

For as little as 2. 50 a month, you can keep our developers, writers, editors, casters, and other volunteers fed on their strict diet of fig newtons, gummy bears, and monster. Consider signing up for Patreon today at www. patreon. com forward slash gtmotorsports. And remember, without fans, supporters, and members like you, none of this would be possible.

Highlights

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

  • 00:00 The DeLorean DMC 12: A Cultural Icon
  • 00:58 Meet the Guests: Kat DeLorean and Angel Guerra
  • 01:16 Angel Guerra’s Journey to Becoming a Car Designer
  • 04:22 Challenges and Triumphs in Car Design
  • 12:22 The Vision for the New DeLorean
  • 13:08 Inspiration from Giorgetto Giugiaro and John DeLorean
  • 16:37 The Future of Car Design and Education
  • 27:15 The Stainless Steel Debate
  • 35:05 Engineering and Design Considerations for the New DeLorean
  • 37:39 Debating the Ideal Sports Car Configuration
  • 39:07 The Importance of Driving Experience
  • 41:11 Design Evolution and Challenges
  • 44:50 Timeless Design Philosophy
  • 49:09 Innovative Features and Technology
  • 52:10 Weight and Powertrain Considerations
  • 58:35 Involvement in the Build Process
  • 01:07:06 Reflections and Future Aspirations
  • 01:10:21 Closing Remarks and Gratitude

Bonus Content

Learn More

The DeLorean Next Generation (DNG)

Based in Seville, Guerra has spent the last dozen or so years working as an automotive designer – five of which were with Rimac Automobili – giving him the skills and resources needed to bring the modernized DMC-12 to fruition. Guerra’s 2021 DeLorean retains the original car’s same front-hinged hood, rear gate, and gull-wing door design, though its boxy 1980s silhouette has been streamlined and transformed into a lower-profile shape, more in line with that of modern supercars. Guerra has also given the 2021 version a larger, more modern set of the DMC’s original Giorgetto Giugiaro-designed finned cast-alloy wheels. To see more of Ángel Guerra’s 2021 DMC DeLorean concept you can check out the the DNG website for more information.

Photo courtesy Angel Guerra, DeLorean Legacy Project

To learn more be sure to check out www.deloreanlegacy.org or @deloreanlegacy on Twitter. You can catch up with Kat on social @katdelorean on IG, @kathryn.delorean on FB. You can learn all about new DNG Motors vehicle inspired by Angel’s design at www.dngmotors.com or follow the cars progress @dng.motors on Instagram/FB or @dngmotors on Twitter

Kat DeLorean’s mission is to honor her father’s legacy and reconnect with the fans who kept the DeLorean dream alive. When Angel reached out – having registered a domain Kat had been trying to claim – it felt like fate. “You came from my dad,” she told him. “That’s the only explanation.”

Their collaboration blossomed into more than a car. It became a movement to educate, inspire, and empower future designers. Together, they’re developing a program to teach automotive design, engineering, and production – accessible and free to students who might otherwise be shut out by cost or geography.

Photo courtesy Angel Guerra, DeLorean Legacy Project

One of the most pressing questions from fans: Will the new DeLorean be made of stainless steel?

Kat’s answer is heartfelt and pragmatic. “That’s our goal,” she says. “But we also want to tell the story of the challenges my father faced.” From tooling costs to material limitations, the team is exploring modern composites and production techniques that honor the original while embracing innovation.

Angel adds that today’s technology offers new possibilities – lightweight stainless steel layers, carbon fiber integration, and more. The goal is to make the car not just feasible, but exceptional.


The Emotional Resonance of Design

Angel’s first encounter with the DeLorean was through the Spanish broadcast of Back to the Future. He recalls the moment vividly: the car rolling off the truck, the stereo sound, the goosebumps. “It wasn’t about the time machine,” he says. “It was the car itself. I knew I was seeing something unique.”

That feeling – of awe, of inspiration – is what he’s poured into the new design. Kat sees it too: “It tugs on that familiarity while being new and exciting. It’s the supercar built by love.”

The new DeLorean concept is more than a car. It’s a story of perseverance, passion, and purpose. It’s a tribute to two legends and a gift to the fans who kept the dream alive. And it’s a beacon for future designers who dare to believe that they, too, can shape the future. As Angel puts it, “You’re a car designer the moment you start sketching. Getting paid is just a detail.”


Guest Co-Host: Kat DeLorean

In case you missed it... be sure to check out the Break/Fix episode with our co-host.
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The following content has been brought to you by The DeLorean Legacy Project and DNG Motors, Inc

Motoring Podcast Network

Racing in Her Blood: Taylor Hyatt’s Journey from Trackside to Club Racing Glory

When motorsports are a family affair, the paddock becomes a second home. For Taylor Hyatt, a third-generation road racer, the roar of engines and the rhythm of Summit Point Raceway have been part of her life since before she was born. In this episode of the Break/Fix podcast, Taylor shares her journey from childhood volunteer to Rookie of the Year in the Washington DC Region of the Sports Car Club of America (WDCR SCCA).

Taylor A. Hyatt on Break/Fix Podcast

Taylor’s story begins with her father, who started racing at Summit Point in the 1980s while attending Shepherd College. His passion soon pulled in her grandfather, and together they raced while Taylor’s grandmother crewed behind the scenes. Later, her parents – both EMTs – met at the track, parked in front of Chez Summit. “When people ask if I have racing in my blood,” Taylor laughs, “I probably do.”

Tune in everywhere you stream, download or listen!

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That legacy continued when Taylor met her boyfriend Mike at Summit Point, echoing her parents’ story. By age 10, she was volunteering at SCCA events, helping with registration and timing and scoring – absorbing the culture and community of club racing from the inside out.

Taylor got her start in the WDCR SCCA HPDE (PDX) program at Summit Point’s Jefferson Circuit in a Dodge Neon!

Taylor’s first taste of motorsport wasn’t autocross or HPDE – it was rallycross. Co-driving with her dad in street cars taught her early lessons in car control. In 2017, she transitioned to HPDE with WDCR SCCA, and the bug bit hard. “I wasn’t sure racing was for me,” she admits, “but after that first HPDE, I wanted more.”

Her progression from novice to advanced HPDE driver laid the groundwork for competition school, where she learned the racecraft that HPDE doesn’t teach – defending corners, managing traffic, and making split-second decisions. “HPDE is tactical,” she explains. “Club racing is strategic.”

Spotlight

Synopsis

In this episode of the Break/Fix we interview Taylor Hyatt, an accomplished female road racer, instructor, and event coordinator in the Washington DC region of the Sports Car Club of America (SCCA). Taylor shares her impressive journey in motorsports, beginning with her early exposure to racing through her family, her unique experiences in club racing, and her notable achievements, including finishing second in the 2021 WDCR H production championship and being named the 2021 Rookie of the Year. She discusses her progression from HPDE to competition school, the importance of mental preparation, the challenges of securing sponsorships, and the instrumental role of volunteers in motorsports. The podcast also highlights her efforts in charity coordination, targeting community support, and encouraging more female participation in racing. Taylor opens up about her balance between personal fitness, mental readiness, and utilizing simulation rigs for track preparation. Her story reflects a commitment to fostering a more inclusive motorsports community while continuing to pursue her competitive racing goals.

  • How did you get into cars, and more specifically Club Racing? Did you come from a car/racing family? What made you into a Petrol-head, did it start as a kid? Or did you come into it later in life?
  • Did you start in club racing, or use a “gateway motorsport” like AutoCross, Karting or HPDE to work your way up?
  • Take us through the Club Racing experience, from School to Competition – what’s it like?
  • What kind of car are you running, and Why? How involved are you in the build / maintenance of the car?
  • How different is the H-Production GTI vs the ITA/ITB GTI?
  • What tracks are you running at? So far, which is your favorite, which is the worst, what’s on your bucket list?
  • What do you do to prepare for an event/race? Do you have a workout routine? How do you mentally prepare? Do you use simulators?
  • One of your other jobs is “Charity Coordinator” at the WDCR, what does your role entail? How can people get involved in your work?
  • Probably one of the most difficult things about racing (and often overlooked) is the funding needed to keep things going. Talk about your budget – and You have some opportunities for folks to sponsor you?
  • What is your goal? Pro? SRO World Challenge > IMSA? LeMans? Where do you dream to be in Motorsports in the next 5+ years?

Transcript

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

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

Crew Chief Eric: Our guest tonight is a female road racer, instructor, and event coordinator with the Washington DC region of the sports car club of America. She has had several years of competitive experience, two years of road racing experience, and finished second place in the 2021 WDCR H production championship.

With two wins under her belt. Taylor Hyatt was the 2021 rookie of the year, and she’s here to share her motor sports journey with you. So let’s welcome Taylor to break fix.

Taylor Hyatt: Hi, thanks for having me.

Crew Chief Eric: And joining us tonight [00:01:00] is Tanya, our executive producer of the drive through series. So we’re looking forward to this little chat.

Like all good break, fix stories. Everyone has a superhero origin. So tell us the who, what, where, and when of Taylor Hyatt. How did you get into cars more specifically club racing? Did you come from a racing family? What made you a petrol head?

Taylor Hyatt: Like many other SCCA members, my journey started by going to races with my dad.

We spent a lot of time at the track when I was a kid. So I got involved from a really, really early age and actually maybe even before I was. Born. So there’s a couple of interesting pieces to my story that maybe some others don’t have. I’m a third generation road racer. My dad started at summit point in the eighties while he was supposed to be going to college at shepherd.

I say supposed to be, uh, once he was hooked, he got my grandfather involved. He started racing and it really just became a family affair. My dad and my grandfather were racing and then my grandmother was crewing and doing all that behind the scenes stuff as well. [00:02:00] Then fast forward to the late 80s, early 90s, my dad had kind of backed off from road racing a bit and become an EMT at some point where he met my mom, who was also an EMT.

So they met at some point, you know, both EMTs working there.

Crew Chief Eric: Parked right there in front of Shea Summit. As cozy and romantic as that is, right?

Taylor Hyatt: Absolutely. So when people ask me if I have racing my blood, I’m like, you know, I probably do. Like, we don’t want to go down that road, but I probably do. They saw each other across a crowded paddock.

Right. Exactly. Yeah. And it’s a great story. I love it. And my boyfriend, Mike and I, we actually met at Summit too. So it’s kind of a cool story to have to tell others. My parents were involved for a long time and then I started attending SCCA road races, probably around 10 years old, regularly going there with my dad.

And as soon as I started going, I was volunteering. So I was the little kid in registration. That’s like trying to help with everything. The kid in [00:03:00] timing and scoring, like, you know, just running around trying to do anything. I could do to help and just be there.

Crew Chief Eric: One of our favorite Pit Stop questions to ask as part of the origin story, especially if you grew up around cars, is what kind of posters did you have on your wall?

Taylor Hyatt: It’s so funny that you say that. I didn’t. I really didn’t. And I think it was because I was so involved that I wasn’t that kid that was like, Oh, look at that car. Oh, I need this poster. Because I saw them all the time, you know what I mean? So it just wasn’t like all the kids in my class, if we’d be out in recess, like, look at that car that just drove down the street.

I’m like, that’s cool. I guess, you know, I see better than that every weekend. So I really wasn’t that kid with a bunch of posters on their wall.

Crew Chief Eric: Being involved in racing from a very early age, were there cars that you were drawn to or that you gravitated to when you were at the racetrack? You’re like, man, that’s really cool.

Taylor Hyatt: Porsches have always been my favorite. If I had to pick really, I want to get my hands on anything. I want to drive them all. I want to touch them all. I want to be in the mall. I [00:04:00] just love cars. in general and racing.

Executive Producer Tania: So as you were stepping into your foray in club racing, what did you use as your quote unquote gateway motorsport or did you have one meaning autocross or karting or did you start in HPDE first?

Taylor Hyatt: HPDE or autocross would have totally made more sense than where I actually started. Again, with my dad, SCCA and I went to a few rally crosses with him and really. Fell in love with the group of people that were out there doing that every weekend. The cars, they just pick stuff off the street and bring it and go rally crossing.

So I did that a few times with my dad. We actually co drove a couple of times over a span of a couple of years. It was great. It really taught me car control at that point, which I didn’t really know that I needed, but it helped a lot with that. After that, I did that around 2016, 2017. And then in the fall of 2017, I did my first [00:05:00] HPDE with the Washington, D.

C. region of SCCA. From then, it was just a matter of time before I was racing. I really caught the bug at that point. I wasn’t too sure that I wanted to go down that route. I had volunteered for so long and I love that side of it. I just didn’t know if racing was going to be for me. But it didn’t take long after that first HPD event to want to do more.

Crew Chief Eric: So there’s plenty of people that go through that same experience that you just described and some cross that threshold and we never see them again. They end up in club racing and you know, we look fondly on the times that they spent with us at HPD and then there’s other folks that are much more sort of.

Timid about making that transition since you went through that whole journey, HPDE to competition school, and now full time into club racing, kind of walk us through that journey. What’s that like?

Taylor Hyatt: One thing about HPDE, you can always get that constant feedback. So I really enjoy that part of the high performance driving, having coaches either in car, [00:06:00] in class combination of the two.

I really enjoyed that part. And then. That made a very easy transition into competition school. Moving up through the ranks within HPDE, you’re starting as a novice, you’re moving on into intermediate, you’re soloed, you’re advanced. It’s a very gradual process that really sets you up for competition school, if that’s where you want to go.

So competition school really teaches you that racecraft, that you’re not going to get in HPDE because that’s not the point of it. Competition school, having That race craft, then again, an easy transition right into road racing, where you just continue to perfect those skills.

Crew Chief Eric: People make a lot of assumptions about what club racing is like.

I’ve also heard that, you know, everything you learn in HPDE, other than which way the track goes, sort of gets checked at the door, right? It’s very much apples and chainsaws as a comparison I like to make, because to your point, there’s race craft involved in club racing. So what are some of the things that you kept with you or that you [00:07:00] brought from other disciplines into club racing?

Taylor Hyatt: HPDE will teach you the basics, and from those basics, you have a great head start into building that racecraft. One of the things they teach you in HPDE is, you get to your corner, you do your braking, then you do your turning. It is one step, then the next, then the final step. When you move into that racecraft, you’ve got to be doing all of those things at one time, but controlling the car at the same time.

So I think you use all of those things. You just have to get a little better at them, start moving those things closer together that they’re teaching you, and not just Step by step by step, it all kind of comes together and you’re doing it all at the same time

Crew Chief Eric: and all of us on this call are HPD instructors as well.

So you kind of realize that HPD is very tactical, right? To your point, step a step B, step C, but club racing becomes very strategic. Not only are you doing all those things, you’re dancing with the car, but you’re. Being defensive, you’re being aggressive, [00:08:00] you’re blocking apexes, you know, you’re defending corners, you know, you’re looking for other people’s mess ups.

Those are things that you learn pretty much on the battlefield of club racing compared to HBDE. They don’t teach that, I guess, aggressiveness until you get to competition school.

Taylor Hyatt: Absolutely. And another big piece of that is even if you’re in advanced or in an open passing situation, it’s very limited.

People don’t want to hurt their cars that they have out there. So even if you’re in that open passing, It’s so limited that you don’t get the experience, and I will say that was one of the more difficult things to kind of get over moving into club racing. Someone might be next to you and you’re not really aware of it until maybe sometimes it’s too late.

I mean, you really have to be aware all the time of your surroundings. You’re not just waiting until you get to a straight. And that’s where everybody’s going to pass you, or you come out of the corner and you know, to say to one side or the other, it is putting all of those things together, but then also car can pass you in the apex.

You’re defending, as you said, I [00:09:00] mean, you’re never going to get that in HPDE, but all of those skills apply in club racing.

Executive Producer Tania: Another big difference with HPDE versus the club racing is even in those open passing groups, when you’ve become, you know, super advanced, the cars are not. The same, like if you’re in a club race and it’s club racing, E36 is okay.

Everybody’s got an E36, the balance, the power, they’re all the same. Whereas in an HPDE, you could have a Lamborghini coming down in on you and you’re in Honda Civic, that passing experience is also going to be very different than anything you’re going to experience in the club race setting.

Taylor Hyatt: It is to a point.

So I race in a multi class group. We do have some of that speed differential, especially on the longer straights, and one thing I will say. I drive a 1987 Volkswagen Golf with all of like six horsepower, right? So when I was doing HPDE, I was hesitant to move into intermediate, into advanced because of the speed differential.

I’m telling you, I have a [00:10:00] really super strong left arm from all the point buys that I had to give. I drove my line. I was great. I have the skills, but my car is never going to keep up. One of the downfalls of HPDE that I would say there is that big speed differential, but you’re going to have that in club racing at some aspect as well, just because a lot of SCCA is multi class racing.

But one of my favorite stories about HPDE, I had moved into intermediate and I’m really thinking I’m just great, right? I’m doing good. I’m hitting all my marks. And this Mustang in front of me is just. Not moving in the corners will not let me around on the straights, nothing. And I’m like, man, I don’t, I don’t know what to do.

I’m going to have to pit because I can’t learn anymore. Just following this Mustang seriously, 80 horsepower, keeping up with this Mustang. So we come out at turn 10 at summit and I see this hand just ever so slowly move up the left side of the car and give me a point by, I still had an instructor in the car.

And I looked, I’m like, can I do this? [00:11:00] And he’s like, absolutely, go for it. So I passed this Mustang in my Volkswagen Golf. I had no idea what to do with myself. And he’s like, just keep going. So, you know, of course the Mustang had to back off going down the straights. But after that, I never saw that car ever again.

My point is, don’t ever think that just because you have a slower car that you can’t go do HPDE. Everybody has a spot.

Crew Chief Eric: 100 percent. Now, in your journey, you became a coach at some point. Did you do that before or after you went to club racing?

Taylor Hyatt: So I am a instructor for the comp school. Within DC. Yeah. So I went through comp school, got my race license, did a year road racing.

Then I moved into a trial run, being an instructor for the comp school. And then this will be my first solo year as an instructor for the comp school.

Crew Chief Eric: Do you see yourself going back to HBDE as an instructor there too?

Taylor Hyatt: I get car sick, so I don’t know that that’s a [00:12:00] possibility. The comp school where Outside of the car because most of the cars don’t have a passenger seats, but maybe at some point, I just don’t know if I could do that.

That’s a lot of trust in somebody that you don’t know. And I praise you guys for doing that. I had a lot of really, really great instructors in the car with me and they were fantastic. But for me, I just don’t know if that’s an option. But the instructing for comp school outside of the car, absolutely.

I’ll continue to do that.

Crew Chief Eric: How does that work exactly?

Taylor Hyatt: We meet Saturday morning, kind of just go over the basics with the students. We do some orientation laps, and then they’re basically sent out in their cars for an open session in their group. So the instructors go out to the corner stations and watch for certain things.

That early on in the day, it’s Do they know the line? It’s as simple as that. I mean, you have to know the line, car control, are they in control of their car at all times later on throughout the weekend? It’s are they defensive? Are they too aggressive? You know, are they [00:13:00] safe? Can they keep up all of those types of things that you want in club racing?

The race craft, you really can’t get to at that point. It’s a very short weekend, but. You can see potential and see where there’s maybe some things that need fixed. So it’s really just outside of the car coaching, meet up with the students and give them feedback on what you think that they could do better or how well they’re doing on the track.

Crew Chief Eric: So in this progression path, there is a sidestep and many people don’t. Think to take it along the way to club racing, which is time trials, which is kind of my sweet spot because coming up through autocross and also through carding kind of similar in the sense that qualifying is super important in carding autocross is all about beating the clock.

So you put the two of those together. You get time trials and qualifying is very important to the race itself, not necessarily the race craft that comes after, but where you’re positioned on grid is really important. Now, granted, we [00:14:00] can’t all win the race at turn one, but it makes a big difference when you’re at position three and position 17, right?

How do you feel about time trials? Is it a step that more people should take before going into club racing, or do you just sort of. Send it and figure it out along the way.

Taylor Hyatt: You know, I think it’s whatever they feel most comfortable with. And, and I will probably say this a lot throughout the evening.

Everybody has a place, whether that is rally cross, autocross, carting, club racing, HPDE, or time trials, everybody has a place. And you just have to be comfortable with what your skills are, what car you have, what safety equipment you have. You know, there are some people that don’t want to take that. big step into club racing, because there’s a lot of stuff that comes with that.

A lot of safety equipment, a lot of car prep, a lot of rules. It’s not as easy as, oh, I’m advanced in HPDE, time to go to club racing. You really have to have the drive to do that. And I think that’s why we see a lot of people not make that transition. They’re in [00:15:00] advanced for a long time and just don’t.

Make that move because I don’t think it’s for everybody. I think some people just really want to drive their cars fast and not have that risk of as much damage. You know what I mean? And club racing, it is wheel to wheel should be no contact, but we all know things happen. There’s just not that big of a risk with HPDE, which is great.

I love that there’s that option. Time trials, again, that risk is increased a little bit, but not as heavily, I would say, and I don’t have a lot of experience with time trials. But again, I think everybody has a place. And if that’s that next little bit of adrenaline you want, that’s the place for you.

Executive Producer Tania: So you’ve already.

Talked about the car you drive. You got a Mark II Volkswagen Golf. So welcome to the Volkswagen family. You’re in good company here. And they do multiply, don’t they? They just keep coming. Why did you choose that car? Like, how did you get into that?

Taylor Hyatt: So a couple of reasons. One, it was It’s really, really cheap and really easy to fix.

My [00:16:00] boyfriend, Mike, he had picked one up in 2016 from a friend of ours and had completely redone the car and did his competition school in 2017. So we already kind of knew what we were looking at. We had all the tools, all the spare parts. So it was just a very easy choice to say, yeah, this car is like a thousand dollars.

Let’s go pick it up. We already have all the spares. It’s like We can just build another one. Another cool part of that is that’s what my dad raced when he was racing in the eighties before he moved on to minis.

Executive Producer Tania: So are you heavily involved in the cars already built, but continuing the maintenance, doing any other modifications?

Taylor Hyatt: I know enough to be dangerous. Is what I like to tell people.

Crew Chief Eric: We’re all YouTube certified mechanics

Taylor Hyatt: here. When it comes to more of the fabrication side, like I can help figure things out. I can help put windows in. I can help rewire. The mechanical side, that’s [00:17:00] not going to be a good scenario for anybody.

So I let at least the people who think they’re experts handle that and my car is still running. So I’m okay with it. Somehow I feel like I was left behind. My dad was involved in racing for so long and cars and raced and somehow I never learned anything about cars. I feel like I got left behind. I’m a little bitter about it, but at this point in my life, I should just leave that up to the professionals.

Crew Chief Eric: We’ve talked about club racing. We’ve talked about the car. The next big part of this is classing. We mentioned in the introduction, the H production class that you’re running in, knowing the GTIs, the Mark IIs specifically, they’ve been in SCCA forever, but they run in different classes. So you’re an HP, but there’s also GTIs and ITA and ITB and other classes.

How do they compare? What does that exactly mean?

Taylor Hyatt: Specifically, I can speak to the difference between ITB and H production because my car was originally an ITB car that is very much. I won’t say stock, but pretty close to stock. I mean, you can’t [00:18:00] do a lot. You can make some minor improvements, but you’re never going to get that speed, that extra horsepower, less weight, things like that.

You’re just not going to get that staying in an ITB class. Moving up into HPROD, there are a lot more things you can do and you’ll see a difference between the front runners and the back of the pack and what you can do to your car, which some people don’t enjoy, you know, the, the spec racing has it.

Perks of everybody’s doing the same thing. Everybody’s driving the same car and it really comes down to the driver. In each production or any production class, you’re going to get that bigger difference of front of the pack, back of the pack when it comes to speed. Again, there’s always somebody to race in mixed class racing and prod racing.

You’re always going to have someone. I don’t mind that so much, but as far as car prep, it just really comes down to the more you can do with every single piece of the car.

Crew Chief Eric: We’re always learning regardless of where we are in the stage of our racing careers. So talk [00:19:00] about some of your biggest, what we call code Brown or oops moments, but for the lay people, you’re learning moments.

Taylor Hyatt: There have been several as much as I’ve been around road racing my entire life. Getting behind the wheel of that race car. It’s a completely different experience that just doesn’t compare to anything else that I had done. So the first one, one time I went out on track with 10 pounds of air and the rear tires, they should be around 28, 29, depending on the weather.

So I came in, I’m like, what is wrong with this car? It’s a completely different car. I don’t know what’s happening. Fix it. Somebody just was like, Hey, why do these tires look flat? Oh, someone changed my tires and didn’t fill the air in them before I went out on track. First oops is always check your car before you go out on track.

That is a huge one, not only mechanically, but safety. Always check everything before you go out.

Crew Chief Eric: I believe the term is trust, but verify.

Taylor Hyatt: I the same thing. Yeah, absolutely. It will save [00:20:00] you in so many cases just. Doing that final check, we usually, you know, go through qualify or practice and then come in, set everything up.

So we don’t have to worry about it until we go back out. Even then we just do a quick double check before we go back out on track. So that is my first piece of advice from my oops moment. Another one, a bigger one that really just, again, comes with the race craft is, prepare yourself for those moments when you don’t know what to do, and I hadn’t.

done that. I was racing my first national majors race at summit point. I found myself in a situation that I had never prepared for. I was coming into the fastest corner of the track, turn four, and the throttle cable stuck. Luckily, it’s got a safety that the throttle wasn’t actually accelerating, but I had no idea what to do.

I mean, the car Was just shutting off. I had no power, but I couldn’t really comprehend exactly what was going on in the moment [00:21:00] because everything’s happening. You’re in your first big race. You’re in a car that you kind of know what’s happening, but you’re not a mechanic. You don’t know everything that’s going wrong.

You have all these other drivers that you’re not used to. To racing around and you’re new. I mean, it was only my second year. So I wanted to get off track as quickly as possible because I didn’t know if I had blown an engine or, you know, I didn’t know if I was leaving stuff on the track for my other friends.

They’re all friends, which is the terrible part about it. Like I don’t want to ruin anybody else’s race. So I tried to pull off the track and I was carrying much more speed than I thought I was and right into the wall. I went again, prepare for. what you can’t prepare for and just take a minute to breathe and kind of assess the situation before making any decisions.

Crew Chief Eric: It’s a good thing that those GTIs are tanks.

Taylor Hyatt: Given

Executive Producer Tania: those experiences, how do you prepare yourself now? How are you putting yourself in a mindset to be ready for something you don’t [00:22:00] know? Exactly is going to happen.

Taylor Hyatt: What I do is just take that extra second. It goes by so fast, but take that extra second to just breathe before making a decision that you can’t take back.

You know, that was something I couldn’t take back at that point. I tried, I tried really hard, but I couldn’t take it back at that point. So it’s really just, there is time. It may not seem like it, but there is time to just take that breath, think about all of your options, and then. Make your best guess and the other thing I will say is after you make that best educated guess, it is what it is and you have to just know that you did what you could in the moment or else you’ll never get back in the car.

If you keep not thinking that you can make those types of decisions on the fly, you’ll never do it. So make the decisions as best as you can and Keep going.

Executive Producer Tania: So what is your racing schedule look like right now?

Taylor Hyatt: This year we are planning quite the season. It’s very jam packed at the front. So our main goal for this [00:23:00] year is to race the SCCA runoffs at VIR.

So that is in the fall. And to do that, you have to qualify basically to go to that race. There are several options of how to get there, but the option we are taking. is doing two national level events and two regional level events. So I will be racing at Summit Point two times in April, VIR once in April, Summit Point again in September.

And then the national championship runoffs at VIR at the end of September.

Executive Producer Tania: There’s a lot of months between April and September.

Taylor Hyatt: Yeah. So we are getting a new engine. It’s currently in the process of being built. We were hoping to get it in. So we’d have it the whole season, but it’s just the industry right now.

It’s rough and we don’t want to rush it. That’s one thing we don’t want to do. We don’t want to have to put the motor in in a week’s time. You know, we want to take our time and really do things how they’re supposed to be done. We’re waiting for that. At this point, it just doesn’t look like that’s going to happen [00:24:00] before April.

So we’ve done some other things over the off season to take weight out of the car, to give me a little more horsepower in some areas. So we’ve done some little things, but the new motor is going to be the big difference. So we’ll race all of our April races as the car is now, and then spend the summer.

Redoing the engine and getting that in ready for September.

Executive Producer Tania: So then you have raced one car in April and you’ll be racing a completely different car, so to speak, in September. Yes. What are you going to do to familiarize yourself with the new engine and the way it’s going to handle and the way it’s going to feel and all those things?

Are you just going to go for it?

Taylor Hyatt: That’s kind of why we’re doing the home race in September. Technically, we don’t have to do that race because we Did a race late in October last season that qualifies us for this year. So we don’t technically need that second regional race towards the end of this year, but it’s our test.

And as a lot of people find out that test weekend before the runoffs, a lot of things go wrong. So [00:25:00] not only is it me getting used to hopefully potentially a faster car. But also testing that it’s going to work the way we want it to. And be reliable. Yep. Yes.

Crew Chief Eric: As Tanya alluded to, you have a lot of time between April and September.

So do you see yourself maybe filling that with some HPDEs, checking some bucket list tracks off your list? Where are some places you’d like to go run your car? Let’s say if your car was running during that time or borrow someone else’s.

Taylor Hyatt: I would go anywhere and race any track. I want to, I want to race them all.

I want to see them all. We all know that’s not possible and never going to happen, but I am one of those people that when I go to a new track, it is like Christmas morning. You’re learning every single piece of that track. There are no expectations. You are just out there for the very first time learning everything.

And that to me is the best lap. You will ever have is that first time on a brand new track. I would love to go to all of the tracks. We are very fortunate where we live on the [00:26:00] East Coast that we have so many good tracks around us. And history, the Glen, Daytona, VIR, they’re fantastic and have so much history.

This year, VIR will be new for me in April. So I’m excited about that. Obviously, I’ve been there. quite a few times, but never behind the wheel. So I’m super excited for that. In the future, maybe Indy. I think that would be really cool if SCCA goes back there for the runoffs. Again, just the history. I love to combine the two, racing and history, and just get all of that nostalgia from years of being a motorsports fan.

Executive Producer Tania: So have you done all the Summit Point tracks?

Taylor Hyatt: I have never driven on the Shenandoah. I don’t know that Big Bird, I call my car Big Bird, I don’t know that Big Bird would survive the Shenandoah. It is so bumpy. I think she’d just fall apart. I haven’t made it over to the Shenandoah. The Jefferson, I love, and I think it’s because it’s so much like a rallycross course that I just, I have a blast.

That is actually the track. That I did my first HPDE [00:27:00] on in a Dodge Neon. So that was interesting and really fun.

Crew Chief Eric: Shenandoah is a great place to shake down a car because as one of my long time friends used to say, it will show you everything that’s wrong with your setup. And if you can get the car perfect there, it’s perfect everywhere.

Taylor Hyatt: Yes, I would believe that. I do a lot of flagging as well. So I flag a lot of events on the Shenandoah and it is a wild track. That’s for sure. So I’ll get over there at some point. I just have

Executive Producer Tania: to find the right car. Got your racing season. You got the schedule all laid out. You’ve got the car ready for round one.

It’ll change at round two. What are you doing personally to prepare for these events?

Taylor Hyatt: So one is getting back into shape from my winter, you know, however many, I won’t say, but I think that’s something we all have to do is like, okay, we have to realize as racers, we have to fit back into our driver’s suit that we paid a lot of money for every year.

So we can’t let the winter get to us too bad. I [00:28:00] keep up with some strength training and cardio and stretching anyway, just, I feel that it helps really. Make those Mondays a lot less painful after being in the car all weekend. If you already are kind of in tuned to having those muscles work like that anyway.

So I do keep up with that. We do have a SIM rig here in the basement that we use. You know, I have a love hate relationship with that SIM rig. I am one of those people that I need to feel every little bump and tweak of the car and. The SimRig just doesn’t give that to me. So I find it very difficult, but as far as learning a new track, it’s the best way to go.

So I used two years ago now when I went to NJMP for the first time, I used the SimRig a lot to prepare for that. And it absolutely helps, at least with learning the track layout. So those are my two things, kind of getting myself back into a decent shape. And then. You know, getting some time on the sim rig.

So any

Executive Producer Tania: mental [00:29:00] rituals did you go through to kind of prepare to get in that zone, to get zenned out? Or as soon as you put your suit on and your helmet on, you just, the comm washes over you and you’re good.

Crew Chief Eric: Are you implying that racers are superstitious as well?

Executive Producer Tania: Everyone is

Taylor Hyatt: who they are. I will answer both of your questions actually.

Mentally, I try to think about racing as little as physically possible for the entire week leading up to the event. If I think about it, I am so stressed out and so overwhelmed that come race day, I perform terribly. So I really and truly try to not think about, like, I won’t even pack my bag for the weekend or I’ll pack it like three weeks in advance because I can’t think about it.

I just need to live my normal, everyday, boring life and then. Friday night, then I go to the track and start the whole process before that. I just get so worked up mentally. I just really try to not think about it. And then the morning of I do, I kind of [00:30:00] have to get myself in the right head space of, okay, this is what’s happening.

And it kind of goes back to what we were. talking about earlier with getting yourself in that mindset of I’m going to have to make decisions really quick. I’m going to have to concentrate like this is not your everyday life. It is so much different than how you’re trained to think. It takes a lot. It is not easy to get yourself in that mindset.

And then as far as superstitions, I actually have a pin that goes on my race suit that my grandfather had for a very long time. It has been through my grandfather’s comp school. I gave it and put it on Mike’s suit. When he went through comp school, I had it on my suit. And then my dad just went back through comp school last year.

After 37 years of not racing, he wore it on his suit. So it’s pretty cool. We do have a little superstition that everybody wears it on their suit.

Crew Chief Eric: Outside of all this, one of your other jobs is the charity coordinator at the WDCR, the Washington DC region of SCCA. [00:31:00] So what does that role entail and how can other people get involved in helping you with your job?

Taylor Hyatt: I took that on, last year was my first year as the charity coordinator. I really just plan charity events during our regularly scheduled events. To bring a little bit of giving back to the community, I like to say that most of us live, work, and play in. I think getting that many people together as many times out of the year that we get together, we should really be giving back to our communities.

Last year, I planned three events, one at a road race, one at an autocross, and we actually did a virtual event, and those funds went to the Boys and Girls Club. The local chapter near summit point, and then to the SCCA foundation, we raised over 8, 000 last year between those three events. So that was really, really cool to see that everybody kind of came together in a world where racing is not cheap.

People are still willing to give to good causes and our local communities. So [00:32:00] as far as helping, I am. Always, always, always looking for people to help me plan the events, help me staff the events, but also just get the word out there. It’s really hard with how social media is and the algorithms to get this kind of stuff in people’s faces, so just spreading the word when you see it.

is more helpful than you can even realize. Also, if you are a business or know someone who is willing to give products or services for raffles and things like that, that’s a huge help as well. Really just about donations and help and spreading the word.

Executive Producer Tania: So if a young girl walked up to you today and asked, why do you race?

What would you say to her?

Taylor Hyatt: I think I race because that’s where I fit in. It’s where I’ve always fit in. And I think everybody needs to find that place. And if you walk around the paddock at any motorsports event, you will see we are all alike. It doesn’t matter what you look like, how old you are, what you do for work.

When we step into that paddock, We [00:33:00] are all so like minded, it’s crazy. So, I really just think that the motorsports industry is where I fit in. It’s my people. They’re my people. They’re my family. I have made so many lifelong friends through racing that some of them I’m closer with than my own family. So to me, racing is about a place where you fit in.

Not everybody plays other sports. Not everybody fits into those clubs or things in their schools. So this can be an outlet for anybody, male or female, to find a place to fit in.

Executive Producer Tania: I think sometimes people have a preconceived notion, automatically, that motorsports equals Science, tech, math, engineering. And so you have to have that kind of mind background to be involved in it.

And that’s really not the case. I think there’s people of all walks of educational background that get involved in motor sports. I mean, obviously, there’s a financial aspect to it that can be quite burdensome. So if we set that aside. Is [00:34:00] it obtainable no matter what? Or is it really geeky and techie? Like some people might think.

Taylor Hyatt: No, I think, like I said earlier, there’s a place for everybody. And if that is you are a super tech smart, geeky person that can be the person behind all the electronics or the data, all of that stuff that I want nothing to do with, there’s a place for you. If you are that mechanic that wants to get your hands dirty and knows everything there is to know about an engine.

There’s a place for you. If you’re the crazy ones like us who want to be behind the wheel, there’s a place for you, whether you have a car, rent a car, find a friend, go buy a 500 car on Craigslist. Is that even a thing still? I don’t know. But there’s a place for you. And if it’s not actually racing or being hands on with a car.

There are so many other ways to get involved with volunteering or event planning. So many things, especially when you move into club racing, that is all volunteer. Most people don’t know this, that these events are staffed by [00:35:00] volunteers. There’s a place for you, no matter how techie you are, how non techie you are budget, low budget, high budget.

There’s a place for you.

Crew Chief Eric: And it dovetails off of what we talked about earlier, you know, the transition from HPDE into club racing as a coach, you know, you see all walks of life come through the HPDE. For some people, it’s a bucket list. They just got their new Corvette and they just want to drive it like it was intended to be driven and things like that.

And you got the guys that are aspiring club racers and everybody in between. And what’s funny is what you mentioned about different people from different backgrounds, it comes through in their driving style a lot. I’ve had students that are art teachers and they’re very passionate about how they drive and whatever.

And you got these super techie guys from the it industry and they’re overanalyzing their laps. And I even had one student I’ll never forget. I turned to him at one point and I said, you fly airplanes, don’t you? And he goes, how do you know? I said, by the way, you hold the steering wheel and he was like, Oh, you know, and it’s just, it’s sort of funny, these little things that you pick up on.

But at the end of the [00:36:00] day, we’re all behind the steering wheel. We’re all out on track together, communicating almost like bees in a way, right? Where it’s nonverbal, but it’s happening. And it’s, it’s such a beautiful thing to get everybody together like that in that type of arena.

Taylor Hyatt: It really is. And that again, just goes back to what I was saying earlier with once we step into that paddock, we’re all the It doesn’t matter.

And I find this so entertaining that I can really tell people, like, I know a rocket scientist. I’ve met one because he raced with us. Like, you would never think that these people come out and race these cars, and some of them are racing, like, Miatas. Some of them are racing Ferraris, Corvettes, Porsches, it doesn’t matter.

They just want to be in the car no matter what it is. I love it. That is probably the part I love the most. Just everybody really having the same mindset and wanting to go out and achieve the same thing. We all either want to go fast, learn how to go fast, control our car, race. We’re all moving towards the same thing.

Executive Producer Tania: And, you know, to [00:37:00] expound upon that a little bit more and food for thought for listeners who are thinking about getting involved are still unsure, unclear how they can be involved, even if you don’t want to be a driver, like you were saying, there’s so many other things, pit crewing, flagging, EMT ing, right?

But even beyond that, if you have local racing organizations like the SCCA, you can be involved. in the club itself on the committees. There’s plenty of newsletters that go out and artwork. If you’re a graphics artist, things of that nature that you can be doing the event coordination, like you said, journalism, even writing articles, recapping the events.

I mean, maybe you can even get into broadcasting. There’s commentators during the races. I mean, probably about every profession in the world can somehow be tied into motor sports. And they’re like you said, there’s a home for everybody, depending on what you’re interested in.

Taylor Hyatt: Those are the people we’re looking for.

All the time we have racers, could we have more? Yes, absolutely. We could have more, but it’s the people to run the events. We need them. And I think the problem is [00:38:00] people come as a volunteer and they get hooked and now they want to race and we lose them as a volunteer because now they’re racing. That’s what happened to me.

I’m not nearly as involved as I used to be because now I’m racing, you know, do we want racers? Do we want volunteers? I don’t know. We need everybody. So I think it’s so great that there really and truly is a place for everybody. And like you were saying, all of these professions that they’re doing outside of Friday through Sunday, they can come to work with us as well.

Executive Producer Tania: So this next question is kind of specific to you being a lady in racing. Just to preface it for everyone, the listeners included, it gets asked a lot when we have lady guests and it’s not necessarily to poke at the male gender, anything like that. The question’s really twofold. On the one hand, a lot of women can have a negative experience and often it’s men aren’t accepting of us.

In this motor sports world. And I think there needs to be an awareness of is that still happening? We need to continue addressing it. [00:39:00] And the menfolk listening needs to be aware that that’s still happening. But the other side of the coin is there’s been a lot of ladies that have said, well, I haven’t experienced anything like that.

All the men that I’ve come across or whoever it is have been. Really wonderful and accepting great friends and family. And so ladies also need to be aware of that because if that’s a barrier to their entry, it’s good information either way. So what has your experience been? Have you had any of the negative?

Has it all been positive?

Taylor Hyatt: I feel like I have been so lucky to have probably 98 percent positive. I feel very fortunate. And part of that is I think growing up around it, I know the language, I know the vibe, I get it. I know the people to be around, the people not to be around, like growing up in it or being in it for a long time, you just kind of get a feeling of that.

So it’s a little easier. That’s not to say that I haven’t had those experiences. I have had someone come at me in tech after a race and basically tell me, I don’t know how to drive. I [00:40:00] won’t go into everything that was said, but really putting me down without saying that’s why. That was why, and you could tell, so I’ve definitely had those experiences.

It happens, but I don’t think it’s happening as frequently as it did decades ago when we weren’t in motorsports nearly as much as we are now. I mean, if you are a motorsports fan and you look at Instagram, there are so many female racers that are popping up all the time. They’re everywhere. And social media is just.

Buzzing with this women in motor sports movement right now. And that’s thanks to a lot of really great women racers that came before us. Some of which you’ve had on your show here. I think we’re very fortunate. My generation and those coming after me, these ladies have really walked the path and made that easier for us to get involved.

I do think you still need to have a thick skin. Unfortunately, it’s a male dominated sport and to go in thinking everyone’s going to accept you, it’s unfortunate, but that’s not [00:41:00] going to happen. And the way things are, they’re catered towards men. And one of the biggest complaints I had about doing my competition school, everything’s really close together.

You’re out on track, you’re in the classroom, you’re talking with your instructor, and then you’re right back out on track. You have got no time to even go to the bathroom. Being a lady in a race suit, it takes a while. And that turnaround time, they’re like, you can’t be late to grid. You can’t be late to grid.

I’m like, well, then I need to leave the classroom early. You know, it’s those kind of things that don’t affect. Men that do affect women that just aren’t being addressed. So one of the things I did last year when I was in session, I made sure those sessions got out on time every single time we were in the classroom because they needed that time.

And we have at least two females going through the school this year, and I will be doing the same thing, making sure that I can help accommodate them in whatever way. Is necessary,

Crew Chief Eric: you hit on something really important about [00:42:00] what’s going on, not only in this sport, but other sports. But 1 of the things I like to remind people is motor sport is 1 of the few, if not the only, like, truly, I want to say non discriminatory sport in the sense that it’s coed.

It doesn’t matter your background, your ethnicity, your beliefs, your faith, whatever it is, it’s accepting of everybody. Because again, going back to the earlier part of the conversation when you’re behind the wheel. You’re an object on that track with other objects buzzing around you. So it’s really interesting when you look at that from that perspective, which brings up a conversation about how to invite more people to the paddock.

You know, a lot of people say, well, if I see you, I see me one of those, you know, see, you see me type of situations and that’s important. So how would you change racing? If you were a queen for a day to make it more inviting to people, especially women.

Taylor Hyatt: That’s a really, really tough question and I think that’s why no one else has figured this out yet.

Like I, you know, I don’t have any groundbreaking ideas, but [00:43:00] I think we just have to be more inviting overall period to everybody. I think some groups. Are set in their ways and have the longer term, longer generation members who just aren’t really accepting of new members at all, male or female. Some of those things come into play.

I also think some of the barriers are safety equipment, racing suits. Say that is something very new to the market that racing suits are being made for females. Nomex underwear being made for females. If you’re not comfortable in that race car, you are not driving to your best ability. I will tell you that right now.

I bought a race suit that was like six sizes too big for me because that’s what my friend was selling and that’s what I had the money for. And I have been so uncomfortable for the last two years. And I finally, OG Racing just helped me get into a brand new ladies suit. And I can’t wait to be in the car with that.

So I really feel like a lot of these [00:44:00] issues that are specific to women need to be addressed before they’re going to want to come race with us. But I will say that suit was on the higher end of the suits, even though it’s maybe the same quality as some of the lower end suits on the male side.

Crew Chief Eric: And it’s funny you bring that up because it’s actually a systemic problem across motor sports in general.

And we actually interviewed page and Kelly McReynolds from McRae motocross, and they saw the same thing in off road motorcycle racing, and they started to develop their own. Suits and gear and things specifically for women. So that’s also kind of cool that that sort of transition is happening in the industry as well, as more and more women are coming to the paddock, you know, every weekend.

So it’s an excellent point that you bring up.

Taylor Hyatt: Absolutely. And I think several decades ago when the Lynn St. James of the world was. Making this path for us, they didn’t want to stir up anything more than needed to be stirred up. Right? So they weren’t going to go and say, Hey, I need this suit specially designed to [00:45:00] fit me because the male figures in the industry would have laughed at her.

Some of those things are just coming to light because we’re living in a different world. We’re living in, I like to think a more accepting world, trying to get there. And so people don’t look at you funny when you say, I need something that fits me better. That wasn’t the case 20 years ago.

Executive Producer Tania: So circling back around to your career now as a racer, obviously racing, it’s kind of a business, right?

In a way it’s your business. You’re trying to be successful in whatever that means, depending on the type of racing you’re in. If there’s hard money on the table and things of that nature, and that’s really difficult. It takes a lot of money sometimes to be the number one. You could be the most talented driver to ever race the asphalt and yet somebody inferior with.

Buckets ton of more money, they’re winning, then that’s a huge challenge. So, you know, getting that funding is really critical, you know, to keep things going. So can you talk a little bit about that? Like, how do [00:46:00] you budget yourself or, you know, how are you dealing with trying to get sponsorship?

Taylor Hyatt: I think you’re spot on.

There are definitely some drivers who, they have the money to be at the top of the class. So they’re at the top of the class. But if they didn’t have that money, they wouldn’t be at the top of the class. Absolutely. Money is a huge factor. Maybe I should go back to my prior question. I think that turns a lot of people away.

So maybe if I was queen for a day, I would just say racing is free. And that would cure everyone’s problems, right? But money is a huge factor. It’s unfortunate, but it’s a huge factor in racing. So me personally, I have to pick and choose maybe some years, even in HPDE, do more events than others. It just all depends on also what’s going on in your personal life.

Most of us, especially in the regional level. We all have other jobs. We’re working full time jobs to pay for our racing habits. There are worse things to be addicted to, right? That’s what we keep telling ourselves. Everybody [00:47:00] says that there’s worse things to be addicted to. I know. I know. I questioned that sometimes, like, I don’t know.

I think this is pretty bad sometimes, but it shows how. Fun it is because we keep doing it and paying all of this money to do it. There’s a reason. And it’s that feeling you get when you grab that steering wheel and put your belts on. I don’t know how to explain it. You can explain it if you’ve never been there, but it’s definitely, it’s a good feeling.

Having to pick and choose your events makes that really hard and watching the bottom dollar, it makes it really difficult. So sponsors do certainly help that. I think getting sponsors is becoming more and more. Difficult because the market is so saturated with really great drivers. It is crazy. The amount of so, so talented people that are out there all fighting for the same dollars.

Mostly when looking for sponsorships, we find a brand or a company or business that we enjoy working with. We enjoy or use their parts. We have worked with them for some time and we reach [00:48:00] out to them and just say, Hey. We’ve been buying parts from you for three years. Do you want to help us out? Do you want to sponsor our team?

Do you want to give us a discount? Like most of the time, what you’re getting is discounts on either products or services, which is great. It is fantastic. If you can get those parts at a discounted cost or safety gear at a discounted cost, that helps. Every little penny helps. And then you can put that towards your entry fees and your gas and your tires.

I just really reach out to those businesses that I believe in. I’m not going to work with someone who I don’t believe in. I don’t like their parts. I don’t like how they work. I’m not going to do that. So find somebody you really like and just see if they’re willing to work with you. And then once you build that relationship a little bit, they might be more willing to give you more the next year, or maybe they’ll sponsor your entry fee for the weekend, you know, you can just build upon that relationship and, and hopefully get a little bit more

Executive Producer Tania: go in a little bit more detail if you can, like, so you’re actively looking for sponsorship right [00:49:00] now?

Yes. Is that involving like cold calling places or, you know, how does that work? Side work and then also like, how do they get involved with you? Like, is there a means if anyone’s listening out there, right? Like, how could somebody reach out to you if they wanted to sponsor you?

Crew Chief Eric: Yeah. Help us help you. Right.

Taylor Hyatt: Yes, absolutely. And you already have actually. So, like I said, most of what we’re doing, we’re not. Cold calling for the most part. We’re working with businesses that we buy parts from again, OG Racing. They have helped the DC region for years and they always help the drivers out if they can. So we’ve been buying stuff from them for years.

They help us. So it was really just reaching out to those businesses that were already. Buying parts from or getting services done from we did reach out to a couple local places. I think that tends to be the best option as well. I mean, if you’re calling up like Napa, you’re not really probably going to get a sponsorship from them or even a discount because they do the higher level [00:50:00] ships, but your local parts store down the street.

They might want to get their name out there. So go to them. And especially if you have someone in your local community that, you know, that has a business, go to them. You can never get anything, but a no, that’s the worst that’s ever going to happen. And I really had to learn that. And, and. Be okay with asking people for money.

It’s hard, especially knowing the economy we’re living in right now. But you also have something to give them. You have an endless amount of people that you can advertise to. Every single race or HPDE or rallycross. I mean, how many people are there that are going to see a sticker on your car or follow you on social media?

You have an endless amount of people that you can advertise their business to for them. So, and do events, you know, take your car out there, do events with them, that sort of thing. Companies really, really enjoy that. I don’t do as much cold calling. I just don’t know that [00:51:00] that works. It might work for some people.

I do know some people that do that. You have to have a lot of time on your hands to do that. That’s not for me. But as far as if people are listening and really like my story. I thank you for that and you can certainly reach out to us. We would be more than happy to speak with you about what we have to offer to you and what kind of partnership we can build.

Crew Chief Eric: So with all that comes goals. So what are your goals? Do you want to go pro? Do you want to go to World Challenge? You see yourself in IMSA, maybe at Le Mans one day. Where do you dream to be in motorsports in the next five years?

Taylor Hyatt: Uh, so listen, I’m 30, right? Like no, one’s knocking down my door for an IMSA ride, or I’m, I’m not going to be running the next Indy 500.

Okay. So my goal is yes, to do some fun racing things, but really my goal is to help ease that path for other racers. That’s what I feel that I can do. I feel like I can build my experience, build [00:52:00] my racing skills by racing myself. Like I said, my goal this year is to go to the runoffs and hopefully do well there.

But really, I just want to help other people and not specifically females. That obviously is a big goal of mine. Mine as well to help the younger females that are coming into the club have a place to go, but even just the younger generation, they need people that can speak their language, can really get them, listen to them and give them what they need to, because their needs are totally different than the racers we currently have.

My overall goal is to help build the club, help build the industry and really just pave that way and make it easier for the younger generation.

Crew Chief Eric: Well said, Taylor. And with that, any shout outs, promotions, or anything else you’d like to share that we haven’t covered thus far?

Taylor Hyatt: Yeah, I would really like to give a huge shout out to my crew chief, car owner slash boyfriend, Mike at Mad Mike Motorsports.

My skills are wonderful, I will say that, but [00:53:00] Without his skill work on the car, it would mean nothing. So I can only do what I do because of him and his hard work and the help of all of our friends. So as far as sponsors, we have some really great businesses on board this year. So OG racing for all of your safety gear needs, of course, uh, new German performance.

Autobahn Autoworks, Half Fast Motorsports, and then Koenig Wheels are all on board to help us already this year, so we appreciate them. And then, we just hope that everybody can tune in to the 60th running of the SCCA National Championship Runoffs at VIR. That will be televised via YouTube, so you can certainly watch that.

Look out for us, uh, during the H production class.

Executive Producer Tania: You have any charity events coming up?

Taylor Hyatt: We will have our big road racing charity event during the Labor Day Spectacular at Summit Point. We’ve been doing that charity event, oh my gosh, probably 15 20 years. So that is our big event, that’s where most of our funds come in.

But [00:54:00] then we will certainly work to get some other charity events thrown in there with Autocross, Rallycross, and at least a virtual event as well throughout the year.

Executive Producer Tania: Well, we definitely need to continue to encourage young drivers of all walks of life and especially the ladies. This helps keep the various disciplines of motorsports we love intact and growing.

Currently, Taylor’s goal is to build relationships with businesses and products she believes in, in turn helping them to increase exposure and drive sales. All of this while also keeping her race car in tip top shape to compete at the highest levels. If you’re interested in sponsoring her or want to follow her progress, find her on Instagram.

taylor.a.hyatt, and on Facebook, be sure to check out other interviews she’s been featured on, such as on the podcast inside the SCCA

Crew Chief Eric: and Taylor, I cannot thank you enough for coming on Break Fix and sharing your story, whether you believe it or not. You know, you talked a lot about the women that came before you and how you look up to them and you know, some of the ones that have been on this show.

But [00:55:00] remember that there’s young ladies out there that are looking up to you right now in the same way. And I think you’re setting a very good precedent and a great example for those young women. And hopefully we’ll see them in the paddock alongside of you racing out there. And we wish you the best of luck in this season and the ones to come.

Taylor Hyatt: Thank you so much.

Crew Chief Brad: If you like what you’ve heard and want to learn more about GTM, be sure to check us out on www. gtmotorsports. org. You can also find us on Motorsports. Also, if you want to get involved or have suggestions for future shows, You can call or text us at 202 630 1770, or send us an email at crewchief at gtmotorsports.

org. We’d love to hear from you.

Crew Chief Eric: Hey everybody, Crew Chief Eric here. We really hope you enjoyed this episode of Break Fix, and we wanted to remind you that GTM remains a no annual fees organization. And our goal is to continue to bring you quality [00:56:00] episodes like this one at no charge. As a loyal listener, please consider subscribing to our Patreon for bonus and behind the scenes content, extra goodies, and GTM swag.

For as little as 2. 50 a month, you can keep our developers, writers, editors, casters, and other volunteers fed on their strict diet of Fig Newtons, Gummy Bears, and Monster. Consider signing up for Patreon today at www. patreon. com. dot Patreon. com forward slash GT Motorsports. And remember without fans, supporters, and members like you, none of this would be possible.

Highlights

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

  • 00:00 Introduction to BreakFix Podcast
  • 00:27 Meet Taylor Hyatt: Road Racer and Instructor
  • 01:09 Taylor’s Racing Origins
  • 01:19 Early Involvement in Racing
  • 02:43 From Volunteering to Racing
  • 03:06 Favorite Cars and Early Experiences
  • 04:03 Transition to Club Racing
  • 05:23 HPDE vs. Club Racing
  • 11:25 Becoming an Instructor
  • 15:39 Choosing and Maintaining the Race Car
  • 17:25 Classing and Racing Experiences
  • 18:59 Learning Moments and Racing Schedule
  • 25:10 Future Racing Plans and Goals
  • 27:32 Preparing for the Racing Season
  • 28:58 Mental Preparation and Superstitions
  • 30:50 Role as Charity Coordinator
  • 32:35 Finding a Place in Motorsports
  • 38:28 Inclusivity and Challenges for Women in Racing
  • 45:19 Sponsorship and Financial Challenges
  • 51:23 Goals and Future Aspirations
  • 52:49 Shoutouts and Final Thoughts

Bonus Content

There's more to this story!

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

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

Learn More

Big shoutout to OGRacing!

Big shoutout and thank you to OGRacing for their continued support of the WDCR SCCA Club Racing series and supporter of Gran Touring Motorsports. But we also want to thank them for the continued support and sponsorship they give to the racing community, up-and-coming racers and especially our women drivers out on track! Keep up the great work because without you none of this would be possible! For all your safety needs, be sure to check out www.ogracing.com

If you’re interested in sponsoring her or want to follow her progress, find her on instagram @taylor.a.hyatt and on facebook. Be sure to check out other interviews she’s been featured on, such as on the podcast – “Inside the SCCA.” 

Taylor races a 1987 Volkswagen Golf – affectionately nicknamed “Big Bird.” It’s a nod to her dad’s early racing days and a practical choice: cheap, easy to fix, and already familiar thanks to Mike’s experience building a similar car. “We had all the spares,” she says. “It just made sense.”

Though she jokes she’s YouTube certified,” Taylor’s hands-on involvement in car prep and maintenance keeps her grounded. “I know enough to be dangerous,” she says with a grin.

From Student to Instructor

After earning her race license and completing a full season, Taylor returned to competition school – this time as an instructor. Coaching from outside the car suits her better than HPDE instruction, which requires riding shotgun. “I get car sick,” she confesses, “so I praise those who do that job.”

Her role involves watching students from corner stations, assessing their line, car control, and racecraft. “You can’t teach everything in one weekend,” she says, “but you can see potential.”

Huge shoutout to Crew Chief / Mechanic / Car Owner and Taylor’s significant other Mike Kelley for all his support and keeping “Big Bird” in tip-top shape!

Lessons Learned the Hard Way

Taylor’s racing education includes a few “code brown” moments. One time, she hit the track with only 10 psi in her rear tires – nearly half the recommended pressure. “Always check your car before going out,” she advises. Another incident involved a stuck throttle cable at Summit Point’s fastest corner. Trying to exit the track quickly, she misjudged her speed and hit the wall. “Take a breath,” she says. “Think before you act. And once you make a decision, own it. Or you’ll never get back in the car.”

Taylor’s 2025 season is laser-focused on qualifying for the SCCA National Championship Runoffs at VIR. Her plan includes two national and two regional events, starting with Summit Point and VIR in April, then returning to Summit in September. A new engine is in the works, but supply chain delays mean she’ll race the current setup in spring and debut the upgraded car in fall.

  • MK2 GTI on Track - Taylor Hyatt on Break/Fix Podcast
  • MK2 GTI on Track - Taylor Hyatt on Break/Fix Podcast
  • MK2 GTI on Track - Taylor Hyatt on Break/Fix Podcast

Though she’s based on the East Coast, Taylor dreams of racing everywhere. “That first lap on a new track is like Christmas morning,” she says. VIR will be new for her this year, and she hopes to one day race at Indy for the history and nostalgia.

To prepare, she uses a SimRig – but it’s a love-hate relationship. “I need to feel every bump,” she says. “But it helps with track layout.” She also focuses on fitness, strength training, and stretching to stay race-ready.

Taylor Hyatt’s story is one of legacy, grit, and growth. From volunteering as a kid to instructing new racers, she embodies the spirit of club racing: community, challenge, and constant learning. Whether she’s passing Mustangs in a Golf or coaching the next generation, Taylor proves that everyone has a place in motorsports – and every lap tells a story.


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Motoring Podcast Network

When “stock” still won in NASCAR – The Chrysler 300.

The Hemi head, as it’s known, began life with the Chrysler Corporation as a 16-cylinder aircraft engine and a 12-cylinder tank engine. Both were developed for World War II, but by the time testing was completed, so too was the War. But the R&D was invaluable for Chrysler, who applied the Hemi head design to its passenger cars in 1951.
Called the FirePower V8, the engine measured a stout 331 CI and delivered 180 HP. Efficient and peppy, FirePower Chryslers were unusually quick, but came with a healthy price tag. Knowing they were onto something great, Chrysler decided it was time to compete in racing with a specially-developed, high-performance 331 Hemi.

In the 1950s, NASCAR rules dictated competition cars run showroom stock. To qualify, Chrysler installed their new performance Hemi into a new car called the C-300. The interior would be shod with leather upholstery, and the equipment roster would rival the Imperial luxury car. The modified Hemi would pack a 300 HP punch, more than any other American car. It would sticker for just over $4,000, or about $45,000 in 2023 dollars, a high enough price that only a little over 1,700 were sold. For comparison, the average annual salary in 1955 was $4,400, the average cost of a home in the USA was just about $18,000, and the average cost of a car was $3,000.

In 1955, the C-300 won a shocking 27 races, including 18 NASCAR races. The first and second C-300 built were raced at Daytona in Feb 1955, the same month the car would make its public debut. Vicki Wood piloted car 1001 and car 1002 was driven by Warren Koechling, Wood running a two-way average of 125.838 MPH and Koechling running 127.580 MPH. The C-300 didn’t break any records that day, but Wood and Chrysler did break some gender barriers. And, the C-300 was fast enough that it put the motoring world on notice.

The C-300 would go on to set numerous speed and endurance records, elevating the mysterious car to legendary status. The Chrysler C-300 was popular enough that Chrysler returned for 1956 with the 300B, thus beginning the Letter Series era. The 300B would have a one-year-only 354 CI V8 engine, which delivered 340 HP or 355 HP, depending on the compression ratio. They also continued to sweep win after win, and buyers were in awe over the big, luxurious car that could perform just about as well as smaller cars. While they never sold well, they drew attention to the Chrysler brand and brought people into the showrooms, often purchasing a Saratoga or maybe an upscale New Yorker. The 300B was recorded finding speeds of over 130 MPH, again driving home the point that the Chrysler Hemi and Letter Series cars were the ones to watch. But for 1957, Chrysler would introduce the highly-stylized 300C with a 392 CI Hemi head V8. With 375 HP, it could accelerate from 0-60 in just about 8-seconds and clear the 1/4-mile in just 16-seconds topping out near 140 MPH. To better this, Chrysler developed a power package, unleashing 390 HP – only 18 300Cs received that package, but it was said to shave a full second off the 0-60 time and propel the big car to speeds over 140 MPH. Just around 2,000 300Cs were built in total.

The Letter Series cars would cease production at the end of 1965 with the 300L, subsequent cars known just as “300.” Production would stop in 1970 with sporadic returns of the model in the ensuing years.


Thanks for stopping by!
Don Weberg - Editor-Publisher-Founder, Garage Style Magazine

B/F: The Drive Thru #32

0

In this lively, humorous episode of ‘The Drive Thru,’ GTM presents its 32nd monthly news recap covering an array of topics from automotive motorsport and random car-adjacent news. The team explores quirky and significant car stories, including Volkswagen’s resurgence with a new Scout EV, Porsche’s tribute to their 1973 Carrera RS, Toyota’s stance on the future of EVs, and even bizarre topics like the annual nude car show in Wisconsin. They delve into racing updates, highlight important events in motorsports, and discuss the latest from major car companies like Porsche, Ford, and Chevrolet. Alongside the news, they add humor with outlandish segments like Florida Man antics and lost and found peculiar cars. The episode wraps up with upcoming local events, track days, and a shoutout to their Patreon supporters.

Tune in everywhere you stream, download or listen!

Listen on Apple
Listen on YouTube
Listen on Spotify

Showcase: Volkswagen, Porsche & Audi 

VW-backed Scout Motors to build $2B factory in South Carolina

 ... [READ MORE]

2023 Porsche 911 GT3 RS Tribute Package Honoring Iconic 1973 Carrera RS Becomes Reality

The new 911 GT3 RS adopts white paint and green accents in homage to the first high-performance street 911. ... [READ MORE]

Porsche's $100 Million Crusade to Future-Proof Internal Combustion

Porsche invested millions to spin up a factory pumping out synthetic gas. We head to Chile to try it out. ... [READ MORE]

VW ID 2all Retro Gauge Options Bring Back Old Beetle and Golf Designs

If automakers insist on going to all screens, this is the only way forward. ... [READ MORE]

VW Wouldn't Help Cops Find Car with Abducted Child Until GPS Subscription Was Restored

A Volkswagen representative wouldn't enable Car-Net until police paid $150.  ... [READ MORE]

Stance can be good until it compromises basic safety

 ... [READ MORE]

VW responds to “Gold Rush” atmosphere in the U.S.

 ... [READ MORE]

**All photos and articles are dynamically aggregated from the source; click on the image or link to be taken to the original article. GTM makes no claims to this material and is not responsible for any claims made by the original authors, publishers or their sponsoring organizations. All rights to original content remain with authors/publishers.


Automotive, EV & Car-Adjacent News

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

Domestics

EVs & Concepts

Formula One

Japanese & JDM

Lowered Expectations

We don’t think this made CCG’s list of events…

Motorsports

KIMI is back with the TrackHouse team… and then there’s Jensen Button

CHAOS ensues at the end of 2023 Sebring 12hrs!

News

Rich People Thangs!

Tesla

TRANSCRIPT

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

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

Crew Chief Brad: That’s your cue. Welcome to drive thru episode number 32. This is our monthly recap where we put together a menu of automotive motorsport and random car adjacent news. Now, let’s pull up to window number one. For some news, just news. Oh shoot,

Crew Chief Eric: that’s left over from season 3. We’re in season 4 now, can you believe that?

Season 40? Yeah, it feels like season. Feels like season 40 for sure. You know what [00:01:00] else it feels like? Like I’m having one of these macho man, Randy Savage kind of. Season

four. So I’m like, yeah, brother, Ric Flair in this thing. Like, we really got to come into season four with a bang. Like, right. I mean, God, you feel, you get the energy.

I feel it. It’s welling up inside me. We’ve got to get this news out to people in an exciting way.

Crew Chief Brad: You know, I feel some energy to the energy. I feel is more like NPR. Welcome to drive through episode 32.

Crew Chief Eric: Tanya’s over there. Like, there’s just a disturbance in the force.

Executive Producer Tania: No, these are always like. As my bedtime approaches, so my energy level is not high.

You asked way too much for the hour of the day.

Crew Chief Brad: She’s used to being an hour behind in Texas, so she had an extra hour.

Executive Producer Tania: I know, so nice. That was life changing.

Crew Chief Brad: Well, let’s

snap into a drive thru, brother! Jesus Christ.

Crew Chief Brad: Let’s tap into our inner WWE, shall we? Back in my

Crew Chief Eric: day, it was an F, not an E. But that being said, this month’s [00:02:00] showcase, we’re gonna talk about one of our favorite brands.

Probably for the first time as an actual showcase, rather than The next in line, BMW, Volkswagen, Audi, and Porsche.

Crew Chief Brad: Is it Porsche or Porsche?

Crew Chief Eric: There’s different schools of thought on that. I’ve heard the cars of Porsche and the family is Porsche, but I could be wrong.

Executive Producer Tania: Is

Crew Chief Brad: that one of those things where you have to own one to know how to pronounce it?

Crew Chief Eric: Yeah. There’s a secret handshake too,

Crew Chief Brad: because in that case you should know.

Crew Chief Eric: It’s like the in and out menu, right? There’s all these secret things about being a Porsche owner. But you know what? Isn’t a secret. We talked about this before scout as in international scout, international harvester, which we all thought belonged to Ford forever was bought by Volkswagen.

They own all that. And they’re coming out with the scout again, but as an EV.

Crew Chief Brad: So apparently scouts backed by Volkswagen is 2 billion factory. In South Carolina,

Crew Chief Eric: where did they come up with all this money? Didn’t they lose more than that? Like 15 billion during [00:03:00] diesel gate? How did they make it all back?

Crew Chief Brad: How many billions did you get from diesel gate?

Cause you had a few of those.

Crew Chief Eric: Uh, I don’t believe it was billions. How

Crew Chief Brad: many hundreds did you get?

Crew Chief Eric: I mean, if we counted it in kilobytes, then maybe it was billions, you know what I mean? You count it in yuan or whatever, in Chinese, dirty yin. Two billion pesos. There’s a follow on article to this article from TechCrunch from Hagerty.

Volkswagen is obviously talking about the Scout plant and what they’re investing in it and they’re really bullish on bringing this vehicle back and, you know, how it’s going to sell in the States because of nostalgia and everything else. But they also talked about how there’s this, let’s call it gold rush in America right now to build factories, especially for EBS in the United States.

And so I’m like, really, where are we building all these factories? Exactly.

Crew Chief Brad: South Carolina and North Carolina.

Executive Producer Tania: Not densely populated cities,

Crew Chief Eric: the whole Eastern seaboard compared to like the Midwest, obviously the big three were building all their factories, like in Ohio [00:04:00] and Illinois and places like that.

Why not move back to those areas where they almost need it more? Like, I feel like building another plant alongside of BMW and Mercedes and everybody else that’s in the Carolinas to include NASCAR. Does that make sense?

Crew Chief Brad: I mean, it depends on how attractive the local establishment is making it for these companies to come and build these facilities.

I mean, in the article here, it says that South Carolina Governor Henry McMaster, classic name, by the way, he’s making it a priority to make his state an EV epicenter. And I guarantee you having worked for quasi government agency and being in the business of providing business loans and commercial loans to businesses using state and public funding, there’s a ton of incentives to be had out there.

It all depends on what the agenda is. Of the local municipality and what they want to do. He’s making it an EV epicenter, making that a priority. Then he’s going to prioritize state funding, incentivizing companies to come to his state.

Crew Chief Eric: I’m just curious, the [00:05:00] drawbacks to, you know, building a factory, what’s the green initiative look like there?

How clean is the factory, right? Because it takes certain machinery and tooling and things that already exist today to create these, let’s call them quote unquote, clean vehicles. So there’s sort of a give and take there. I’m very curious. To see how this pans out. They’re claiming 200, 000 EVs a year coming out of the new scout plant.

That’s exciting because I think it’s a cool idea. I love to see these on the road. They’re also talking about potentially competing with the Rivians of the world and the Broncos and the Wranglers and things like that. So the price point of this scout is. TBD at this point, I’m hoping they don’t price the enthusiasts out of the vehicle.

If it’s

Crew Chief Brad: competing in those markets, it’s going to be in the 40, 50, 60 range.

Crew Chief Eric: Yeah. The Rivian, I think is on the higher end of that. So that’s the scary part. Like, hopefully they don’t reach for that level and they keep it somewhere in between.

Crew Chief Brad: Yeah. They’ll have different levels. I’m sure. And they’ll have different sized versions.

I’m sure too. They’ll probably have like an equivalent to the Bronco sport as well as the actual [00:06:00] Bronco. I’m excited. I, I’m all for more off road capable vehicles.

Executive Producer Tania: You think this is going to be off road capable?

Crew Chief Brad: That’s what it’s supposed to be. It’s supposed to be rugged. US market with a rugged, oh, electric view.

Executive Producer Tania: Don’t they all say they’re rugged?

Crew Chief Brad: Until you actually take them off the mall parking lot. Yes. So it depends. The Broncos are capable. Wranglers have been proven for decades to be capable. Yes. I believe that if that’s the market that they’re going for it, Dan will better be rugged. Absolutely.

Crew Chief Eric: Well, switching gears, maybe they’re paying for all this with the new Porsche 911 GT3 RS tribute package.

Supposedly honoring the iconic 1973 Carrera RS. What do you guys think? I hate the frunk. Thank you.

Crew Chief Brad: The frunk lid. Even just the regular base 911. I hate The little grill or whatever. I mean, I’m sure they’re functional, the hood vents or the frunk vents. It

Executive Producer Tania: looks like a Bajoran nose.

Crew Chief Eric: Oh! There is something really wrong with that hood.

I agree with you that scaffolding across the bridge of its nose does [00:07:00] remind me now of a Bajoran now that you say that. The bottom half of the bumper. Is reminiscent of the Taycan. It’s kind of odd from the front. The rest of the car, I like the livery. I love the green, white, and black. It looks really cool.

I do like the green and

Crew Chief Brad: white, yeah. I don’t know how I feel about the spoilers around the wheels.

Crew Chief Eric: Oh, the canards? Yeah, front and back. Those are interesting. I mean, obviously they’re there for a reason. They don’t take away and they don’t add, because of the other black accents, I don’t even notice them right away, and then you pointed them out and obviously they’re there.

I mean, what’s more ostentatious is that rear wing. I mean, good lord, if you couldn’t feed a family of twelve on that thing. It is huge! And the weird

Crew Chief Brad: fender arch, too. The weird cutout. Fender arch thing or whatever. I don’t know. It’s okay.

Crew Chief Eric: What I think they’re doing is they’re borrowing from the IMSA 9 11 in that respect, where it has that sort of cut rear fender and the way the bumpers come off on those cars.

So it reminds me of the legitimate GT three cars. So I don’t hate it. Right. Does that mean it’s mid engine? [00:08:00] Uh, you know, but you know what it is manual. It comes with a manual transmission.

Crew Chief Brad: Oh, so you won’t see it on any racetracks then because they don’t use manual cars and races.

Crew Chief Eric: Yeah, I know. Tanya discovered that much to her chagrin.

You know what else is disappointing? You might be able to get two of these bargain at 314, 000 after delivery and destination charges. It comes with a watch. So you can tell how quickly you’re wasting your money. So the

Crew Chief Brad: watch is 300, 000 and then the car is 15, 000. The

Executive Producer Tania: magnesium watch. So yeah,

Crew Chief Eric: that stuff is all super cool.

If you’re in the market for that, God bless you. I’m going to be jealous from afar and live vicariously through every lap. You turn at Watkins Glen with one of these things is coming to an HOD event near you. It is cool. Except for that hood in the further down pictures. The car that has the color matched hood, it still looks like a Bajoran, but it’s not as hateful.

It

Executive Producer Tania: looks better though. If they would make, just make it all white. Yeah,

Crew Chief Eric: a hundred percent. It would look nicer. In order to [00:09:00] drive your 911 GT3 RS on track, you need to put petrol in it because it’s not an EV. And Porsche’s got a plan for that, too.

Executive Producer Tania: Well, what you would put it, it eventually is Porsche’s plan to make their own e fuels, whatever that means in terms of it being their own.

I mean, hopefully, obviously, if they’re partnering with major oil and gas companies to fund, I guess, the process to make the e fuels, I mean, hopefully it’s not just a Porsche exclusive or something like that. Right. But there’s also other. News that the European Union is looking to legalize e fuels as an alternative to electric.

I don’t even know what that means because e fuel is still gasoline. So gasoline’s legal. Why wouldn’t

Crew Chief Eric: Yeah, it’s an oxymoron, right?

Executive Producer Tania: E fuel be legal. I mean, it becomes an e fuel in the way it’s manufactured is far allegedly greener than Um, regular conventional gasoline,

Crew Chief Brad: the point Eric was making about the EV plants and manufacturing these factories, building EVs isn’t necessarily [00:10:00] environmentally safe to begin with.

I think the point is to be carbon neutral from start to finish, I guess. So whatever they damage, they do, they make up for it on the back end or something like that. I think it’s, well, part

Executive Producer Tania: of it with the plants too is. You need power to run them, the power that you run your plants could also be from sustainable means.

So whether that’s wind, solar, nuclear,

Crew Chief Eric: they said that the plant itself is being run by like a single wind turbine or something like that right now, because the E fuel plant is still sort of in the building stages versus, you know, where they claim it’s going to be in the future.

Executive Producer Tania: Yeah, I mean, if they’re doing a pilot scale.

Plant. They’re not making huge quantities of it. I’m sure they could probably have enough power generated from a single wind turbine. And I think part of the real Porsche announcement about them being successful and I think their pilot plant, they’re doing it down in South America in an area that’s very, very windy.

And they chose that on purpose, which is interesting because that area is very, very. Touristy, let’s [00:11:00] say can be, cause it’s like the hub point to some really big major hikes and beautiful landscape and area. So part of me is like, yes, this is very cool. We need to do this. And the other part of me is like, why are you doing it in such a beautiful place?

Nobody wants that in their backyard. Right. Which is a classic thing with. You know, all oil refineries and things like that to everybody wants their oil, but they don’t want it in their backyard.

Crew Chief Eric: But I did find it funny as you scroll through this article and they show some of the shots of the beginnings of the plant and one in particular, there’s one of the tankers there, but if you pay close attention to the background of the building, you see the Porsche logo, you see Siemens.

ExxonMobil, Enel, and a couple other companies on there. And I’m like, there’s some big names, obviously putting their logos on the side of this building that are involved in this entire process of creating this quote unquote e fuel.

Executive Producer Tania: ExxonMobil and Porsche partnered with this already several years ago.

They’ve been in the process of working together to develop this. That’s not news. The process that they’re using to do it isn’t [00:12:00] new. I mean, it might be new to the general masses, but it’s old tech technically. So good on them if they’re able to scale it in a more affordable way now than versus, you know, decades ago, you know, the question is how much will this fuel end up costing you at the end of the day as the consumer, because talked about this in other places, gasoline and diesel are at this point by products of the refining process.

It’s not. That refineries are just solely making gasoline. You make a ton of different chemicals, if you will, from the process, two of which go into our cars every day or in our planes or the lubricants that go into your engine oils and all that stuff. The asphalt that you drive on the road to the pen that you may or may not use, if you still use paper, all these plastics and stuff in our daily lives are all.

Byproducts out of the refining process, you can destroy gasoline molecules down further and use them to do something else, but that’s expensive. And most of the equipment on the ground today isn’t designed to do that. To go in and retrofit or redesign [00:13:00] is very costly. So you get to a certain point where you can only do so much and then suddenly you’re spending tons of money.

to solve a problem, you know, and that’s going to just translate into the cost of things. So what they’re doing here as well, they’re going about it a different route, but is it cost effective? And we won’t know until they start scaling it up. It’s great. And we should be looking for alternative means and more.

Carbon neutral or greener, whatever you want to call it. Gasoline right now is, I don’t know, depending where you are, 3 to 4 a gallon. People are upset about that. Well, what if they come around? They’re like, we can have your e fuel. It’s 12 a gallon. I don’t think anybody’s going to go buy it. I mean, not saying that it’s going to cost that much.

But it’s not going to be 12 cents a gallon because it’s, Oh, it’s green. Right?

Crew Chief Eric: Well, not only that, if you read this article, the way it’s exactly written, it’s only designed for nine 11s for more than 700, 000 nine 11s alone. We just completely disenfranchised. Every other Porsche owner on the planet, they are not allowed to have this fuel specially formulated only for the 911, which made me [00:14:00] wonder when does Ferrari come out with their fuel and is it going to burn a little hotter?

It’s going to make the car a little faster, or is it just going to end in disappointment? Like every F1 race, they’re going to call it Porosangue.

Executive Producer Tania: You’re going to string along carbon molecules to make octane. It’s going to be the same.

Crew Chief Eric: SSDB, right? Same ship, different bottle. Is that what we’re talking about here?

Executive Producer Tania: Well, and that’s. What I’m wondering, Porsche slaps their name on it.

Crew Chief Eric: Kind of like the formula car they were building.

Executive Producer Tania: Are you going to get an upcharge for that? I don’t know. That’s why I’m like, they can’t be just for them. They’re linking carbon molecules together to make octane. Octane’s octane at the end of the day.

And beyond that, then everybody puts their additives in this, that, and the other. Shelby power. blah, blah, blah, all that stuff. Right. So are they going to make their own additives too that make it especially Porsche, especially racy? I don’t know. Cause I thought it said it will work. It doesn’t matter. You don’t need a different motor or anything.

It’s just going to work. Yes. Cause it’s octane. The motor doesn’t pair as long as it’s getting it.

Crew Chief Eric: If I pour it into my four [00:15:00] cylinder turbo and it suddenly sounds like a flat. That’s that Porsche ness additive that they add in there. I

Executive Producer Tania: mean, maybe. I mean, it’s great. I love new technology. I love them trying new things.

It’s just a matter of can it be as affordable as what they’re doing now.

Crew Chief Eric: Since you like new technology so much, I think you have something you’d like to share.

Executive Producer Tania: Since retro’s in still, I think it’s still in right? It’s still in retro? I

Crew Chief Eric: think so.

Executive Producer Tania: Yeah, I think so. I don’t think we’ve moved out of that phase yet.

So to continue riding that train, Volkswagen has said that their ID two all model, their names are a little confusing, but the ID two all, which I don’t think is coming to the United States. But that electric vehicle that they’re going to have in Europe is going to have retro gauge options in the instrument cluster.

So you could hearken back to a Mark 1 instrument cluster or a vintage Beetle instrument cluster digitally in your car.

Crew Chief Eric: There’s good and there’s bad here. The goods. I don’t know if they [00:16:00] necessarily outweigh the bads yet. So let’s go over the goods. I love the fact that you can have like classic rabbit, Chiraco dashboard.

And I’m hoping it has like the weird vacuum buzzer and the shift up light, even though this thing doesn’t even basically have a transmission, you know, stuff like that. I think it’s all super neat. I believe Ford was doing some of this too with the Mach E. Like you change the dashboard and all that kind of stuff.

I think it’s a really neat idea. But when you get to the radio, That’s where you start to lose me.

Executive Producer Tania: That was hilarious. The cassette drop in cassette. I’m like, I would have that.

Crew Chief Eric: Okay. That is cool. 1930s Beatle radio. Not a fan of that at all, but it all makes me wonder. How reliable it is, how good it’s going to be.

It’s completely touched. There are no buttons. And I’ve had some bad experiences with these sorts of things in the past.

Executive Producer Tania: Yeah, you don’t need the buttons. You don’t need to worry about that if it’s your instrument cluster, because you generally never touch that. Yeah, there’s like the pegs to reset mileage or to [00:17:00] time clock, but we can do that differently now.

But the radio and all that stuff being just a iPad. Yeah, I’m not a big fan of that. And I think neither are some other manufacturers that we’re going to get into later,

Crew Chief Brad: but it was Hyundai.

Executive Producer Tania: So they’re not a fan of it either. Cause they said they want to keep going with the tactile buttons and all that stuff, because it’s unsafe to be floundering around trying to figure out what your touchscreen is doing and doesn’t touch because it’s.

Not sensitive enough or oversensitive and you’re scrolling through 10 pages just to turn your radio station window.

Crew Chief Eric: But the Volkswagen has the drop in cassette and the sticky notes and stuff. How cool is that?

Executive Producer Tania: I would have the drop in cassette.

Crew Chief Eric: I actually really like the sticky note. I don’t know why, but I thought the little post it note and the added detail of the scotch tape was really cute.

I don’t know, but I agree with Hyundai. I am all for the buttons and it’s one of the things I enjoy the most about the center console on my Jeep. The Uconnect for years was rated as one of the best MFI touchscreen systems, but it has [00:18:00] complete button backups. So you don’t. Have to touch the screen if you don’t want to, to make everything work.

And so I love the idea of the customizability of these setups, but it just scares me when something breaks, then it’s 75,000 degrees outside and you can’t turn on the air conditioning.

Executive Producer Tania: So what if it goes obsolete and they’re not patching it anymore and there’s no update. Now you’re stuck. It got stuck on the VW Beetle 1967

Crew Chief Eric: Well, it better radio still. It’s like your iPad and it says. Apple no longer supports this operating system. We’re uninstalling all your apps. You’re left with nothing. Let’s talk about the ID two for a second. You said it might not be coming to the United States. Well, the ID to all either way. I like it.

It’s what the golf should be. It’s sort of bigger than the polo, but not as big as the limousine that we got that is the golf. Now it’s sort of reminds me of like a Mark four sized. Volkswagen, and it’s very well proportioned. It looks good. This interior is cool that they’re partnering with it, but bring us that [00:19:00] car.

I think that’s the neat thing to have.

Executive Producer Tania: And they probably won’t bring it to us.

Crew Chief Eric: Never

Crew Chief Brad: forget it. I feel like if they brought that it would sell better than the golf.

Crew Chief Eric: The golf’s too big.

Crew Chief Brad: Going the way the American market has gone with the crossovers and the Honda HRV and the Toyota thing that’s smaller than a RAV4, it’s basically a golf that’s lifted.

That’s perfect for what the U S market wants.

Crew Chief Eric: I mean, I’m going to put on my great car neck hat and you know, the whole Johnny Carson bit now, and I’m going to tell you that the ninth generation GTI is actually a Tiguan, but that’s where we’re going. I mean, to your point, Brad, right. They just keep getting bigger and taller.

And I feel like the days of the classic hatchback are numbered. Every time I see a Mark 8 on the road, I’m like, when did it get so big? Not on the inside though. How does that work? Ah, whatever.

Executive Producer Tania: It’s funny. Cause they say the performance of this is on par with a GTI.

Crew Chief Eric: Really?

Executive Producer Tania: Obviously not fuel economy. It only has like a two 80 mile range.

I imagine the GTI does a little bit better than that. Probably not much. It’s probably in the three hundreds, honestly. But if you’re getting the same, maybe horsepower zero [00:20:00] to 60 that people love, that’s pretty good for 25, 000.

Crew Chief Eric: Even though we’re not getting the ID two, there’s a current collaboration for another EV coming out and it’s a partnership between Volkswagen and Ford.

Executive Producer Tania: It’s the Explorer SUV that’s going to be built off the VW MEB platform.

Crew Chief Eric: It sort of looks like an ID four, which is obviously the platform that it’s built on top of, but I kind of like it better. It’s better proportion. It doesn’t look like a bad. Facelift, you know what I mean? Where they take your face and they try to stretch it back to your ears.

It’s just that the ID four has got a weird front end to it that I don’t understand, but the Explorer being a little bit more blocky, I like the way it looks, I’m wondering what Ford is bringing to the table on this particular build outside of the aesthetics and the brand, but it’s interesting to see two of the bigger players coming together.

And the question is why are they trying to take some market share away from Toyota? Are they worried about Tesla? What’s going on here? Why all of a sudden, is there a partnership between Volkswagen and Ford?

Executive Producer Tania: Well, [00:21:00] cause Ford in Europe, because this SUV is going to be in Europe. It’s not going to be the Explorer that eventually comes here.

Right.

Executive Producer Tania: So it has to be smaller because so far Europeans are still trending smaller, even though their cars are getting bigger too. Ford in Europe has always. sort of had a big presence and a different presence than Ford in America. And Ford in America has been very much focused on Merc, the Lightning, which is a non suitable platform.

Crew Chief Eric: Yeah, that makes sense.

Executive Producer Tania: For a small SUV. And so if they’re looking to be quick and get into the market fast, then it makes sense. I don’t know what the relationship is that makes it easy for them to partner, but it probably is a very. Easy way for them to quickly pump out a small SUV on a chassis that already exists versus them spending the time doing it.

Crew Chief Eric: Makes sense. Curious to see how that pans out. Unfortunately, that might be another vehicle we just never get here. Maybe on our next European vacation. Right. Well, you know, it can’t all be sunshine and roses for Volkswagen, Porsche, and Audi. There’s [00:22:00] some wah wah moments this month. Should we give our loyal audience a teaser into what to expect later, maybe in Florida Man and Lowered Expectations?

Crew Chief Brad: Sure. I love the one that’s going to piss everybody off.

Crew Chief Eric: Oh, well, which one’s that one?

Crew Chief Brad: Well, I think the title of the article is a little misleading, but it says Volkswagen wouldn’t help cops find car with abducted child until the GPS subscription was restored. Now it really wasn’t Volkswagen. It was a third party vendor that Volkswagen contracts with called Carnet.

Because they do the vehicle tracking service for the Volkswagen GPS system. So Carnet refused to give the information to the police until they renewed the subscription for the GPS.

Crew Chief Eric: And how much was that renewal by the way, for a GPS?

Crew Chief Brad: 50,

Executive Producer Tania: which when a child’s life is on the line, I would have whipped out my personal credit card and been like, let’s get this going.

Crew Chief Eric: It depends on the kid and then reported it as a fraudulent charge. No, I’m just exactly, you put it on the corporate [00:23:00] card and it’s really funny because there’s different ways to look at this. I mean. Nobody wants to get fired from their job. This person’s just doing what they’re supposed to. It’s what the script says, blah, blah, blah.

How can they verify that, you know, this is actually happening? I mean, unless the cop is there, you know, that kind of stuff. There’s a bunch of ways to look at this, justify this, et cetera. But then on the other side, it’s like, why is the GPS? Subscription’s so expensive. Again, why is it a subscription? Why is this even a thing?

I feel like if this was OnStar in an emergency like this, especially dealing with a child, we wouldn’t be having this conversation. They probably would have just done it. Obviously, they’re a nationally recognized brand. They don’t want this to be put out into the public like this. Any sort of backlash.

But then I’m kind of thinking to myself, you know, for 25 bucks, you could put an air tag in your car.

Executive Producer Tania: It’s not just Volkswagen and whoever Volkswagen is using to partner. I don’t know what OnStar would do or not do because they’re a whole other party entity, right? Because Toyota behaves the same way. So I know someone who had their [00:24:00] car stolen.

They had just recently within a month or two. The GPS subscription had lapsed or whatever. And they had called Toyota asking, can I get it reestablished so that I can find my car? And they said, no, they would not. They refused. I don’t know how hard the person tried because I would have been like trying really hard.

I mean, he offered to pay, they still refuse. So I don’t know how OnStar would react, but it’s something in the script for these companies. And to your point, how do they know someone’s not just. Bullshitting my car stolen. They’re standing outside some Rando’s car, hoping that they get the one person to unlock the doors remotely.

Crew Chief Eric: It needs to be like when Picard would put in the override code, Picard, alpha beta Oh three, seven, you know, whatever. And then they go, Oh, okay. That’s the unlock code. We’re good. Like the cops need to have that in a situation like that, get your law enforcement involved. And maybe they can override. These companies and script be damned.

The bigger concern here is a child was involved kidnapping. It’s like, come on guys, you’re slowing the process down.

Executive Producer Tania: I’ve had the solution. They need to FAA. So they needed to [00:25:00] like FAA, the police send them a special code that they typed in. So they knew it was the police. And then unlocked it and been like, just send me an invoice.

Crew Chief Eric: Exactly. You are a problem solver. Excellent work. Ah, 150 bucks for GPS. Why is it a subscription to begin with? I

Crew Chief Brad: don’t understand.

Executive Producer Tania: Why do you need a subscription for heated seats?

Crew Chief Brad: Exactly. Why do you need a subscription for any of this bullshit?

Crew Chief Eric: Volkswagen has not stooped to that level yet.

Executive Producer Tania: Yet.

Crew Chief Eric: That is a BMW.

But they

Crew Chief Brad: did

Crew Chief Eric: with the GPS right here.

Executive Producer Tania: Do you know what day is coming up?

Crew Chief Brad: 420? 4

Executive Producer Tania: 1. And what usually happens on 4 1? Oh, no,

Crew Chief Eric: no. We get an update on the Corvette SUV. No, they’re gonna change the name to Volt Wagon again or whatever. Oh, we’re just kidding. We’re just

Executive Producer Tania: kidding. We don’t know what it’ll be this year.

It’ll be exciting.

Crew Chief Eric: We should be on the lookout. We’ll post that in Discord. So if somebody finds out before we do.

Crew Chief Brad: It’ll be Volkscription.

Crew Chief Eric: Well, this next one I think is Borderline Florida, man. Because. I don’t get the lifestyle, guys.

Executive Producer Tania: VW Golf slammed so low it can’t refuel without taking a [00:26:00] wheel off. Come on.

I don’t understand the lifestyle either. I don’t understand how the car moves.

Crew Chief Brad: Well, it doesn’t. It doesn’t have any fuel. Ha ha ha ha

Executive Producer Tania: ha ha ha ha! Ha! Ha! Ha! Ha! That’s fair. That’s fair. But at least this one in this particular picture, I mean, it looks like it’s riding on the, the rim. I mean, they’re so stanced.

It’s like, are you even a millimeter of tread and you’re just scraping the rim the whole way? Like, how does the car even move?

Dude, that car is parked hard.

Executive Producer Tania: Hard. You hit a cigarette button, what? I don’t know, it’s the end of the world? You bust a tooth?

Crew Chief Eric: The folks that do it, I don’t want to say they do it right, but the way I’ve seen it done is the car is on bags and they can lift it back up so it drives normally.

It’ll still have some stance.

Executive Producer Tania: No, I’ve read that like, bag life is something different. You don’t cross the two, I think.

Crew Chief Eric: Bag life is posing. Parking hard, baby. My question is, how do you get negative 40 degrees of camber like this guy has? I mean, where’s the shock tower in this car? That’s what I want to know.

What’s spring perch and shock tower?

Crew Chief Brad: [00:27:00] What are these like foreign car parts that you’re talking about? They don’t exist. It’s

Crew Chief Eric: just welded to the inside of the fender. Basically. Yeah, it’s just a

Crew Chief Brad: straight axle. Well,

Crew Chief Eric: I do love the subtitle for this stance can be good until it compromises basic safety.

Executive Producer Tania: Yeah.

Basic safety. Any of that. Over camber, any of that is compromising safety when you’re on a street road. Like, I’m sorry, you’re not at the track that you need to have the camber through the turns.

Crew Chief Eric: But even there, nobody runs this kind of camber.

Executive Producer Tania: No, because you would skid off the track! No tractions! No grip!

Crew Chief Brad: Them skidder cars.

Crew Chief Eric: Could you imagine the amount of sus Flexion, you would have if you had to have this amount of

Executive Producer Tania: camber. Imagine going into the carousel. You’d probably obliterate into pieces.

Crew Chief Eric: You would just stop right on it. Like it was like a sandbar or something. Like it just would beach itself there.

There’s no way [00:28:00] you wouldn’t make it out of the pit with that kind of stance. There’s just

Executive Producer Tania: the funny part is though. On this article, I read through some of the commentary.

Crew Chief Eric: That’s always the best.

Executive Producer Tania: Oh, it’s wonderful. So one thing I learned is that the rest of us who don’t stance are known as static. So it’s static struggles that we have.

What?

Executive Producer Tania: Do you want to like go for it? Because my static struggles are going to win.

Crew Chief Eric: Every time. The first off ramp and this guy’s done.

Executive Producer Tania: I don’t have struggles. I don’t know what that means. The other great comment was this guy defending, apparently he’s got a shop and so he does a lot of stance work and fixing people’s cars and all that stuff.

Because I assume these cars break down all the time, but nonetheless, like, seeing someone admit to this, and I quote, Hell, I have one myself that I literally replace my subframe every three months.

Crew Chief Eric: What?

Executive Producer Tania: Can you imagine?

Crew Chief Eric: No.

Executive Producer Tania: You’re effing up your subframe and having to replace it? Every [00:29:00] three months. I want more information.

Like is this you drove it three times? You drove it every day? You drove it once?

Crew Chief Eric: That is beyond comprehension.

Executive Producer Tania: Let me continue because this guy it’s all about the love and doing what you have to get the look you want. It’s funny. Some people think they only do this for show then raise their car back up.

That’s what airbags are for. See? See? The whole reason of being static is quote, driving it like you park it. Oh yeah, I have a slam Chevy Aveo with negative 14 front and negative 20 rear camber. So us static people just want to drive it like we’re parking it. No, I want to drive it like I can drive it. So if that’s the static life, I am 150, 000 percent hashtag static.

We need some t shirts. Hashtag static.

Crew Chief Eric: That’s a good idea. Static

Executive Producer Tania: struggles aren’t

Crew Chief Eric: real. I’d love somebody to educate me on stance life. I’d love to see one of these cars up close, how they’re built. I can only speculate on the type of [00:30:00] engineering involved to make this successful. You mean buffoonery?

Executive Producer Tania: Well, duct tape was used on this car as the fuel cap.

Because we know duct tape is not impacted by something like gasoline splashing on it.

Crew Chief Eric: But you know, hey, we spent money to have our rear calipers powder coated pink. But not The money to have our gas tank filler relocated. All jokes aside, I’ve seen plenty of show cars where things like the filler neck are hidden or relocated, but a lot of thought is put into those hot rods to make that happen.

I know one in particular open the trunk and the filler neck is on the inside. Yeah, maybe not the best thing with fumes or whatever, but it’s a show car. It gets trailered to most places, you know. It’s also parked hard. It’s super low. It’s not stanced out like this, but the extra thought was put into, Wait, I gotta put gas in it.

Cause I do have to move it every once in a while. I think I know the car you’re talking about.

Executive Producer Tania: So say like, this wasn’t just a stance show car. How would you even pull this on a trailer? [00:31:00]

Crew Chief Eric: That’s what the bags are for. Oh, wait, nevermind.

Executive Producer Tania: But apparently not. Hey, you know who doesn’t have these struggles?

Static.

Crew Chief Brad: Static life. 99 problems and static life ain’t one.

Crew Chief Eric: We’re living the good life over here, static town. High life. We need some racing stickers made. Who’s your sponsor? Static. Is that stasis? No, static. Static

Crew Chief Brad: Motorsports.

Crew Chief Eric: We’re renaming the team now. Well, folks, we have to move on from Volkswagen, Audi, Porsche news on to our domestic segment sponsored by AmericanMuscle.

com, your source for OEM and performance, Chevy, Ford, and Mopar parts. So we kick off with van life. Did you see how much camber this van has? This

Executive Producer Tania: thing’s wild. Maybe

Crew Chief Eric: three degrees.

Executive Producer Tania: Wait, they didn’t put negative 20 on the rear?

Crew Chief Eric: How’s it go so fast then? I would love to see that GTI go up Pike’s Peak like this.

1973 horsepower Ford super van did [00:32:00] is now the record holding fastest van on the planet.

Executive Producer Tania: Fastest van. Yes. Yes.

Crew Chief Eric: As Clarkson Hammond and May used to say on Top Gear, what’s the fastest car in Europe? A Ford Transit van. Well, you know what? Alice is the fastest van at Pike’s Peak.

Executive Producer Tania: You know what’s a shame? And the first thing I thought of was that we will never see this on the Nurburgring driven by

Crew Chief Eric: Sabine Schmidt.

She would have had a field day with almost 2000 horsepower. Can you imagine this thing coming up in your rearview mirror? Yeah. The hell. Out of the way,

Crew Chief Brad: you wouldn’t see it by the time you saw it behind you. It would already be in front of you

Crew Chief Eric: Dude, this thing is incredible. I mean, I love stuff like this.

This is awesome

Crew Chief Brad: It’s a little skittish looking though It looks like a ford gt the back end the with the cutouts for aerodynamics and stuff. It’s awesome I’m in the market for a van. This looks pretty awesome.

Crew Chief Eric: The video is fantastic.

Executive Producer Tania: No, it looks cool But like watching the goodwood video i’m like Man, it felt like it was, like, on the cusp of being wildly unstable.

Crew Chief Eric: That’s how Eric [00:33:00] likes to drive. Well, here’s the best part. This is a legitimate run up the peak. It set the record for, obviously, its class. It was driven by a three time Le Mans winner who also currently holds the Pikes Peak record. From 2018 in the Volkswagen IDR. It’s not like this was just like, Oh, publicity stunt.

Like this is legit.

Crew Chief Brad: So basically if you want a world record at Pike’s peak, you just hire this driver to do it for you.

Crew Chief Eric: And do it in a van sliding doors,

sliding doors.

Crew Chief Eric: I haven’t seen an SUV run up Pike’s Peak.

Crew Chief Brad: I want to see the Tesla Semi do it.

Crew Chief Eric: Well, you’re going to be waiting a while. Okay. So it’s going to cost you your down payment on your cyber truck.

Crew Chief Brad: I agree with Tanya though. It looks very on the cusp of going into the wall.

Crew Chief Eric: Let me put it in perspective for you. I know it’s not the same company. Paint it black and then put a red stripe all the way up to the tail. Tell me this isn’t the new 18 van. It’s awesome. It’s awesome.

Crew Chief Brad: All I request from turn 10 [00:34:00] is that this van be put in forza next forza game.

Turn 10. If you’re listening, I know you’re listening. Please, please put this in there.

Crew Chief Eric: Well, you know what else they need to add to the next four is a game. And I don’t say this often about trucks, but this 2023 GMC cyclone that they’re proposing. Come on, Tanya. You don’t like trucks. This is hot. Super cool.

I don’t like the hood.

Executive Producer Tania: What?! There’s a lot happening on the front.

Crew Chief Brad: Very, very gaudy. I hate the hood. I

feel like y’all just farted in church. Like, what are you talking about? This thing is incredible! This

Executive Producer Tania: is one of those, like, if I do this I’m like, yeah, I love the rear, the tailgate, and the fender flaring there.

Solid, very boxy, so it’s very like old school. And then the front, if I did this, and I’m holding up my hand covering the front half and now I’m covering up the back half, the front I’m like it’s any other GMC and there’s just a lot of grill there and a lot of hood scooping for no reason. [00:35:00] Presumably

Crew Chief Eric: look at that front on shot.

It’s like the fourth or fifth picture down the one just before they have the picture of like the autumn leaves and all that kind of stuff. Look at that front end. It looks just like a happy little Rottweiler. It wants to see you. It wants to nuzzle you like this truck is. Just aggressive, but sort of docile at the same time.

Like I would drive this truck. I would drive the hell out of this truck. How can you not say that this is cool?

Executive Producer Tania: I like it from every angle, but the first

Crew Chief Brad: Brad, come on, Brad. You know, in my long term plan is to build a sport truck like this, but. It’s going to be a lot more understated. I do dig the fender flares.

I like the wide body ness. I just don’t like that hood. I’ve never been a fan of like the hood scoops on that from the GTO to this, to the Trans Am. I just, I’m not a fan. That’s

Crew Chief Eric: Ram Air, dude. Ram Air. I

Crew Chief Brad: understand. I understand. Personally, I just don’t like it aesthetically.

Crew Chief Eric: If it’s any consolation, the front of the original Cyclone is nothing to write home about either.

It’s pretty boring.

Crew Chief Brad: It’s an S10, [00:36:00] basically, whatever it is, GMC Sonoma.

Crew Chief Eric: We can’t have this truck. You know why? It’s way too static.

Crew Chief Brad: I love it. It looks like a 400 higher in the back of that thing.

Executive Producer Tania: Do we know how much it’s going to be? 75, 000. That’s

Crew Chief Brad: a bargain. It’s not actually for sale.

Executive Producer Tania: I don’t think that’s the price.

Crew Chief Eric: They’re

Crew Chief Brad: not actually building it, are they?

Crew Chief Eric: It’s proposed. It’s a teaser, whatever. They’re saying zero to 60 in three seconds. What’s up twin turbos, all sorts of fantasy things that will probably never come to fruition. But again, make this. Take my money! Take it now! Wow. Awesome. You can keep all your Zs and all that other stuff.

This is cool. You heard it here first, folks. I am voting for a truck. All right. On that note, you know, we talked about the lap record at Pike’s Peak with the Ford Supervan. Well, Chevy’s setting some records too. They did a new lightning lap in the Z06. It currently holds the LL3 class record.

Yay.

Crew Chief Eric: What? Okay, cool.

This is the whole thing [00:37:00] with car and driver, right? They have their test track. It’s sort of the equivalent to the top gear. You know, lightning lap that they would do. So car drivers kind of trying to pick up the torch and do the same thing. Like, Oh, where does this next car end up on the list? You know, that kind of thing.

Do we go by old lady’s house and you know, all that stuff that they were doing. I mean, the new Z06 is a phenomenal car. It makes a jillion horsepower. It’s, you know, a watered down version of the race car. Okay. I didn’t expect it to not beat pretty much everything else. That’s out. But you look at some of the things that are on the list and I’m like, okay, the Nissan GTR, they stopped making that how long ago the Dodge Viper SRT 10 ACR.

Well, we know those are still for sale new at every Chrysler dealership that Brad looks into, but that’s in the same class. They stopped making that car seven years ago. Oh my God. A Mosler. Like how old is that? This class is sort of weird in the sense that it’s like, great. The Corvette now has the record against a bunch of cars that are like 10 years.

It’s senior. In order to get power into that proposed GMC [00:38:00] Cyclone, which we know is never coming, GM confirms that a new small block V8 is coming. And again, here we go. We’re talking about electrification, electrification, electrification, and GM’s working on a sixth generation small block. I don’t even know what to say.

I guess maybe I’m like a proud papa. Yeah, GM, you go. Because we know that Stellantis has bowed out. We’re not building any more muscle cars. Although the electric charger is coming. So now GM steps into their role and says, move out of the way, guys, we’re going to bring you another three 50. Well,

Executive Producer Tania: somebody needs to make internal combustion engines to run those e fuels.

Crew Chief Eric: Will this run on the Porsche fuel? Will it be compatible?

Executive Producer Tania: I don’t see why not.

Crew Chief Eric: Well, if that wasn’t enough, Chevy also unleashed a 1, 004 horsepower Copo Camaro listed as a 136, 000 drag racing. Weapon.

Executive Producer Tania: I keep seeing that as COPD Camaro.

Crew Chief Eric: You know, what bugs me about this is the same thing we’ve talked about before.

632 cubic inches. If anybody wants to do the mental gymnastics on that and convert it to the [00:39:00] metric system, it’s 10. 4 liters out of a naturally aspirated V8. I think to myself, 10. 4 liter V8, and it. Only makes a thousand horsepower.

Crew Chief Brad: Well, in the case, when it comes to like trucks and stuff like that, and they’ve got these big motors and they’re not producing as much power as a BMW or Mercedes with a motor, half the size, I think it’s due to, I guess, the longevity of the motor and they’re tuned in the compression is as such to make it.

So the vehicles last. A long time. They’re not wind out completely, but this is a drag car. The whole point of this thing is to go as fast as possible on a short amount of time. Why can’t they get more power out of it? It doesn’t make any sense. There’s

Crew Chief Eric: that too. And is it just a numbers game to say that they have what three more horsepower than the demon and they did it without a blower?

Crew Chief Brad: What are you talking about without a blower? There’s a blower on this thing? It says naturally aspirated. That’s not a Roots type blower on the top. It’s a Magnuson blower, isn’t it? No,

Crew Chief Eric: it says no blow.

Executive Producer Tania: There’s something on the top of that motor. Is that just air intake?

Crew Chief Eric: Well, then they lied in this article, because it [00:40:00] says naturally aspirated.

Crew Chief Brad: So that makes it worse. We got to get down to the bottom of this. We got to put our sleuthing hats on, because my eyes are telling me that that is a fucking supercharger

Crew Chief Eric: on the top. If that’s the case That’s even worse. Yes, you’re right. The picture does say Magnuson and that probably is a supercharger on top there.

Although I don’t see a way to actuate that. I just see a throttle body and an, and a Ram intake. So that might just be a Magnuson intake.

Yeah, maybe.

Crew Chief Eric: Let’s say it was supercharged, which the article, I don’t think it is. That’s not great either. And you’re only making three more horsepower out of this V8.

And the Hemi is so much smaller in the Demon. And even there it’s like, okay, great. But GM, here you go again, five years too late. Dodge already did this. Why do we even care?

Crew Chief Brad: Yeah. I don’t know much about car scoops, but pretty sure that they should not have used, unless that’s a picture from the old Copo Camaro, they might’ve

Crew Chief Eric: just taken a picture and thrown it up there.

You never know. Okay.

Crew Chief Brad: Well then if they’re going to be in the car industry and they’re going to write [00:41:00] articles about cars. So, okay. I’m looking at the pictures. There’s one without a supercharger and then there’s one with a supercharger and then there’s one with a carburetor. So

Crew Chief Eric: what is this? What are you doing?

None of it really matters because as Tanya is going to tell us. GM’s doing the hokey pokey with the Camaro anyway. So all of this is moot.

Executive Producer Tania: We’ve all heard that the sales aren’t great. And so they’re going to discontinue it. And so that sounds like it’s official that it will be gone after 2024. But a successor is already in the works.

This is quote, not the end of Camaro’s story. Is the Camaro going away or not? How can it be axed, but still have a story? What’s the sequel here? Is it the Camaro blazer? Are we going to badge an SUV with the Camaro name like Mustang? Is that going to be the next Camaro?

Crew Chief Eric: Yes. I think I just threw up in the back of my throat.

Why? No, this is just like the Corvette SUV thing. I’m like, no. Badge engineering. I mean,

Executive Producer Tania: why don’t we just say we’re not going to have 2025. [00:42:00] model your Camaro, let it be like, we’re not making a new one. And then eventually in five, 10 years, we’ll bring it back because what’s old is new again, right? And the Camaro will be hot as again,

Crew Chief Eric: what it is, is the pony wars are over usher in the donkey trials.

Cause that’s where we’re going to end up with a bunch of mules. Horrible.

Executive Producer Tania: Well, look for your Camaro SUV starting in 2025.

Crew Chief Eric: Bye bye Camaro in 2025, but the 2024 model year technically starts in August, September timeframe. So does the Camaro disappear this summer at the turn of the new year? Or do we get a whole nother year, a whole nother summer out of the sixth gen Camaro before it finally goes away?

Executive Producer Tania: Honestly, I couldn’t tell you the last time I saw a Camaro on the road.

Crew Chief Eric: That’s true. You don’t see them that often. Maybe everybody’s holding onto them. They’ve all turned into garage Queens. Who knows? Maybe if they are hiding in garages, Ford has an answer to that, especially if you don’t make your payments,

Executive Producer Tania: they have patented a [00:43:00] self repossessing car technology to have their cars drive themselves away, taking another job away from hardworking people.

Alternatively, also the car could drive itself to a junkyard. If it costs too much to be repossessed.

No, are you serious?

Executive Producer Tania: I mean, I guess they could drive it anywhere they want off a cliff. I mean, they’re not saying that they’re going to do this or install this software, but apparently they’ve come up with the technology.

And so of course they’ve thrown their patents on it to block other people from this. I mean, it’s inevitable, right? Like everything’s remotely controlled.

Crew Chief Eric: Well, I know Tesla did this where you could call the car to come to you kind of thing, which was reminiscent of 1988 Batman, where he summons the Batmobile and it just drives to him wherever he was.

Executive Producer Tania: Well, the Ram does something similar. It’s got stalker mode and the truck will follow behind you like a puppy.

Crew Chief Eric: Are you serious?

Executive Producer Tania: No, I’m serious. Yeah.

Crew Chief Eric: Yeah. I learned something new every time we get together.

Executive Producer Tania: I forget what it’s called. I’m making fun that it’s called stalker mode. It’s something akin to that.

And it’s literally because they expect us to [00:44:00] be a construction site vehicle, the new Ram EV. And so while you’re out walking across the site, you can set the truck to follow you at a slow speed and hope it doesn’t run you over. I

Crew Chief Eric: was going to say, what happens if you trip and fall? Does it just plow over top of you?

Crew Chief Brad: If you’re going across the construction site and you want your truck to go with you, why don’t you just.

Crew Chief Eric: We’re too good for that now Brad. Nobody drives anymore. We’re like dinosaurs. We actually touch our steering wheels I’m gonna spend 80, 000 for a truck

Crew Chief Brad: to have it follow behind me. What sense does that make

Executive Producer Tania: in fairness?

They could be doing a walk down of something where they need to be closer to the equipment But the car could be following down the path and meet them the other end.

Crew Chief Eric: You know, what else would work? If you park your 85, 000 truck in a safe location where it might not get damaged and use the golf cart that’s on the construction site to go wherever you’re going,

Crew Chief Brad: can you train the truck to roll over and sit and stay too?[00:45:00]

Executive Producer Tania: If you’re that Hummer driver from last month, you could roll it right off on a

Crew Chief Brad: bankment. Yeah, you can teach it to roll over.

Executive Producer Tania: Sorry. I digress on Ford’s patent to repossess your car remotely.

Crew Chief Eric: Because none of that matters. What boggles my mind is that we’re wasting the thought energy on this kind of shenanigans versus putting it towards.

It’s something else that would be more beneficial to the automotive industry. How to protect

Crew Chief Brad: ourselves from AI. That’s what we need to do. Robot revolution is coming.

Executive Producer Tania: What if you’re in the car while it’s being repossessed? Yeah,

Crew Chief Eric: I didn’t think about that. I guess you’re going on a joy ride.

Executive Producer Tania: Are you like locked in there?

Babe, let me out. It’s

Crew Chief Eric: like. Kid when it would lock the doors and go into pursuit mode, right? It’s like, boom, done. You better pay your bills,

Crew Chief Brad: people. That’s all I got to say.

Crew Chief Eric: You can see that follow behind option being good for the cops. You know, when they’re chasing the guys in Florida on foot on their lawnmowers, then the police car could just follow behind the officer until they’re ready to detain them.

And then they don’t have to walk them all the way back in a drunken stupor to the [00:46:00] backseat of their Explorer.

Executive Producer Tania: See the trickle effect of this technology?

Crew Chief Eric: It’s a lot better to have the

Crew Chief Brad: car follow them than to just drive it.

Crew Chief Eric: Well, we’re going to switch to Asian domestic news, as we like to call it, that encompasses our Japanese brands, Koreans, and others.

I thought this next bit was pretty shocking, if I do say so myself.

Executive Producer Tania: It’s a bit of a turn. So it says Toyota CEO says that quote, silent majority of auto industry is doubting EV only future. Which is interesting because Porsche said it’s not abandoning its ice engines. Right. And they’re sticking their money where their mouth is because they’re developing e fuels and partnering with left, right, and center to do that.

But I also thought I read something recently that BMW has turned about face and said that they are going to also keep investing in internal combustion engines. So the pendulum is swinging back to some degree

Crew Chief Eric: because it’s not the panacea we all thought it was going to be. Maybe just

Crew Chief Brad: maybe if only the [00:47:00] governments would get on board with reality.

Yeah, no, they’re

Crew Chief Eric: too busy trying to ban state by state, the sale of new petrol cars and craziness like that.

Executive Producer Tania: And coming from Toyota, this could be a misleading headline because we’re taking it. We’re assuming, Oh, EV only future. You don’t believe that. So that means. Ice engine. Well, Toyota has hybrids.

Toyota has hydrogen engines, right? Those are all non EV only. So what are they really talking about here? Are they just talking about a future where you have multiple options and a mixed bag and you have proper use cases for For the different technology,

Crew Chief Brad: which I think is appropriate. There’s no one size fits all, and there’s no one solution for everybody.

Think you need different types for different markets. I

Crew Chief Eric: agree. If you look at Toyota’s lineup right now, do they actually have a. Full EV or is it mostly hybrids?

Crew Chief Brad: They’re all hybrid. I don’t think they have a full EV at all. It doesn’t sound like they even plan on producing one.

Executive Producer Tania: No, because the BZ4X I believe is [00:48:00] all electric and that’s kind of like RAV4 ish.

So another one of these compact crossover mini SUV thingies.

Crew Chief Eric: I guess we’ll see how it all plays out. Maybe that about face that you’re talking about, Tanya, which we’ve all sort of suspected at the end of the day was probably going to happen anyway, when they can’t harvest any more lithium or whatever else, maybe it is a stall tactic to develop a synthetic fuel to come up with an alternative hybrid to come up with hydrogen that’s stable at room temperature and, you know, non volatile and God knows what else, you know, all these things that are being developed out there and somebody has got to be first to market right now.

I think the easy button is EV. And I’ve been thinking that for a while, right? It’s like, Oh, well, it’s like a remote control car. Throw some batteries in it, runs till they run out, puts new batteries in it. Keep running it.

Executive Producer Tania: If it was that simple.

Crew Chief Eric: Yes, but these other technologies are still being developed.

There are a lot longer term, more positive solution, especially some of the hydrogen solutions that are out there. I think I’m with the silent majority on this one. I don’t think EV only is the future. I [00:49:00] think. Like you’ve said many times before, there is room for all different types of drivetrains and power plants in this ecosystem.

It’s just a matter of which one you’re more comfortable with at the end of the day.

Executive Producer Tania: I think you’ll like this one since you were so excited about the The N75?

Crew Chief Eric: N74. Vision!

Executive Producer Tania: No, but even the other end, the EV6 end or whatever. Oh, the Saab? The car shows, like the Encona, were super cool. Well, everyone liked the Ioniq 5.

Oh,

Crew Chief Eric: no, don’t tell me.

Executive Producer Tania: Won’t you like an Ioniq 5N even better?

Crew Chief Eric: Yes,

Executive Producer Tania: I would. That’s

Crew Chief Eric: Awesome.

Executive Producer Tania: So it’s still in camo mode, so they haven’t fully released kind of how they’ll tweak the body and all that stuff, but apparently it’s going to have like drift mode. That’s

Crew Chief Eric: awesome. Now the question becomes, when is Terry Neuville going to drive one of these and complain about it on the WRC stage?

Executive Producer Tania: They don’t have a lot of information on it though, because it’s still kind of in development. They are saying it should be around 600 horsepower. What? [00:50:00]

That’s awesome.

Executive Producer Tania: That’ll be really interesting to see how that all lines out.

Crew Chief Eric: Now since we’re talking about the Ioniq 5, I shared a photo with you guys in our JDM channel on Discord.

Is that actually the way the rear hatch of the Ioniq opens. Please tell me that’s actually a broken car.

Executive Producer Tania: I’ve never seen the trunk open on one of those. I was not aware that it slides up over the roof.

Crew Chief Eric: That is bizarre. This is a question I have, like, why reinvent the wheel? I mean, what was wrong with two little air shocks and a hinge?

Now you’re making the rear hatch slide up over a glass roof?

Executive Producer Tania: I mean, it could still be a hinge mechanism that lifts and unfolds. The arms back down on itself and then come to a stopping point on the roof. I guess it’s hard to tell what the mechanism is from the photo, but yes, at the end of the day, we don’t need laser beams for windshield wipers case in point.

Crew Chief Eric: Okay. But let’s just say I’m the [00:51:00] type of person that likes to have like a tool roof rack. And I want to put some extra camping gear in there because not everything fits in my Ioniq 5 because I have two extra passengers with me. How exactly does one get to the beer cooler in the trunk with the tool roof rack on?

Executive Producer Tania: You don’t.

Crew Chief Eric: Oh, okay.

Executive Producer Tania: But I also believe that there’s something bizarre about that photo because I think in a quick search of Ioniq 5 trunk.

Crew Chief Brad: They all live normally.

Executive Producer Tania: So I do not know what the heck that person maybe modified it.

Crew Chief Eric: Oh, I see. We get the static version. That’s the trunk that opens normally. That’s a stance trunk right there.

When you, when you put 27 degrees of camber on that thing, you need the trunk to go up over the roof. So

Executive Producer Tania: that’s special.

Crew Chief Eric: Well, speaking of. Not understanding. I feel like the EV market is constantly changing. Every time we turn around, they’re talking about shifting the dates as to when petrol cars be banned.

States are talking about banning [00:52:00] on a local level, whether or not petrol cars can even be sold. How does this affect the used car market? We know the prices on bring a trailer are already astronomical. It’s absolutely insane. But there might be a little bit of hope for all of us. There was a new bill introduced in the U.

S. House of Representatives to prevent The ban of ICE powered vehicles. It’s headed up by Pennsylvania Republican John Joyce. He introduced House of Representatives Bill 1435, and it’s titled Preserving the Choice in Vehicle Purchases Act. And the bill is designed to protect Americans rights to choose the technology that powers their motor vehicles.

It was introduced in response to the CARB, or the California Air Resources Board’s plan to ban the sale of new internal combustion engines by 2035. And there’s a lot of other states that are following suit. I say right on! I don’t see why the government should be dictating what kind of cars we buy. You vote with your wallet.

As people say, if you want to buy EV, buy an EV. If you want to buy a carbureted car, buy a carbureted car. I don’t have a problem [00:53:00] with it, but I’m glad that somebody’s doing something about it and you can learn more about it. On the performance racing industry’s website in conjunction with SEMA. So you can get a performance racing.

com to check it out or check the link in our show notes to learn more about this new bill that hit the house floor on March the 14th. What did you learn about the insurance companies and electric vehicles there, Tanya?

Executive Producer Tania: Well, it sounds kind of scary because they’re basically saying some pretty minor vendor vendors.

Can basically just total your car. Meaning what would have been minor and repairable on a traditional powered vehicle is suddenly a big issue because you do not fully understand whether or not the batteries have been compromised in any way. Which is obviously very dangerous because you don’t want a situation where suddenly they burst into flames or another small impact creates an issue.

So that’s a problem. These cars getting into fender benders and then just basically being written off and ending up in scrap yards. And now this toll was [00:54:00] supposed to be super good and helpful to the environment. And you got all this waste. Not to say that ice engines don’t end up as waste in junkyards too, but there’s far less precious metals that were harvested and put into them.

The more disturbing thing reading through this was around the, in general, insurance and premiums and things like that, because it sounded like, well, here’s another reason why the rest of us have higher insurance premiums is because there’s people driving around in EVs that nobody knows what to do with them.

Nobody knows really how the insurance breakdowns work. And are they really being scrapped when they shouldn’t be? And it. That’s just higher cost and this, that, and the other. I’m like, you know what? Then I’m glad Tesla has its own insurance. Y’all go figure that out yourselves and don’t make me pay more just because you have an EV.

It

Crew Chief Eric: goes back to sort of the legislation part of the conversation. What I’d like to see happen is maybe some legislation passed to force the insurance companies to separate the rates between the ICE [00:55:00] folks and the EV folks, because I don’t want to pay for their issues. Because I’m still driving an ice car and I get it.

If you get a small scratch on these batteries and you got to total the car, it’s like the clamshell on a Lotus Elise. You get the slightest ding in it and they total the whole car because of the way it’s made. And we shouldn’t be beholden to that. I get it. The bills are high. You know, you’ve got to write off an 85, 000 EV.

Well, something’s got to give here.

Executive Producer Tania: That’s not my fault. I didn’t make you go buy that 85, 000 car. Exactly.

Crew Chief Eric: But then again, why are these? Things 85, 000. Like you’ve created this whole weird ecosystem, but then it’s all disproportionate now because what happens when the Tesla hits me and weighs five, 6, 000 pounds and comes at my less than 3000 pound Volkswagen, like a torpedo and crushes it.

I’m not going to get Jack. They’re going to end up totaling the Tesla because of unforeseen damage to the batteries and all that kind of thing. But I walk away with what my premiums are not [00:56:00] commiserate. To the type of payout that they’re going to receive. So in my mind, it’s like you total my car. You’re going to give me 50 bucks.

It’s always been that way. I don’t ever see it as fair. We pay all this money into these insurance systems. You’re actually need the money, which is supposed to help you either fix or buy a new car. They’re like, You can’t have your money. What are you talking? We’re not going to give you anything. You’re going to give me 50 bucks.

You know, I don’t know. It’s like legal thievery.

Executive Producer Tania: The other part of the article, I found there’s just a snippet in there that was like, well, you know, but really, this is really a small percentage of the ZBs that are ending up in this manner because ZBs are generally. Safer than ice, they are involved in fewer accidents because of all this technology.

I’m like, really? Because as far as I know, the technology is forward facing. So if some person comes barreling at you from behind or side swipes, you don’t think the nannies do a damn thing for you. They’re equally able to be in an accident as anybody else.

Crew Chief Eric: Yeah, they’re vulnerable just like anything else.

Yeah.

Executive Producer Tania: Yeah. And people can [00:57:00] turn those nannies off. So if they’re driving it like anything else, then they’re as vulnerable as anything else. So don’t give me that excuse. Oh, well, this is really not brr, like, okay, sure.

Crew Chief Eric: And that’s the other thing I wonder about all these sensors and LIDAR and radar and all this stuff that they’re using on these cars, especially in traffic, to your point, all those sensors on the front of the car.

So when does it switch over? To the point where now you’re liable as the ice driver, because maybe you changed lanes too closely to the autonomous self driving level 15 torpedo that just hit you. And now it’s your fault because it used to be like in the old days, if you got rear ended nine times out of 10, the other driver was at.

Just because of, you know, you needed to be paying attention, stopping distances, all like some things can’t be overcome. But in this case, they can be like, well, the data from the sensor shows that you were six inches closer than is recommended when you change lanes in front of that vehicle. I wonder how all that’s going to play out, how the technology is [00:58:00] going to be manipulated by the insurance companies.

The further we go along with all this stuff.

Executive Producer Tania: What a hot mess. Like I don’t envy the actuaries or whoever it is that is in charge of figuring out these insurance tables. all this stuff because I’m sure it can’t be fun, but please don’t pass the price down to us. But fun fact, since you mentioned LIDAR.

Oh,

Executive Producer Tania: so I had an interesting revelation last night, actually, as I was driving home in the evening hour.

So it was dark outside. I was on three lane divided highway, cruise control, minimum business, very light traffic, handful of us on the road. I had a radar detector in the car. It was on and all of a sudden it started going off laser and it’s a very shrill noise when that happens. And so it was going off like bells and whistles I like to say because that’s what it sounds like.

I didn’t really need to slow down because I wasn’t doing anything offensive, right? I wasn’t worried but obviously I was looking around and okay I don’t see anybody. Laser works, it has to be targeted at you. So normally the [00:59:00] guy’s got the gun and he’s pointing it at you and that’s when the laser registers.

So I’m looking around, it goes off again. It goes off again. And I’m like, what in the world? There’s nobody around by now I should have passed somebody or should have seen taillights up ahead, you know, blah, blah, blah, you know, one car in front of me, there’s a car behind me, and I recognize it right away because of the shape of the headlights.

It was a lucid air.

Oh,

Executive Producer Tania: and I was like, Oh, interesting. There’s a lucid behind me, you know, oh, cool. And as I’m freaking lasers going off over and over again, and he’s slowly creeping thing. Transcribed Closer and closer behind me, and then he gets over, changes lanes, goes around me. It all stops. He goes in front of me, it’s all gone, and I went, oh my goodness, he was self driving or something.

It’s using some sort of nanny, and the laser was beaming at me, and the radar detector was incessantly picking it up because he was shooting lidar at me. And then I realized all the times that it’s going off on K band, which it does in the most random places when you’re on the highway, which makes no sense because there’s absolutely no [01:00:00] one around and no reason for it to be going off, a lot of the other nannies of the self driving and the automatic cruise control and all that stuff and all these EVs are operating off of K bands and things like that.

It’s all being picked up by a radar detector.

Crew Chief Eric: So what you’re saying is now the radar detector has a dual purpose, a picking up B for T justice hiding in the bushes, but also the Tesla that’s stalking you in traffic, that’s not actually driving their car.

Executive Producer Tania: Exactly. So now that torpedo coming at you, you have an early warning.

Oh, it’s like

a submarine. It’s like

Crew Chief Eric: torpedoing.

Executive Producer Tania: Oh God, get out of the way. Let me translate it for you.

Crew Chief Eric: That’s okay. Cause the steering wheels are falling off the model wise. They wouldn’t be able to hit you anyway.

Executive Producer Tania: When I realized what happened at Lucid Air, I wanted to get back in front of him and see if it was to confirm and be like, yes, it’s going off again.

It’s definitely his LIDAR, but I wasn’t going to accelerate in case there was a real threat out there.

Crew Chief Eric: Well, you did some textbook research to verify it. So it’s all good. [01:01:00] Well, before we get into Tesla gate, let’s hit up Brad’s favorite section, lost and found, where he scours the internet looking for the newest old car available on dealership lots.

Please tell me that Cadillac is still out there.

Crew Chief Brad: Yes, the Cadillac. Gray Chevrolet.

Crew Chief Eric: We need to get them as a sponsor. I mean, how much free airtime have we given gray Chevrolet at this point?

Crew Chief Brad: Apparently none, because no one’s buying that car. They’re not getting any business from us.

Crew Chief Eric: Don Wieberg, if you’re listening, there is 88 to fill with your name on it.

Crew Chief Brad: It’s not an allante. He’s not interested. That’s

Crew Chief Eric: true. He’s not interested. That

Crew Chief Brad: Ford GT is still out there at the low, low, low price of 450, 000.

Crew Chief Eric: I swear it’s come down. Every time we talk about that car, the price has come down.

Crew Chief Brad: Nope. 415. That’s it. The only thing new on here, new, new to the list is a 2004 Nissan Xterra XE V6 at Beck and Mastin Kia.

Crew Chief Eric: None of

Crew Chief Brad: that was exciting.

Crew Chief Eric: Not at all. There’s a couple of Dodge Avengers, a Fiat 500. No Dodge darts. [01:02:00] All right. Well, whatever. Maybe in April, as we get all our showers in preparation for our May flowers, something will blossom in the used car market. I wonder where you were going with that. Maybe somebody will buy that Cadillac after all.

But it’s time, you know what time it is? Teslagate time!

Executive Producer Tania: Oh,

we would be remiss. That’s what time it is. Teslagate. Wait, what? How dare you? They’ve never had to recall a single vehicle ever. I think this finally counts as a recall. This has to. I

mean, come on.

Executive Producer Tania: I’m sorry. They don’t want to count any of the software because it’s software. They don’t want to count any of the other stuff as recalls.

But I think this is definitely. A recall. When you forget to put the steering wheel lock pin bolt in, and so your steering wheel comes off. I don’t think a software over the air patch fixes this one.

Crew Chief Brad: Nope. Is it a recall if the owners all die?

Executive Producer Tania: Well, I don’t think anyone was severely injured.

Crew Chief Eric: Witch Isle. and bin at Home Depot, do I [01:03:00] get the lock pin for the steering wheel?

Crew Chief Brad: Their local Home Depot was sold out. aisle 12.

Crew Chief Eric: It’s somewhere between the cabinet knobs and the schlage locks. You’ll find the lock pin for the steering wheel.

Executive Producer Tania: But yes, in fact, Model Ys have a reported defect of over 120, 000 models. That have been sold?

Crew Chief Eric: Wait, they sold that many,

Executive Producer Tania: apparently. Wow. But yes, there is a defect because the steering wheel is basically held on via friction.

So a hard enough pull force will disengage it from where it should be

Crew Chief Eric: To Tesla’s credit, we know somebody that went on track in a Miata that had a similar setup and survived Watkins Glen. So I’m just gonna leave it. Right

Executive Producer Tania: where it is. It’s

Crew Chief Eric: doable.

Executive Producer Tania: Flip the car really quickly into autopilot or, you know, whatever self driving.

I mean, the

Crew Chief Eric: steering wheel doesn’t need to be attached. If you’re not, doesn’t

Executive Producer Tania: need to be attached for it to drive itself. I would imagine. Exactly. Exactly.

Crew Chief Eric: Well, last time we talked about Tesla gate. We were on the precipice of Investor’s Day.

Executive Producer Tania: Yes, we [01:04:00] were.

Crew Chief Eric: So what came of Investor’s Day? What is Brad going to buy?

How much more dogecoin is he going to

Executive Producer Tania: spend? Apparently they’re saying that they’re going to release a 20, 000 Tesla.

Crew Chief Eric: I’ve heard this before.

Executive Producer Tania: Yes, it’s the 30, 000 one, but now they can do it for 20, 000, I think because they made it smaller.

Crew Chief Eric: Oh, they cut the rear end off of it.

Executive Producer Tania: It actually looks like they cut it where the rear door should be and then just push the front and the rear together.

Tell me you don’t think that what I just described is not that photo.

Crew Chief Eric: Oh, that’s different than the other one that they showed.

Executive Producer Tania: Who knows? They’re all like weird spy photos. Yes. The original one was like this weird golf ish thing with four door. This next photo is like missing the rear doors and it looks like chopped together.

I mean, this one would make more sense for the 20, 000 mark.

Crew Chief Eric: All in. They’re all ugly. The red one that they showed from autocar. co. uk is much better looking than the one that you’re showing us. But either way, I’m not a fan of any of this. And again, I don’t believe any of [01:05:00] it because here we go. 20, 000 Tesla.

I just, we haven’t seen that yet. Wow. Tesla owners are in for a big shock.

Executive Producer Tania: Well, um, maybe, I guess it was weird the way the article was written. It was like, Hey, no big thing. It’s all good. Okay, but you’re losing a 7, 500 tax credit to make your car cheaper, but somehow it’s like, no big thing. It’s fine. It’s all good.

Like, okay, apparently that’s happening because the legislation or the rules or the tax credits are available if everything is made in the country and the batteries are coming out of China manufacturing. And so at least the Model 3 and I guess the Y can no longer fly for this 7, 500 credit.

Crew Chief Eric: So what you’re saying is Anybody looking at a Tesla, it just got 7, 500 more expensive.

Executive Producer Tania: I would think so. But then they keep saying that they’ve been lowering their prices too at the same time. Like another thousand here, a thousand there. I’m like, okay, hokey pokey. Didn’t they just raise their prices though?

Crew Chief Eric: It’s like the Christmas time specials where they raise the prices in October by like 10 percent and then they give you 5 percent off.

So they’re [01:06:00] still 5 percent ahead.

Executive Producer Tania: You gotta wonder sometimes. It’s like it’s on

Crew Chief Eric: sale for the regular price. Yay! Many times it’s been said that Musk is following the Apple model and we joke about it, but it’s true. Think about it. The iPhone blah, blah, blah just came out and it’s 93 million. And then next week on Verizon, it’s like trade in your old phone for a 360 credit.

We’ll give you a new iPhone 14 for the low, low price of 499. Well, how much does it really cost? Is it 1, 200 or is it 499 plus my trade in? If they’re following that kind of chicanery, none of this surprises me. This whole month is just sort of disappointing. Maybe it’s because it’s the end of winter, spring has just arrived, it’s still cold, it’s still whatever, I’m just like blah.

All the news is blah. We’re kind of in the mid year slump if you think about it. If all new cars in the U. S. come out August, September, we’re at the mid year mark. We’re cresting it and now we get to ride the rollercoaster through the rest of the summer. So I feel like my expectations are pretty low right now.

Lower

Crew Chief Brad: [01:07:00] expectation,

Crew Chief Eric: oh, this means it gets worse.

Executive Producer Tania: Depends on your point of view. Some people might think this event is good,

Crew Chief Eric: this one didn’t make collector car guides. List of events that Brad talks about every month.

Crew Chief Brad: It really should have. I swear I would go to this event.

Crew Chief Eric: Would you really go to this event?

The thought of this scares me.

Crew Chief Brad: Think about the people that go to car shows. Right. Think about them like this.

Crew Chief Eric: Stereotypes aside, this isn’t even static problems. This isn’t even stance problems. Okay. The annual, meaning it happens more than once, but only once a year. The annual nude, as in naked, nude.

Executive Producer Tania: We’re not talking about the cars being nude.

Crew Chief Eric: Nope.

Executive Producer Tania: Talking about the people. The best part is this is Wisconsin. Would you have said if someone just told you there’s an annual nude car show going on in August, somewhere in the United States, would you have been like, yeah, it must be Wisconsin? No,

Crew Chief Eric: no,

Executive Producer Tania: Florida, man. It

Crew Chief Eric: gets [01:08:00] better. You got to read into the event.

Not that I want to see pictures from previous events or anything like that. The Valley View Recreation Club hosts the annual nude car show. We’re not one beautiful summer afternoon where you can gaze upon the Mustangs and the Ferraris and everything else that accompanies them. No, not one, not two, four days of fabulous buns, guns, and TARS.

in the sun. Can you imagine?

Executive Producer Tania: There must be other activities, because what could you possibly do for four days? Stop,

stop, because this is going to go off the rails. Other activities? We playing cornhole?

Crew Chief Brad: Hide the salami.

Executive Producer Tania: Wisconsin’s known for cheese.

The

Crew Chief Brad: naked car wash. This cheese stands alone, let me tell you.

Executive Producer Tania: Anyway, well, if you’re interested folks, August 12th, 2023, this year. Find it in a small village in Wisconsin, Valley View Recreational Club.

Crew Chief Eric: Just don’t forget that annual spelt with two N’s. When you Google that. [01:09:00] Two N’s and you. Every once in a while, we got to go there. And this month we got some rich people thangs.

Executive Producer Tania: This is like, not even rich people thangs. Like this is. Florida, man. I mean,

it’s also lower than expectations. It

Executive Producer Tania: checks

all

Executive Producer Tania: the boxes. I mean, I feel bad for this person.

She’s so proud.

Executive Producer Tania: That’s why I feel bad. Cause I’m like, I’m sorry that you’ve been failed in life.

Crew Chief Eric: I know the used car market is insane. I’m impressed that this car didn’t show up on Brad’s lost and found list.

Let me paint a picture for you. It is this. Beautiful, late 90s, sea green, you know, sort of metallic. You’re not really sure what color to call it. It’s a Ford product. You know, one of those quality Fords from the late 90s. But it’s not a Contour or like a Taurus SHO or even a Mustang. No, no, no. This new proud owner picked herself up a [01:10:00] 1998 Ford Escort for the low, low price of 289 a month.

And how long is this loan for, Brad? Seven years. Can you imagine? Did this car even make it

another seven years? 84 months

Executive Producer Tania: at 289 a month. To put that in real numbers, 24, 276 for a 1998 Ford Escort. This thing was worth like 500.

Crew Chief Eric: I would have rather gone on a long term loan agreement with Hertz. And just rented a car every month for this kind of money.

Crew Chief Brad: It’s sad is what it is. And it’s criminal. Exactly. It’s just predatory lending.

Executive Producer Tania: Sure. Yeah. Sign right here. You’re not a robot, right? You got to check that box.

Crew Chief Eric: Almost like payday level scam on this car.

Executive Producer Tania: This person got so taken advantage of. It’s. Disgusting.

Crew Chief Eric: Hey, but they went viral on the interwebs and all that kind of stuff.

So

Executive Producer Tania: you don’t want to go viral or infamous.

Crew Chief Eric: Look for 289 a month. They even put a big red bow on the [01:11:00] hood. You’re damn right. They did. And look at those hubcaps. Those look new. That has got to be worth something.

Executive Producer Tania: Those bows aren’t cheap.

Crew Chief Eric: 289 a month cheap.

Executive Producer Tania: It’s a good 300 for that bow, yes, but those people were laughing all the way to the bank.

Crew Chief Brad: It makes me angry how taken advantage of this woman was. I mean,

Executive Producer Tania: wherever she bought this from, like the piece of crap human being that was like, yeah, let’s do this.

Crew Chief Eric: Only in Florida, right? Because now it’s time we move south and talk about alligators and bear.

Executive Producer Tania: You know what? It’s kind of a disappointing month for Florida Man and I think it is the weather. There’s a lot of news about alligators right now. Alligators knocking on people’s doors.

People

Executive Producer Tania: standing in the water feeding a pork loin sandwich to an alligator. Why would you do that? [01:12:00] That sounds like you don’t want your arm or the rest of you.

I’m thinking like it’s getting warmer and the seasons are changing. I mean, it’s always the same temperature in Florida, but I guess the alligators also have seasons probably, you know, maybe they’re coming out. And so the Florida man is emerging also. So we don’t have as much out of Florida right now, unfortunately.

Crew Chief Eric: But there’s some good ones here though.

Executive Producer Tania: And I don’t recall if this one was Florida or not. Probably is.

Crew Chief Eric: This picture is unreal.

Executive Producer Tania: It’s one of those pictures, a thousand words, and it’s a pick em up truck. I don’t know what kind of pickup truck this is. That’s a Ford.

Crew Chief Brad: That’s a Ford. The Ford F 150.

Executive Producer Tania: Division, error, they’re all the same.

Ford pickup truck. I don’t even know what he’s got in the back, but it’s an SUV of some sort.

Crew Chief Brad: Mosaic Tesla.

Executive Producer Tania: And it’s sideways. And it’s in truck bed, roped around that truck bed. I’m impressed.

Crew Chief Eric: I am too, because the rear springs are taking all that weight, and the front end is still on the ground. He’s going somewhere.

Executive Producer Tania: He’s going somewhere. He’s on the move.

Crew Chief Eric: Yeah, he’s going places. As Brad always likes to [01:13:00] say, if it fits, he sits, right? In this case, if it fits, it ships. UPS ain’t got nothing on this guy. There’s so many questions here. How did they load it this way? Who thought this was a good idea? How long are those straps?

What’s the tensile strength of those straps? What happens the first time he goes on the highway and takes an off ramp?

Executive Producer Tania: What is the side of that vehicle that’s now resting on its side look like? Are there fluids still in the engine? Are they still in the engine?

Crew Chief Brad: I feel like this is a movie, and they’re filming Transport of Florida.

Crew Chief Eric: I want to understand, I really

Executive Producer Tania: Because this car, this vehicle, this SUV looks in good condition.

Crew Chief Brad: Was. From the

Executive Producer Tania: visible body panels. But I can’t imagine it sitting on its side, that that looks good anymore.

Crew Chief Brad: It’s a 1 1 scale Hot Wheels. It

Crew Chief Eric: could be

Executive Producer Tania: Photoshopped. Could be.

Crew Chief Eric: But I don’t think so.

Executive Producer Tania: Probably not.

Crew Chief Eric: This is insane.

Executive Producer Tania: This is like a candid camera shot too. So like someone was like running and be like, get my phone out.

Crew Chief Eric: He was on his lawnmower on the shoulder. So it was okay. Wow. Well, this [01:14:00] next one hits close to home.

Executive Producer Tania: We haven’t had a, had a Maryland person in a while. Maryland man, or ever. Maybe this is the first Maryland man.

I’m not sure. But I think

it might be. It

Executive Producer Tania: might be the first, and what a way. To come in with a bang because this Maryland man who ran out of gas on an interstate. I’d like to know which one.

Crew Chief Eric: 695 where all the shit happens.

Executive Producer Tania: Oh man, Jesus Christ.

Crew Chief Eric: Everything happens on 695. Okay.

Executive Producer Tania: So you ran out of gas, pulled over as you should.

And he’s on the shoulder. Obviously. I don’t know. He’s waiting for somebody. What do you, what do you do in that situation? Do you just merely wait in your car? I mean, no, you probably shouldn’t. You should exit your vehicle and safely get on the other side of hopefully a barrier or guardrail because you never know when an errant driver will just.

Rear end you and that would be catastrophic. So at least he did step one. He got out of his vehicle. However, he sat behind his vehicle, assembled his drum set, and just began banging on them drums.

Crew Chief Eric: I love the comment block on this. It’s so hashtag dad jokes. And it’s like. That’s what I call a traffic jam.

[01:15:00] What possesses people to do stuff like this? Did he want to be a meme? Is that what it is?

Executive Producer Tania: I mean, I would have loved to have passed that on 695. I don’t know what I would have been. It would have been one of those double take moments. Did I just see that? No one would have believed you too. I would have been like, guys, you know what I just saw?

I was on 695 and dude was drumming. He was on the shoulder with drums. Y’all been like, nah, you don’t know what you saw. Uh huh. Uh huh.

Crew Chief Eric: That right there? Right there?

Executive Producer Tania: So this last one, we actually haven’t gone across the ocean in a while.

Crew Chief Eric: Ooh.

Executive Producer Tania: So we’re hopping the pond and we’re going to Italy.

Crew Chief Eric: Oh, is this our first Italian man?

Executive Producer Tania: Well, no. So this isn’t an Italian man. This is an American man. In Italy.

Crew Chief Eric: What did they do to that poor fiat?

Executive Producer Tania: Because you can bring the man out of Florida, but you can’t bring the Florida. I’m not saying he was from Florida, but I’m not saying he wasn’t from Florida.

Oh, geez.

Executive Producer Tania: Do not know where he’s from.

However, he, I [01:16:00] guess, rented a Ferrari. Okay. As I’m sure you can do and decided in Florence, he was just going to like drive it out into a piazza. A piazza that cars don’t go into. They just like park it, because obviously he’s entitled. So

Crew Chief Eric: That’s a bold move, Cotton.

Executive Producer Tania: They only gave him a 500 ticket. I mean, that’s getting off pretty good.

Crew Chief Eric: If you’ve ever dealt with European parking and how much it costs, that was probably a bargain.

Executive Producer Tania: They made a big deal that it was a historic piazza. I’m like, everything in Italy is historic. So like, okay, next. Yeah, it’s all

Crew Chief Eric: ancient, right? I mean, come on.

Executive Producer Tania: Be on the lookout. Aaron’s Ferrari is driving into piazzas in Italy.

Crew Chief Eric: You know what? He listened to our show. He heard about that other fool that drove down the Spanish steps and he got lost trying to find them because he wanted to drive the Ferrari down the Spanish steps like the other idiot did. He said, you know what? Screw it. There’s a nice cafe bistro over here. I’m just going to grab lunch.

Forget this noise. But that isn’t it for Florida Man.

Executive Producer Tania: So, breaking news for those of you Netflix subscribers out there. A limited series is coming on April [01:17:00] 13th of this year. Yes, that’s just a mere, what, two, three weeks away. And that series is Florida Man. No!

Crew Chief Eric: It’s not Tiger King rebadged, is it?

Executive Producer Tania: No, so It looks like from the synopsis and from the preview, it actually has a plot line and the main character and it’s taking place in Florida.

And they’re somehow going to bring in a lot of Florida man elements into what’s going on. And how? You ask how? One of the shots in this trailer Was this woman that I think had like a cigarette lighter in her hairspray can and she turned it into a blowtorch and she was trying to scare this raccoon away.

And the raccoon like was just sitting there. It was like, what you doing? They’re bringing like crazy stuff in like that. I don’t know. There’s gotta be alligators. I don’t know. It could be interesting.

Crew Chief Eric: Too much like a reboot or continuation of that show. What was it called? My name is Earl. Do you remember that one?[01:18:00]

That’s, that’s what I’m feeling here.

Executive Producer Tania: This is like ex cop. Who’s now like in trouble with gambling. And so there’s some sort of like mob thing going on. He’s trying to get his life back on track and all this stuff. And he has got to go back to Florida and then the shit ensues.

Crew Chief Eric: It’s like the Florida man version of Magnum PI.

What is this?

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

Crew Chief Eric: But you know what? Our goal is to watch it before the next drive thru so we can talk about it. We

Executive Producer Tania: will report back on Florida Man.

Crew Chief Eric: The Netflix series. Maybe it has better luck than any of these Formula One shows they’ve been coming up with. Speaking of which, it’s time we go behind the pit wall and talk about Motorsports News.

As we noted the last time, Kimi is back with Trackhouse Racing to go drive a Chevy, which doesn’t exist next year, in NASCAR. And then there’s Jensen Button. And he’s signed up to race three NASCAR Cup Series races this year. And I just kept wondering myself, is he already that bored with retirement? Yes.

Executive Producer Tania: He’s done a lot, right? He hasn’t done [01:19:00] this.

Crew Chief Eric: Sure. Well, I mean, sports car, whatever. I have my biases. Good for him. I mean, there’s been plenty of other Formula One drivers, Juan Pablo Montoya and others that have gone to NASCAR. So let’s see what Button can do. He’s got to pay for those old Nigel Mansell era race cars at some point.

So, you know, whatever. They’re not cheap. Meanwhile, in the glorious drama filled world of Formula U, the season is officially underway, right?

Executive Producer Tania: We’re two races in and it’s not looking good.

Crew Chief Eric: Oh, geez. What now?

Executive Producer Tania: Not looking good if your name isn’t Red Bull.

Crew Chief Brad: Although I will say, Ashton Martin’s doing pretty well.

Executive Producer Tania: That’s for sure. Alonzo has podium twice now this season for Aston Martin he switched over teams he left Alpine last season got the ride in Aston Martin the first race it was hilarious because in Bahrain I was dying when it was like turn two and stroll nearly took him out And I was like, [01:20:00] here we go again.

He rear ended him a little bit. He didn’t even know they I, I think they probably purposely didn’t tell him who did it ’cause he had no idea. I think they like told him at the end of the race ’cause he probably would’ve blown a gasket. No damage. Something like that. They kept going. He finished third in that race.

He finished third in Juda, red Bull one two. The big shakeup was Perez beating out. Verstappen taking his, I think, fifth Formula One first place podium. A little drama there with the teams because Max had some issues during qualifying. Something broke or something or other. So he ended up like starting 15th, had to make his way back up through the crowd.

He made it into second. There wasn’t quite enough time to really challenge Perez and come in first. However, there were team orders to maintain pace and Verstappen was like, F that noise. I’m getting fastest lap so I can get that extra point. And be number one in the championship points, two races in. And that’s exactly what happened.

They actually gave orders to Perez. You’re fine. Just keep your pace. And [01:21:00] yeah, he was a little bit pissed about that. So some interesting team orders across all the teams too. There were lots of miscommunications. There was the penalty thing that happened with Alonso on this one. He. Started on the grid box slightly left.

And so that was kind of a false start infringement and he had a five second penalty to serve. Served it under the full course yellow, which the rule book is just all sorts of all over the place on if that was legal or not or not. And so he finished third and then they took it away and then they reread the rules and somebody probably got paid.

And so they put him back on the podium. So Mercedes didn’t get a podium. And so there you go. He got his hundredth. Podium. He’s in the century club on that one in his career. And there you go. Four or five Mercedes and Ferrari was somewhere right behind them in six, seven,

Crew Chief Eric: they finished and they didn’t catch fire.

That’s important. Those are two things

Executive Producer Tania: this time, unlike in Bahrain, where Leclerc did suffer a mechanical failure and was not able to finish the race. So this is progress. Both cars did [01:22:00] finish. They were once again in the top 10. So that is good news. No, for

Crew Chief Eric: last time, we really dove deep into formula one, the tail end of last year, we had good news to share about Haas.

You know, they picked up some new sponsors. Now they’re allegedly sponsored by money. Graham, you know, there’s a whole episode we devoted to that, but they picked up another sponsor and no, it’s not gray Chevrolet. And if you’re listening, we would like to be sponsored by you. Acai. Like, I didn’t know you could be sponsored by fruit pulp that you put in a smoothie at Smoothie King.

Executive Producer Tania: Acai is whatever. I don’t know. They offer money. Is that how you pronounce it, by the way?

Crew Chief Eric: Well, how did you want to pronounce it?

Crew Chief Brad: I don’t know. I’m just, I have no idea. I believe it’s acai.

Crew Chief Eric: It is acai. All seriousness, the parent company, Oakberry, becomes the official acai partner. Alongside of MoneyGram to the Haas Formula One team.

And I’m like, good for them. You guys are picking up the weirdest sponsors you could possibly find. I mean, who’s next? Maybe Charmin Toilet Paper will [01:23:00] sponsor Haas. Not

Crew Chief Brad: Rich Energy.

Crew Chief Eric: Anybody but. I didn’t even know Oakberry was a. I don’t even know where their stores are. Maybe they just produce acai for, you know, Smoothie King or some of these other places.

I mean, I don’t know. There’s a whole list of their official sponsors at the bottom. I mean, the ones you expect, Pirelli because of the tires and Alpine Star because of the driving suits and all that kind of stuff. There’s some other weird Did you know that they’re sponsored by Chipotle?

Crew Chief Brad: No. The McDonald’s.

Crew Chief Eric: Right? I’m not really sure who the Palm Angels are or Open Seas or Hentik Markets. Like these are some really like random sponsors. I mean, I’m sure every team has like majors and minor sponsors, but I kind of just look at the size of the logos, especially on this press release. And like the MoneyGram one is just like.

Ah, it’s huge. But the rest of these, I don’t know.

Executive Producer Tania: I mean, if someone’s giving you money, you don’t turn your hand, right?

Crew Chief Eric: Never bite the hand that feeds you, except if you’re also trying to make money selling stuff to the Russians.

Executive Producer Tania: [01:24:00] Hmm.

Crew Chief Eric: Hasan, a little bit of trouble.

Crew Chief Brad: Granted, at the time they were selling stuff to the Russians.

But they also had Russian sponsorship and a Russian driver and it was all before the war. And they’re very adamant about delineating the timeline. As soon as the war happened, then they cut ties and got rid of the contract and got rid of the driver and everything and stopped selling equipment to the Russians.

Crew Chief Eric: Do you really believe it? I do. I feel, I feel like this

Crew Chief Brad: is, I feel like they’re just grasping at headlines.

Crew Chief Eric: To just get more notoriety and pick up some other obscure sponsor?

Executive Producer Tania: Yeah.

Crew Chief Brad: Speaking

Executive Producer Tania: of notoriety.

Crew Chief Eric: Yeah. Speaking of notoriety, yeah. There’s an untold rivalry in Formula One that people want to bring to light.

They wanna educate us on the battle between Gillsville, niv, and Peroni.

Executive Producer Tania: Did

Crew Chief Eric: you guys know this was a thing?

Executive Producer Tania: I, I mean, I was a little young at the time that they were racing each other, so no, I wouldn’t have appreciated it was a thing. I wasn’t born.

Crew Chief Eric: Yeah, but like, nobody even talks about this. It feels like the [01:25:00] quietest rivalry nobody ever heard of.

Are we just, again, to Brad’s point, are we sort of grasping for Formula One drama to paint a picture of two guys that aren’t even alive anymore?

Crew Chief Brad: Yeah, I believe this is what they call a slow news cycle.

Crew Chief Eric: Ah, that makes way more sense. Well, they’re going to make a documentary about it. And when it comes out, why don’t we take a look at it?

Executive Producer Tania: Well, it’s out already. The problem is it’s not out in this country. So the question would be is if they will put it on the service that we could watch. Cause right now it’s on a UK based service.

Crew Chief Eric: I bet motorsport. tv will carry it or something like that, but you got to pay a premium for it.

Executive Producer Tania: Popular in Formula One has always been very high everywhere outside of the United States, essentially, or at least in Europe, very high, right?

So there’s more. Like even then, maybe the popularity is even growing, right? So yes, there’s probably to some extent people are trying to take advantage of the F1 train and making more of these documentaries. But on the other hand, like, why not? I mean, this is interesting stuff. It’s a documentary, so a lot of it is real footage put together and that’s kind of neat to [01:26:00] see.

The history and how it was back then and all that

Crew Chief Eric: for sure. I mean, there’s always opportunities to learn more things. And that’s sort of the point of the show too, is it’s those untold stories, bringing them to the surface. Everybody has a story. I am curious to dive further into this. It’s sort of one of those, like.

Uh, didn’t really know that was a thing. So let’s regroup on this at a later date and share it with our audience and see what we thought about the Villeneuve Perroni rivalry. I mean, I can’t imagine it’s up there with Hunt and Lauda or Proust and Senna.

Executive Producer Tania: Fun facts. Apparently Didier Perroni’s son, who. I believe he died before he was born.

I don’t think they were married, but his partner, whatever, named him Gilles in honor of Villeneuve. And he works on Mercedes as an engineer on Mercedes F1 team. So full circle in that family. Speaking of Formula One, I came across, admittedly, not listened to F1 Beyond the Grid podcast, but apparently they’ve done an interview [01:27:00] with Alain Prost, which I don’t know how often he does these.

But pretty long podcast, cause it’s almost an hour and I was scrolling through some of the other podcasts, which are much shorter, I have it in my download list at some point I will listen to it cause I’m kind of interested to see what they’re going to talk about.

Crew Chief Eric: I mean, when you have the professor on your show, I think you just let them talk.

Your 30 minute format goes out the window when you have

a

Crew Chief Eric: celebrity of that caliber on the show. Yeah. I’m curious too. I hate to say morbid curiosity. I side on the SENA side of that rivalry. I don’t know. Maybe we’ll learn. thing or two. Brad, your charter this year has been to keep up with WRC news. So round three, Mexico just concluded.

What do you think?

Crew Chief Brad: I’m having a hard time staying interested if I’m going to be completely honest with you, as I’ve said numerous times, it’s the coverage. I can’t see enough of something to really bind somebody to like to root for or anything. [01:28:00] It’s, I don’t know. I did think it was funny on, you know, what happened to the Fords on Friday though.

Crew Chief Eric: Oh my god.

Crew Chief Brad: And the cars pulling into Mexico, driving through that little city tunnel and everything. That was super cool. But I think the only way I’m really gonna find a way to get invested in Rally is going to one.

Crew Chief Eric: That’s a good option. I like that. You know, we’ve been talking about going to Pikes Peak.

That’s on the docket for next year at this point. It’s not quite the same as the World Rally stages, but I’m telling you right now, if you were to actually watch the full coverage of a rally, you’d be so much more bored than just watching the recaps. And that’s not because it isn’t exciting. It’s just overwhelming.

And you would just be like, Oh my God, make this three days worth of content. Stop. That’s why I was surprised. Mexico was so action packed, especially since. It hasn’t been on the schedule in three years. And when they set the stage, they took us back to 2020 and they showed Oittanik’s crash where he literally put his Fiesta underwater.

And you [01:29:00] just watch it sinking from the onboard GoPros. I’m like, this is. Beautiful. Like it was so

Crew Chief Brad: awesome for me. And this is, again, this is just my personal opinion. I feel like it’s the equivalent of coming into Grey’s Anatomy now and missing the entire first 200 seasons of the show. That’s what it feels like to me.

I have no frame of reference. I have no historical knowledge or background on any of these drivers or anything or rally itself. I don’t know what’s going on. Completely lost. And I’m trying so hard. The coverage of the cars racing and stuff is cool. But as far as understanding what’s going on, I have no idea.

Crew Chief Eric: Just go with it. Just embrace

Crew Chief Brad: it. Right. And maybe it’s one of those things. If I just watch enough of it, it’ll eventually click.

Crew Chief Eric: And Mexico was interesting. It’s very difficult. As you saw, it was Sebogier’s. Race to lose, he’s like, what, six time WRC Mexico winner, whatever he was going for, like, one more to like, really, you know, set him over the top, [01:30:00] all this kind of thing.

And like we talked about, he skipped the last one altogether. He’s like, I don’t even need to bother with that. So Seb was back. To your point, the Fords were having a terrible Friday. I mean, I love the commentator. There’s a stage called El Choate and he goes, El Choate, the stage where the Pumas melted. And I was just like, it’s so true, because every one of them had a failure of some catastrophic sort or another, some they could fix, you know, whatever.

Yeah. The first one was that the,

Crew Chief Brad: one

Crew Chief Eric: of

Crew Chief Brad: the turbo pipes, right? Oh yeah. Oix car. Just, just that the turbo just stopped working. He picked a terrible place to stop, by the way. I mean, right there with, with the dust, he’s, he’s like basically two or three feet off the circuit and nobody can

Crew Chief Eric: see

Crew Chief Brad: him. Yeah, it was terrible.

Crew Chief Eric: I felt so bad for him. By the end of Friday, he was like seven and a half minutes behind. There is no coming back from that. There’s literally WRC two cars that are finishing in front of you. Like that’s how far back you are. And I felt bad for him, [01:31:00] but then. Here we go. Crash it again. Takamoto. Did you see the role?

He rolled the Yaris again. Again, this is like the second time in three races.

Crew Chief Brad: At least he stopped driving this time. A

Crew Chief Eric: hundred percent. Yeah. He didn’t try to go while he was upside down. I don’t know if it’s bad luck or that just, he’s more of like a rookie still or whatever, but I’m just like. Bro, I can’t wait to see him roll it again.

I mean, Yari Matalopoulos has got to be like pulling the, what’s left of his hair out of his head because these cars aren’t cheap. And for this guy to like destroy one, trying to remember his name now, he was like a Scotsman and he would do the same thing. Every time he came out, he would destroy a Citroen.

Finally, after like six rounds, they cut him loose. Because they couldn’t afford to keep replacing the cars and they brought in another driver and all this kind of stuff. And I’m like, here we go again. Takamoto, if he doesn’t get this car on four wheels consistently, it’s not going to end well for him this year, that’s for sure.

And then you got Esa Pekka Lappi. You’re telling me that you can’t get into it. A goddamn telephone pole landed on [01:32:00] him. That wreck was out of control. Like, it happened so fast. And it knocked out the power in the area too. They literally had to red flag the rally. I mean, that’s how bad it was because he’s in the middle of the road with a U shape in his roof.

Basically, the roll cage is holding this electrical telephone post from decapitating him in the navigator. But again, it happened so fast and it was so unexpected. He lost the back end of the car and he literally just backed into it at full speed. And that was all she wrote. It was just nuts. Absolutely nuts.

So on top of that, the SCOTAs are still kicking butt in WRC2 and whoopie doo, because there were so many retirements, you know, and breakdowns and failures in this race. Seb won overall in Tierneyville podium. It’s like, Whoa, okay, great. I felt like it was like y’all won by default and hopefully next time it gets better.

Crew Chief Brad: I mean, I can’t deny that the coverage is exciting, but as far as the championships and the drivers and stuff like that, I don’t care about any, there’s no Volkswagen.

Crew Chief Eric: Well, that’s the Skoda. That’s in WRC2. I’m rooting [01:33:00] for Hyundai right now. They are plagued with some issues because of the new hybrid system, but they were really strong last year.

And Ford’s got a new car. And M Sport has generally dominated. And I want to see them dethroned and Toyota is always the wild card. Like they’re super consistent. They’ve had the same car forever. They’re under new management, but the gazoo racing team knows how to put together a good race car. So it’s a good fight between them, but I am rooting for the underdog.

I am rooting for the Hyundai’s in this case. I just want to see Terry Neuville get out of his own head and stop blaming the car and get back to driving kind of thing. But as a pack of lappy, as long as he stays away from telephone poles, he might be okay. By the way, folks, he walked away from that wreck.

So amazing engineering in those cars to keep those drivers safe, that’s for sure. Moving on to IMSA and WEC, really quick, I just wanna highlight something really, really important. You know, LeMans is about two months away. There are abouts, there are 16 hypercar in the LeMans [01:34:00] field. Right now. That’s pretty awesome.

But you know, who’s not going to be there. Acura and BMW. No, I’m rather disappointed in that. And I wonder if it has to do with their performance at Rolex. And, you know, obviously throughout the season so far, BMW was definitely lagging behind as we talked about and things like that, but all the other major players are coming Peugeot.

Ferrari with the new four nine nine P Porsche with the nine 63. There’s going to be some fantastic cars running out there. And again, my whole thing about this is I want to see Toyota dethroned, but it’s anybody’s game, right? It’s anybody’s game. And we saw some real promise out of Ferrari at the Sebring 12 hours.

What did you guys think of that race?

Executive Producer Tania: So I didn’t watch the whole thing. I did tune in like right. After the lead Acura, one that was under all those penalties for alleged tire error,

deflate gate,

Executive Producer Tania: whatever you want to call it, issues at Daytona, that car lost a wheel. [01:35:00] Whoopsies. So unfortunately they were out.

But then what later happened in like the last basically 18 minutes of the race was left was just like carnage. Absolute carnage. And there’s a short YouTube video that captures the three minute moment, if you will, and

Crew Chief Eric: took out like six cars off the lead lap. It was insane. It was basically

Executive Producer Tania: like all the lead cars got wiped out in the last remaining few laps of the race.

Crew Chief Eric: It looked like one of our virtual racing leagues back in the day. Like it’s like such a Forza move to do what they did.

Executive Producer Tania: Was it a racing incident? The guy swerved from one side to the other thinking he was going to take the outside line, pass everybody on the outside. That inner car was moving over. One could argue to

Crew Chief Eric: set up his turn to

Executive Producer Tania: set up his turn, to be where he was.

One minute, the dudes on his right, two cars away, it’s nighttime. There’s headlights. There were a bunch of cars right there, and the next second, dude’s on his left, and the gap is closing to the grass, he goes [01:36:00] off. He was done. There was no way. Like, I don’t think he tried to be a torpedo. He wasn’t stopping.

Crew Chief Eric: But the best part, it looked like a video game, because it was like, all that stuff happened, and the double bump, and the guy’s in the grass, and suddenly he ends up hitting him anyway. So you thought you got away from him, and nope, here he comes and broadsides you.

Executive Producer Tania: Yeah, and you’re not expecting that either, so that guy was like, probably like, the F just happened to me.

Because he comes shooting through the grass, onto the track, over the track and just T bones him off the other side of the track.

Crew Chief Eric: It looked like a Forza round. I’m telling you, it was just, I couldn’t believe it. I watched it so many times. I was like, this is unreal. But the only camera angle that really showed What happened was luckily the helicopter view because all the other ones were super deceiving as to what it made

Executive Producer Tania: it look like some BS stuff was happening where it was intentional and all this, but like the helicopter view was like, pretty clear where it was like, this was an unfortunate racing incident.

I don’t think. That guy intended to cause an accident.

Crew Chief Eric: And what was [01:37:00] funny is the commentators climbing all over it. They finally were like, all right, we, we got to backpedal. We got to retract like everything we just said, because we just saw the helicopter view. Uh, so sorry. It looked really

Executive Producer Tania: bad from like in car, like track level footage, but from the helicopter footage, it was like, Oh damn, this was really just an unfortunate accident that created a.

Crew Chief Eric: That’s sort of the funny part about those commentators. It’s sort of like, look before you leap on that one. They were taken by surprise.

Executive Producer Tania: They’re going to have a delay and when they’re getting the footage too. Yeah.

Crew Chief Eric: Well, there’s one more bit of motor sports news to share with you. And that is the 2023.

Cardboard classic. If you’ve never seen this before, I cannot recommend these videos enough. I got to thank one of our Patreon supporters, Sean, for sending this to us every year, because I tend to forget about it, but then when it comes full circle, I just love it. And I got to say, there’s one part of this video I think is epic.

I want to see the build [01:38:00] out on this cardboard vehicle and it’s at the minute 21 mark. These guys built a full. back to the future DeLorean and send it down this ice luge, shoot, whatever you want to call it.

Executive Producer Tania: That DeLorean was epic. That guy spent a lot of time on that. It looked good. I’d hate to send it down and crash down the ski slope thingy.

Crew Chief Eric: And you didn’t even get to see it run. You only sort of got to see it. I did love the working Gullwing doors. That was so awesome. I’m like the amount of detail he put into that to run it down and basically. Hopefully not obliterate it before it got to the end.

Executive Producer Tania: You got to transport something like that in an enclosed trailer.

How are you going to put that back on an open closed trailer? Put it

Crew Chief Eric: sideways on the back of an F 150. That’s how you transport it. It’s cardboard. Don’t weigh that much.

Executive Producer Tania: Exactly. Don’t blow away at 60 miles an hour.

Crew Chief Eric: perpendicular out the back of a Malibu or something, you know, it’s all good. If you’ve never seen these before, I mean, they range from mundane to insane on the scale of these cardboard creations.

And they send all sorts of people down on these things. It’s just nuts.

Crew Chief Brad: Where does this [01:39:00] happen? Poconos. We should totally do this. Yeah, we should go there.

Crew Chief Eric: I don’t, I don’t think I want to participate. No, no, no,

Crew Chief Brad: no, no. We should compete. With what? You build a cardboard

Crew Chief Eric: 914. See how that only fits two people.

They got, some of these, they got like a school bus of people going down.

Crew Chief Brad: Yeah. And then on the other guy, it looks like he’s just going down on a sled. Those did the best. So

Executive Producer Tania: there was one where it was like 30 people, a flat sheet of cardboard. It’s like all that weight, real stable. So you guys are winning.

Crew Chief Brad: This reminds me of the Red Bull fluke talk. Yes,

Crew Chief Eric: yes, yes. And to Tanya’s point, there’s something to be said about simplicity and design. You know what I mean? That flat sheet of cardboard. But yes, the Flutog, I missed the Flutog. It’s another reason to watch Red Bull TV.

Crew Chief Brad: I think GTM needs to commission a vehicle for this.

I think we should do it.

Crew Chief Eric: I’m going to get project motoring on this.

Crew Chief Brad: I got it. I know exactly what we’re going to build. Pontiac Aztec. Oh yeah. Oh yeah. Cardboard Pontiac Aztec. It’s

Crew Chief Eric: even the right color. It’s like [01:40:00] middle aged beige. Greige. Just like Heisenberg.

Yes.

Crew Chief Eric: On that, we should probably wrap up with some local news and events.

Crew Chief Brad: Upcoming local news and events brought to us by CollectorCarGuide. net, the ultimate reference for car enthusiasts. So let’s see what’s coming up for April. The Cruising Car Show season is ramping up with events like Jimmy Cone, Chewy’s, the Damascus and Hagerstown Cars and Coffee, all starting on April 1st and 2nd weekend and repeating throughout the season.

The air cooled Volkswagen show will be held at the Zimmerman Auto Driving Museum on April 8th. There are a bunch of MECOM on time and road art auctions happening in April. The World Racing, the Big John Music Memorabilia Collection, the Jim and Brenda Hoffman Collection, and others closing by mid April.

So get your bids in now while you can. The IMRRC is hosting their 8th Annual Model Car Show on April 15th as part of Opening Weekend, right after the Green Grand Prix. And tons more events like [01:41:00] this and all their details are available over at CollectorCarGuide. net.

Crew Chief Eric: That’s right, and now it’s time for our HPDJunkie.

com Trackside Report. So what’s coming out here early spring? Well, the track season has begun. It started as early as the beginning of March here on the East Coast. The time trialers over at EMRA, the Eastern Motor Racing Association, kick off their time trial season at Lime Rock Park on the 1st of April.

They’ve switched up. Their season this year, they’re predominantly running at Lime Rock and Pocono kind of alternating between the two locations for an action packed time trial season. Meanwhile, the Washington DC region of SCCA kicks off their series of autocross schools on April the 1st with others peppered throughout the year.

So it’s not just a one time autocross school. If you want to get involved in that, not only that BMW car club of America is also kicking off their series of autocross schools on the 15th of April. So check out both of their websites. To see how you can get involved in that [01:42:00] discipline of motorsport. As Brad mentioned, the IMRRC is holding their eighth annual model car show after the green Grand Prix.

And the green Grand Prix is in its 18th year and will be held on April the 14th, which is a Friday at Watkins Glenn international. I will be personally participating in it with my alternative fuel vehicle, and I’ll be live streaming from the track and throughout the event. So tune into our Twitch channel, twitch.

tv forward slash grand touring motorsports for live coverage of the green Grand Prix. We talked about legislation earlier, the performance racing industry, PRI in conjunction with SEMA and others is working to pass legislation. That’s one step closer to law in West Virginia, especially at our home track of Summit Point.

Virginia lawmakers are working to support a PRI supported legislation that was established called the Motorsports Responsibility Act, which would define areas of responsibility and [01:43:00] assumed risks by participants for recreational and commercial motorsports facilities. What this really means is it’s going to reduce.

The liability insurance premiums allowing racing venues to invest the savings that they’re getting for promotional purposes, you know, tourism, other things like that. Hopefully this will translate into cheaper track day weekends, not only for the organizers of track day events, but then the trickle down effect is that because the tracks insurance is cheaper by proxy, the organizers insurance should also be commiserate to that.

Again, hopefully making track day weekends a little bit more affordable since the prices have gone up over the last couple of seasons due to COVID and other things. So to learn more about that, you can check out performance racing. com for all the details, or check out our show notes for the link. We talk a lot about EVs on this show and in the HPD and club racing world, we wonder all the time, are we going to [01:44:00] see more EVs at the track every once in a while?

There’s a guy with a Tesla, you know, they get about 20 minutes and then they got to find a charger and all this kinds of thing. And they have a hard time being out there with the rest of us. Ice powered folks. Well, there’s three tracks in this country right now that are taking a major push into making EVs.

More accepted at the racetracks, two of which we’ve run at many times at the past VIR, Virginia International Raceway and Lime Rock have made the list along with Button Willow being at the pointy end of the progress here to make sure that the tracks have more chargers available to folks that want to come and enjoy their EVs on the racetrack.

So look forward to more enhancements in the future coming from those locations and hopefully more as we move forward with EVs in racing in the future. The next HOD Southeast event is Thursday, April the 6th at Sebring. While Hooked on Driving Northeast will be at New Jersey Motorsports Park on Saturday, April the 8th.

And that’s a Saturday only event. And we bring up these HOD events [01:45:00] because we want to remind you. As a thank you to everyone that is a loyal supporter of GTM and a listener of Break Fix Podcast, Mike and Mona Arrigo from Hooked On Driving are offering a discount all season on HPD events on their schedule.

So be sure to use Code Break Fix 23 to receive a discount on your event registration at checkout. So thank you all again for being loyal supporters of all of our efforts. Tune out through the year. For more promotions and be sure to get up off the couch and get out on track

Executive Producer Tania: in case you missed out.

Check out the other podcast episodes that aired this month. We started celebrating international women’s month with Hannah Thompson’s episode on the history and evolution of the NASCAR hall of fame in Charlotte’s glory, the NASCAR hall of fame in the queen city. We continued with our first all women’s What Should I Buy panel, focusing on the new EV car buyer, with returning guests Kat DeLorean from DNG Motors, Sarah Lacey from A Girl’s Guide to Cars, Carolyn Ford from TechTransforms, and GTM members Emily Fox and Chrissy Crutchfield.

Lauren [01:46:00] Goodman took us back to the 1930s with her discovery of racer and team owner Lucy O’Reilly Schell and how she innovated motorsports in France. Dr. Chris Lizotte shared her study on autocross, life skills, and the woman driver in her piece Real Racers Turn in Both Directions. Samantha Zimmerman is a fine artist specializing in realism with the breadth of her work consisting of automotive and motorsports subjects.

She joins us from her home studio in San Antonio, Florida to tell us how she blended her passion for art and motorsports into a blossoming career. And we will round out International Women’s Month with an extra episode where we chat with a third generation SCCA club racer. Taylor Hyatt and her plans to get more ladies on track.

Thank you to all the guests that came to the show this month. We’re so excited to be in our fourth season. And if you’re tuning in for the first time, you’ve way too many episodes to catch up on. So just hang in there for more awesome new episodes dropping each week on Tuesdays. And don’t forget to sign up for our newsletter in the rear view or join us online to continue the conversation and share stories.

Crew Chief Eric: New Patreons for the month of March. We got to give a [01:47:00] big shout out to our newest Patreon supporter, because I think Brad made him feel a little guilty. So, you know, Brad, you might want to say thanks and apologize at the same time.

Crew Chief Brad: How did I make him feel guilty? Thank you. Thank you. And sorry to Mark Hewitt.

I guess

Crew Chief Eric: mark has been a loyal fan of the show and we really do appreciate as he is quoted as saying busting out the pry bar and opening his wallet to help continue to keep the lights on here at break fix. So we really do appreciate you doing that. Every little bit does add up. It really does count and it helps us continue to bring you great content month.

After month.

Crew Chief Brad: Yes. And in addition to Mark and the new patrons, we’ve got some other shout outs. Unfortunately, no anniversaries in the month of March, but we do want to welcome back Logan Ellsworth. You can ping him on our discord at Lolo and stop by and say hello. And if you’d like to become a member of GTM, be sure to check out the new clubhouse website at club.

gtmotorsports. org to learn more.

Crew Chief Eric: That’s right.

Crew Chief Brad: And we don’t have any special guests, [01:48:00] so no thanks. And of course we do want to thank Tanya though, for all her hard work on the show.

Crew Chief Eric: And remember folks for everything we talked about on this episode and more, be sure to check out the follow on article and show notes available at gtmotorsports.

org

Crew Chief Brad: and to all the members who support GTM without you. None of this would be possible.

Crew Chief Eric: The annual two ends

Crew Chief Brad: alphabet soup. I think there are too many letters in annual.

Executive Producer Tania: And

not Oh, oh

Crew Chief Brad: man. I’m just gonna leave that there. Uh, you all can use your imaginations.

Crew Chief Eric: That’s it, folks. Uh, that’s, that’s a wrap.

Crew Chief Brad: I

Executive Producer Tania: don’t even know how you follow that anymore.

Um Shweaty

Crew Chief Brad: balls.

Executive Producer Tania: Here

we are, bus

cars in back of us, all just waiting [01:49:00] to order. There’s some idiot in a lights on behind me. I lean out the window and scream. Hey, what you’re trying to do blind me? If

Crew Chief Brad: you like what you’ve heard and want to learn more about GTM, be sure to check us out on www. gtmotorsports. org. You can also find us on Instagram at GrandTouring Motorsports.

Also, if you want to get involved or have suggestions for future shows, You can call or text us at 202 630 1770, or send us an email at crewchief at gtmotorsports. org. We’d love to hear from you.

Crew Chief Eric: Hey everybody, Crew Chief Eric here. We really hope you enjoyed this episode of Break Fix. And we wanted to remind you that GTM remains a no annual fees organization.

And our goal is to continue to bring you quality episodes like this one at no charge. As a loyal listener, please consider subscribing [01:50:00] to our Patreon for bonus and behind the scenes content, extra goodies, and GTM swag. For as little as 2. 50 a month, you can keep our developers, writers, editors, casters, and other volunteers fed on their strict diet of fig newtons, gummy bears, and monster.

Consider signing up for Patreon today at www. patreon. com. patreon. com forward slash GT Motorsports and remember without fans, supporters, and members like you, none of this would be possible.

Highlights

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

  • 00:00 Introduction and Sponsors
  • 00:36 Welcome to Episode 32
  • 00:53 Season 4 Excitement
  • 01:55 Porsche and Scout News
  • 03:25 Volkswagen’s EV Factory Plans
  • 06:25 Porsche 911 GT3 RS Tribute
  • 09:07 Porsche’s E-Fuel Initiative
  • 15:25 Volkswagen ID.2 All Retro Gauges
  • 20:12 Volkswagen and Ford Partnership
  • 22:14 Controversial GPS Subscription
  • 25:55 Stance Life and Static Struggles
  • 31:56 Fastest Van at Pike’s Peak
  • 34:10 GMC Cyclone 2023
  • 35:38 Debating Car Aesthetics and Performance
  • 36:42 Chevy’s Record-Breaking Z06
  • 37:55 GMC Cyclone and GM’s New V8
  • 38:37 Copo Camaro and Power Struggles
  • 41:11 The Future of the Camaro
  • 42:52 Ford’s Self-Repossessing Car Technology
  • 46:07 Toyota’s Stance on EVs
  • 53:18 Insurance Woes for EV Owners
  • 58:17 Radar Detectors and Self-Driving Cars
  • 01:01:00 Lost and Found: Rare Car Deals
  • 01:02:15 Teslagate: Steering Wheel Fiasco
  • 01:07:30 Nude Car Show in Wisconsin
  • 01:09:56 Predatory Car Loans
  • 01:11:24 Florida Man and Alligator Season
  • 01:12:37 Unexpected Cargo: The Mosaic Tesla
  • 01:13:59 Maryland Man’s Drum Set Traffic Jam
  • 01:15:28 American Man’s Ferrari Adventure in Italy
  • 01:16:52 Florida Man: The Netflix Series
  • 01:18:32 Motorsports News: NASCAR and Formula One
  • 01:27:34 Rally Drama: WRC Mexico Highlights
  • 01:33:44 IMSA and WEC: LeMans and Sebring Recap
  • 01:37:39 Cardboard Classic: Creative Racing
  • 01:40:06 Upcoming Events and Local News
  • 01:46:56 Thank You and Wrap Up

Would you like fries with that?


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The Iacocca Era Chryslers

Having stabilized Chrysler somewhat with sales winners like LeBaron, the best selling convertible in America, and Town & Country, Caravan, and Voyager, the best selling minivans ever, and proving with the Daytona and Laser that a 4-cylinder with a turbo and proper engineering could hang with competition packing 8-cylinders, Lee Iacocca decided it was time for the company to return to its former glory days of offering top level luxury performance cars.

While he brought back the Imperial brand for 1981, sales slid quickly, ensuring its demise by the end of 1983. Returning to the drawing board in the late 1980s, Chrysler introduced the Turbo Convertible, or TC, by Maserati and the new Imperial a few years later. Both gave Chrysler a competitive edge in the luxury market competing against the likes of DeVille, Continental, Park Avenue, Allante, Reatta, and other well-known models in the segment.

With the TC largely based on the LeBaron and the Imperial based on the New Yorker, it was a tough sell. Customers saw through the modified nature of both and had difficulty justifying the premiums, despite the fact that both were considerably distanced from their cousins. Especially the TC, which was literally an international effort between Chrysler and Maserati which begat a remarkable interior of hand-crafted Italian leathers, exquisite paint, and a one-off chassis. Buyers could also opt for the Maserati-enhanced engine, which gave the 4-cylinder a head designed by Maserati and crafted by Cosworth to help conjure up 200 HP. Backed by a Getrag 5-speed manual transmission, it gave TC a sportier feel. Meanwhile, Imperial buyers enjoyed higher-end leather upholstery, extra sound deadening material, increased soft surfaces inside, a refined suspension system, and an optional built-in hands-free phone system. Mind you, this is 1990.

Sales of both were lukewarm at best, but drew attention to the Chrysler brand, which is really what was needed. Interestingly, while neither TC or Imperial set any sales records, for the years both were in production, sales of other Chrysler models saw increases, including LeBaron, New Yorker, Daytona, Dynasty, and all those minivans. Halo cars sell. Just not themselves.

 

Modernizing their lineup, Chrysler introduced the new LH platform cars in May of 1993 for 1994. The top line offering was the LHS, which replaced the Imperial and Fifth Avenue models, with standard amenities such as leather front bucket seats, a center console with a floor shifter for the 4-speed automatic, dual-zone climate control, and electrically-operated everything.

LHS stood for LH platform Stretched, as it was longer than the New Yorker and Concorde, giving passengers more rear seat legroom. Chryslers new ‘Cab Forward’ architecture provided additional interior space, meaning LHS was cavernous inside. Cab Forward also allowed for the front and rear wheels to be placed further away from the interior, providing both a smoother ride, lower interior noise levels, and better handling.

The sleek design provided a very low drag coefficient, which further kept interior noise levels to a minimum, while aiding efficiency and overall performance. The 3.5L V6 was adept at hustling the big car around, offering nearly the same seat-of-the-pants feel as it’s competitors like Continental and Park Avenue, but with a remarkably planted feel, again, thanks to the Cab Forward design.

The exterior styling was a striking and refreshing breakaway from the boxy ChryCo predecessors, and the understated use of bright work was very modern. The interior was posh and luxurious, with a modern flare meeting classic cues. The seats were scrumptiously upholstered and tufted for a spectacular look and seemingly unmatched comfort, and few factory stereo systems could match Chrysler’s.

Despite all it had going for it, Chrysler LHS sold slowly compared to lesser-priced siblings New Yorker, Concorde, and Intrepid. Compared to Continental and Park Avenue, sales were abysmal, but counting sales of all four together, they very competitive. Finding one worth talking about today is nearly impossible, but maybe worth the search. After all, the low-hanging fruit isn’t always the best.


Other Recommended Reads

Reading List

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


Gran Touring Motorsports's favorite books »

Goodreads

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

Learn more about Lee Iacocca on this Break/Fix TL:DR minisode below, or check out the article reviewing his autobiography.


Thanks for stopping by!
Don Weberg - Editor-Publisher-Founder, Garage Style Magazine

Painting Speed: Samantha Zimmermann’s Journey into Hyper-realism

When Samantha Zimmermann first chased her childhood sweetheart Michael around the playground, she couldn’t have known she was also chasing the beginning of a lifelong love affair – with motorsports, with art, and with the stories that live at the intersection of both.

Today, Zimmermann is a fine artist specializing in hyper-realistic automotive and motorsport paintings. Her work captures not just the lines and liveries of iconic race cars, but the emotion, energy, and history that surround them. In this episode of the Break/Fix podcast, she joined us from her home studio in San Antonio, Florida, to share how she turned a passion for precision into a career that bridges engineering, storytelling, and art.

Photo courtesy Samantha Zimmermann

Raised in a family of NASA and Lockheed Martin engineers, Samantha grew up surrounded by technical drawings and mechanical curiosity. Her grandmother and grandfather were active in the Porsche Club of America, showing off their 914 and 944 at concours events across the country. Meanwhile, her dad leaned into the JDM scene with a Honda Prelude and Civic. Samantha, however, found herself drawn to the Porsche side of the spectrum – and never looked back.

But her first artistic muse wasn’t a car. It was a horse.

“I grew up being an equestrian,” she recalled. “It started with extra naturally aspirated horsepower.” Her early drawings were of horses, and her love of realism and anatomy was already taking shape. That foundation would later prove essential when she transitioned to automotive subjects.

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Zimmermann attended the University of South Florida as a double major in Fine Art and Biomedical Sciences – a pairing that might seem unusual, but makes perfect sense in her world. “Anatomy classes were actually really helpful,” she explained. “Whether it’s people or cars, you’re dealing with complex forms and proportions.”

Though USF’s art program leaned modern and conceptual, Samantha found her niche in printmaking, where her illustrative skills were appreciated. She honed her understanding of composition, color theory, and technical execution – skills that would become the backbone of her hyperrealistic style.

Spotlight

Synopsis

This Break/Fix episode focuses on Samantha Zimmermann, a fine artist specializing in realistic automotive and motorsport paintings. Sam discusses her early interest in both art and motorsports, inspired by her engineering family and a pivotal visit to the 24 Hours of Daytona. She details her educational journey at the University of South Florida, her artistic process, and her love for painting cars and creating photorealistic art. Sam also talks about her passion for historic racing, her favorite tracks, and her future ambitions, including a scholarship fund for women and girls in the automotive industry. Listeners get insights into her inspirations, challenges, and advice for aspiring artists.

  • Tell us about growing up in a house full of engineers… from the sounds of it, you came up in a family of auto enthusiasts. What sorts of vehicles did you grow up around? What really got your attention?
  • We’re captivated by the entire sweeping romance of your backstory, with your then sweetheart, now husband taking you to your first sports car race, the rolex-24, and suddenly it all clicks. Tell us about that – what was it? What was the magic moment that made it all come together?
  • In your pieces you focus heavily on racing in the 70s and 80s, which could be considered the heyday of sports car racing, with names like Haywood, Stuck, St. James, Lanier, Ribbs and others in that mix. Why that time period? What’s the draw/appeal?
  • Many people say, and it’s true of racing as well “failures breed successes” – are there some projects that you look back on and go “the juice wasn’t worth the squeeze” or maybe something you still want to “get around to” #roundtuit 
  • If you had to give advice to other (starving) aspiring artists, what would that be? 
  • How does one go about acquiring some Samantha Zimmermann artwork? What is your commission process like? 
  • What are you working on now? Any big projects you can share/reveal to our audience? #spoileralert

Transcript

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

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

Executive Producer Tania: Like most enthusiasts, her love for cars and motorsports began at a young age. Formula One was a must on Sunday mornings. Raised in a family of NASA and Lockheed Martin engineers and technical drawers, our guest’s interest in the technicalities and precise nature of mechanical ingenuity came easily. Her childhood sweetheart, Michael, took her to her first 24 hours of Daytona in 2012, and her passion for all things motorsports has only continued to flourish from then through today.

Crew Chief Eric: Samantha Zimmermann is a fine artist specializing in realism with the breadth of her work [00:01:00] consisting of automotive and motorsport subjects. She joins us tonight from her home studio in San Antonio, Florida to tell us about how she blended her passion for art and motorsports into a blossoming career. So welcome to Brake Fix, Samantha.

Samantha Zimmermann: Thanks so much for having me on, Eric. I’m so excited to be able to sit here and chat with you guys this evening.

Crew Chief Eric: Well, like all good Brake Fix stories, everybody has a superhero origin. So tell us about growing up in a house full of engineers. From the sounds of it, you came up through a family of automotive enthusiasts.

So what sorts of vehicles did you grow up around and what really got your attention?

Samantha Zimmermann: Funny enough, my Grandmother and my grandfather were really big into PCA. They had a 914 back in the day. My grandma also had a 944. They used to take them around the country and do concours and all the PCA events and all that jazz.

And she has a few stories from where they’d Placed really well at some national events. On the other hand, my [00:02:00] dad was a lot more into the, uh, JDM scene and things along those lines. Like he had a Honda Prelude growing up with me and my mom had a Civic. So clearly I tended to, uh, teeter to one side of the spectrum versus the other, the Porsche side of things.

And that’s where I continue to stick.

Crew Chief Eric: So what made you go into art and painting, unlike following in the footsteps of your family and engineering and science and all that?

Samantha Zimmermann: From a very young age, at least, I’ve always been told that I was always really into art. Growing up with a bunch of technical drawers, obviously that passion for all things super precise and mechanical came with the territory.

I always really liked to draw. I always really liked to paint. It wasn’t always cars, but it’s just Something that I picked up and I couldn’t get away from.

Crew Chief Eric: You said it wasn’t always cars. What were some of your first creations? What brought you through the gateway into artistry?

Samantha Zimmermann: Uh, horses. And I [00:03:00] have a funny story about that too.

I grew up being an equestrian, so horseback rider. How Michael and I met was that he used to say horses were stupid. I would be like, no, they’re not. And I chased him around on the playground in second grade. Then as a consolation prize, he would steal his mom’s jewelry and bring it to me the next day.

Which she would be fond of, clearly, but it started with extra naturally aspirated horsepower, if you will.

Executive Producer Tania: And I saw one of your pieces that’s out on findartinamerica. com site for people who are interested in learning more and seeing some of your other pieces. The one Sly Eve Cavall, if I pronounced that correctly, it’s got three horses, it was a watercolor that you commissioned for somebody.

That is gorgeous painting.

Samantha Zimmermann: Thank you. Two more, uh, horsey paintings that I’ve done. within the last few years, but I would say for the majority now, it’s typically just portraits and car stuff, but I still like to do my

Crew Chief Eric: horses every so often. I mean, on the flip side of that, [00:04:00] she’s got BBS basket weave wheels too, so she’d have my attention.

Samantha Zimmermann: You can’t go wrong with BBSs. They make everything look amazing. We had a pair of E 80 eights for our 9 64 and they were so beautiful. .

Executive Producer Tania: You graduated from the University of South Florida, and so can you let some of our listeners know who may not be artists themselves? What does that progression look like when you go to university for art?

What are some of the classes you’re taking? How did you get trained? What did that look like?

Samantha Zimmermann: I got into USF. based off of artistic merit. So they brought me in with a small scholarship into their art program. Now USF’s art program specifically is a lot more modern, if you will, and conceptual in class versus being so illustrative.

I didn’t even major in painting when I went to USF. I was the printmaker, because my printmaking professor was so appreciative of my [00:05:00] skills as an illustrator, as opposed to my painting professors, who were like, just smear some paint around on the canvas and call it a day. Generally speaking though, when you’re going to university for art, you learn a lot of things along the lines of composition, color theory.

Those are your two building blocks and then overall technical skills. So how you end up using the medium to get the result that you want. Probably some of my favorite classes that I did take though, were art history, Renaissance art history was Baroque and Rococo. And then I did one on medieval art history, which was all.

Mostly like medieval manuscripts and stuff like that. It was pretty cool though. On the other hand, I was also a double major Biomedical Sciences and Fine Art.

Executive Producer Tania: That’s quite the combination.

Samantha Zimmermann: Oddly enough, yes. I had one path as opposed to the other, but I did really enjoy anatomy when I was in that class as well.

Executive Producer Tania: Taking anatomy classes is actually pretty helpful if you’re an artist who’s doing [00:06:00] human pictures or portraits or paintings, right? Absolutely.

Samantha Zimmermann: I think it’s funny. I see a lot of other artists and automotive artists, and it’s usually one way or the other not to rag on anybody, but it’s usually artists who can do people really well in organic shapes, or it’s people who can do cars really well and more geometric shapes.

It’s hard to find someone who can do a combination of both because they’re So

Executive Producer Tania: you just naturally had that ability to do that, or you’ve just practiced really hard because if anyone has never tried to draw a car, and I have, I’m not on your level of artistry, but a little bit of cartooning here and there is my area, but cars are very hard.

Trying to be realistic with a car. If you don’t have that perspective, right. And the proportions, right. You know, it’s one thing you’re drawing a house and one window is slightly bigger than the other or the height of the house, but if you have the heights and the proportions of the windshield to the headlights and all that [00:07:00] wrong, I mean, it just goes horrible really fast.

Samantha Zimmermann: I have some of my very first works that I’ve done. Just as a reminder to show myself where I’ve come from because my first piece of a car that I did minus the BBS that I have on Fine Art America, I did a 993 in green. Oh, honey, it’s rough. Like we’ve come a long way. We’re doing really good now but it’s taken a lot of practice for sure to get to the point that I’m at and it’s taken a lot of experimenting and switching from oils to pencil to acrylic and then oils I found is my happy place for sure.

A lot of practice and dedication to be able to just continue progressing like anything. They say it takes a thousand hours to master a skill. I mean, I’m sure I’ve put that in by now, but it’s definitely gotten to the point where I feel like I’m proficient at least.

Crew Chief Eric: It’s funny. I had these dreams when I was a kid of being an automotive designer.

[00:08:00] And you know, the first step in that is where you got to be able to draw. And to Tanya’s point, a complex three dimensional object, like a car on a two dimensional plane, a piece of paper is extremely complicated. Now behind you is the low and brown nine 62 behind me as a model of the Momo nine 35. When you’re looking at them in profile.

I think I could do that, but it’s when you suddenly take them into perspective that you’re right. All those proportions go completely nuts. And that’s something I could never wrap my head around. So I turned and I said, you know what? I’m going to do photography instead because I appreciate the aesthetic, but I can’t translate in my brain to the paper or to the canvas.

What it is I want to design.

Samantha Zimmermann: That’s okay. And I appreciate the hell out of all of the photographers and motorsports and automotive photographers out there. I mean, without them, I wouldn’t be able to do the work that I do. Anytime that I find a photo, I always ask the photographer ahead of time, Hey, is it cool if I use this picture for a reference?

I’ll send you a print as a thank you and give you all the credit. [00:09:00] For the original photo,

Crew Chief Eric: and that’s a great segue into how do you go from pen and ink to oils and acrylics to this new style that you see coming up? And there’s tons of other artists out there, pinstripe, Chris and others and yourself that are in the photo realistic.

Artistry, how do you take it to that level? I mean, I see some of these making of videos and I’m blown away. I’m fascinated by the techniques, but how do you get it to look like it was a photograph, but it’s really oils.

Samantha Zimmermann: Stylistically speaking. I think there’s some differentiations between each artist. So Manu, who I’ve met personally down at DRT in Miami.

Awesome guy. Absolute sweetheart. If you look at his work from about 10 feet away, it looks very photorealistic, but when you get close to it, it’s a little bit, I don’t want to say pop arty, but he’s very deliberate in his brushstrokes to where it’s very bold to get those bold highlights, but he also [00:10:00] does some nice gradients on top of that or underneath of that as well.

Penstripe Chris’s work, same thing. He’s a little bit More messy, I would say, but his work still comes off as being very realistic. Both amazing artists. I love both of their work. When you’re looking at doing something that looks like a photograph, you really have to look at shapes. You really have to look at what separates the foreground from the background.

So with most of my work, I do a soft focused or bokeh background. So it looks blurry. When you do that in conjunction with something that’s super in focus in the foreground, it helps aid to that really hyper realistic effect that you’re looking for. So when you’re looking at a car, you’re not seeing an outline in the photo.

It’s not like someone’s taking a pen and drawing an outline on it. What are the colors that separate it? That’s the most important thing. How does the light separate it? Second most important thing. [00:11:00] It’s really translating what your eye sees onto the canvas or paper, so to speak. So I look at things in all light, color, and shadow.

Crew Chief Eric: So are you building up in blocks or in stages or in layers, I guess? Or are you just developing it all in one shot?

Samantha Zimmermann: So generally speaking, what I’ll do is I’ll do the entire background first. That way I can paint on top of the background, what the main focus is. For instance, I have Bob Doyle’s Molnar Motorsports LMP3 car that I’m doing right now.

So I’m doing all the background at Daytona currently, and then I’ll go back in and I’ll paint his car on top.

Crew Chief Eric: So does the sketch of the car live underneath the background? So it’s always there as a reference, or do you just build on top of?

Samantha Zimmermann: I’ll leave a cutout of the drawing of the car basically. I might brush over the edges just a little bit.

I always have that there as my reference so I know where I’m going in the future when I get to that point.

Crew Chief Eric: These photorealistic paintings that you’re creating are obviously super [00:12:00] complicated, and I cannot fathom, you know, how many hours it takes to put one of these together, but I think our audience probably wants to know.

I mean, obviously we see the time lapse things on the internet and seems like you can get it all done in 20 minutes, right? But that’s not the case. What does it take to put something like that together?

Samantha Zimmermann: So typically I average about a hundred hours of painting time into each piece I do. The painting behind me, the Lowenbrau 962, took me 220 hours to paint.

I love what I do. It was definitely a labor of love. The most recent painting I produced, the 48 GT3 at Daytona with the grandstands in the background, I don’t even know how many hours it took me because that one was a bit of experimenting. Doing those seats, the background alone probably Took me at least 115, 120 hours.

It was a lot of work, but I do put a lot of love into my pieces. Generally speaking, you could bet on me putting around 115, 120 hours into it. [00:13:00] Just a normal commission.

Crew Chief Eric: So you probably walk away from it, come back, work on something else. You’re not just devoting 120 hours to that one piece, and then you do the next piece, and the next piece.

It

Samantha Zimmermann: depends. If I am working on a personal piece, I will do that. I’ll sit down, and I’ll put some time into it, and I’ll set it aside. If it’s a commission, I’ll usually put down whatever I’m working on, and I’ll devote all of my time to that piece until it’s complete, and then move on to the next one, or go back to the piece I was working on previously.

Executive Producer Tania: Are there any other future stages of car artwork? So you’re in the very realistic, photorealistic phase right now. Do you have any desires to do something different in the future?

Samantha Zimmermann: There’s definitely stuff I want to dabble into. So, I work in this super hyper realistic style with my portraits and with my car stuff.

And I also do this slightly more illustrative style that almost looks like a comic book. I have a piece that I did of the Martini Livery 935, or Moby Dick as it’s [00:14:00] more commonly known. That’s a bit more like a comic book style with like pen and ink and watercolor mixed into each other. There’s part of me that also wants to dabble in getting, I won’t say messier, but a little bit more abstract with it, but it’s extremely hard for me to break it down.

Like, my brain does not work that way. How Manu does it, how Chris does it, I could never do it. I’m so meticulous about everything I do. It has to be perfect.

Executive Producer Tania: Maybe one day you’ll get there. Just gotta let it go loose. Yeah,

Samantha Zimmermann: maybe when I’m in my 60s and I just don’t care anymore.

Crew Chief Eric: We all strive to hit that point in our lives.

Executive Producer Tania: So, we’re captivated by your seemingly sweeping romance with your then sweetheart taking you to your first Rolex 24 sports car race, now he’s your husband, right? Was that the moment that kind of it all clicked that the art was going to be cars, [00:15:00] or was there some other moment where that all came together for you?

Samantha Zimmermann: Michael, my husband, he drives. Not as often as he’d like to. He’s working on his car right now, but he always was a carter. So he did, um, shifter carts over in Germany. That’s where he’s from. So he was national shifter cart champion twice, and he did testing for Formula Renault. He came over and I kind of fell away from the car thing.

I mean, I grew up watching F1 with my dad, but I sort of got into the horse stuff and I was like, yeah, cars, whatever we’re going to deal with the horses. So he took me to Daytona for Rolex. The entire atmosphere there is just. So energetic and so exciting. And somebody said to me perfectly what it is about racing.

That’s so unique is you can’t write a script for it. You never know what’s going to happen. That’s what makes it so exhilarating. So to speak after experiencing that for the first time, and then the [00:16:00] community that surrounds racing and the support of just race fans in general, I don’t think. comparable to any other sport.

I mean, if you look at Daytona, it’s a bunch of guys and a bunch of teams beating the crap out of a car for 24 hours as hard as they can to be able to come in first. There’s unexpected things that happen, but there’s a lot of really cool Cinderella stories that happen as well. More specifically, Historic’s pretty much regulars at this point to HSR events and HSR Daytona’s coming up.

Looking at how cars were built then as opposed to now is just mind boggling to see the evolution of how far we’ve come and how the innovation began and it’s continuing to progress in sports car racing. There’s nothing compared to being able to stand trackside, having your eardrums blasted by the RSRs going by, or the Corvettes for that [00:17:00] matter, they’re so loud.

But to be able to capture that and put it on canvas is what I really wanted to go for, because you don’t get that excitement from pretty much anything else.

Executive Producer Tania: Very true. So, uh, what is Michael working on in the garage?

Samantha Zimmermann: He originally had a 964 that was converted to a full track car, and he sold that. Now, he has a Diazio, which is a kit car made by Fabric, and it has a Hayabusa motor in it, actually.

It’s like a three quarter scale 962, is what it looks like. Sort of like a Radical. Almost, yes, but it’s a closed cockpit as opposed to a Radical. It’s pretty cool. I have some pictures of it on my Instagram, if I’m not mistaken, but I think he’s going to end up doing the shell livery on it, which I’m pretty stoked about.

Crew Chief Eric: I’m partial to Alitalia liveries, you know, just saying, but, but that actually brings us right back into your artwork because that’s a very 70s thing, you know, like the Audi [00:18:00] sport stuff, the Momo 935 behind me, the Lohenbrau 962 behind you, things like that. And so, You said something really important. You went to Daytona in 2012 and you were talking about how the cars before that time were just mind blowing in terms of their engineering and their design and things like that.

And I agree with you 100%. If you look at the different decades of vehicles, especially in racing outside of the street cars, they’re so wildly different. They change drastically. But then when you went to Rolex, they kind of stayed the same for a while. It’s the same kind of cars now as it was then. So what took you to the seventies into the eighties, to the heyday of Can-Am Camel GT TransAm, IM ssa.

You know, there were so many different sanctioning bodies at that time that hadn’t gotten all together yet. Why the seventies in the eighties?

Samantha Zimmermann: I am super partial to that because those are your glory days of racing, so to speak. If you ever get a chance to sit down and talk with Derek Bell [00:19:00] about his time driving the nine 17, it’s basically like driving.

Lawn furniture around super ridiculously lightweight cage that wasn’t meant to do anything but cut weight and it’s super funny listening to him talk about it, but I think at that point there was so much more room for creativity and ingenuity and we didn’t understand as much about aerodynamics at that point as we do now, whereas everything is Pretty much super uniform because we have such a better understanding of how all of that works on top of that.

We didn’t have as many regulations for what racing is allowed to be like fuel consumption and things along those lines. A lot of things are going hybrid now, which is fine, but racing is racing. For a reason, I understand the need for developing cleaner energy and things to that regard. But I think at that point, there was still freedom [00:20:00] to be able to try and create a car and dabble in those gray areas and try to find any way to get a 10th off of a lap or more than that.

Crew Chief Eric: I think it goes hand in hand with your art. It’s freedom of expression, right? You’re allowing the engineers. The drivers to push the envelope, and it gets right at the heart of something we’ve talked about throughout this entire season in sports car racing, which is clearly defined as balance of power, right?

Where they’re trying to really make for good television by keeping cars super close. I’ve said it before, if in reality, if you want to go build a 6 wheeled Tyrrell. Go get it. Who cares?

Samantha Zimmermann: That’s what I was going to say. I was like, I know that six weird TRL is going to come up at some point. Oh my gosh. It’s so cool.

And you just don’t see stuff like that anymore. When you’re looking at racing now, I feel like we’re just on the cusp of getting back into a second golden era of racing with new LMDH program coming in. I’m really excited to see what ends up happening [00:21:00] with these cars. It’s an interesting trickle down effect.

If you’re looking at testing on our cars, road cars, it stems from, I feel, what we’re doing with cars on the track. So there are a handful of companies now that are really looking into hydrogen power, which I think is super interesting and it could make for a really cool outcome. But furthermore, I think we’re allowing for a little bit more ingenuity nowadays in this class, as opposed to what we’ve had for, what, the last 10 years.

So I’m hoping we’ll have some better racing and I’m hoping that we’ll be able to see a little bit more creativity coming up in this next generation of racing that we’re having

Crew Chief Eric: from the design and art perspective. I mean, let’s take away, there’s only one design that cheats the wind. Deliveries were a lot different in the seventies and eighties too.

You had a lot more petroleum companies, obviously tobacco companies, beer companies like Lohenbraun, you just don’t see that anymore. I mean. I’m trying to think of liveries that really stand out in me right now. I’m thinking maybe like Michelle Abate’s Ghost [00:22:00] Trans Am Mustang, because it’s just so in your face, you don’t see liveries like that anymore.

They’re all just kind of just blend together like NASCARs do, you know?

Samantha Zimmermann: I am so tired of red, white, and blue and black. I am so bored. One of my favorites right now is Samantha Tan’s BMW.

Crew Chief Eric: It’s gorgeous.

Samantha Zimmermann: Like Van Gogh. So I’ve been super happy with that one, but I’ve been saying this. We need a revival in color.

I’m so tired of seeing boring color other than the Wins. Wins has been pretty good at sticking to their guns with their purple. I’m stoked on that. Even their 962 looks great running around the track. It’s one of my favorites. I’m ready to see some more color and liveries on track this year, or hopefully next.

Sometime in the near future, anything would be good at this point. We should bring back alien or valiant or however you pronounce it on the 935 that green is to die for. Honestly, it’s one of my

Crew Chief Eric: go to 100 percent 100 percent I agree. And, [00:23:00] you know, speaking of the heyday of racing, too, there were so many names that still linger that we talk about all the time from that period.

I mean, we had Lindsay James on the show, Randy linear, any pilgrim, you know, and so on down the line. There’s just so many people from that time period that it’s just like what a phenomenal time to have been in racing. The cars were amazing. The drivers were fantastic. Not saying that the drivers of today aren’t great, but it’s just to your point, those stories, it all goes hand in hand.

And hopefully you’re right. Hopefully 23 brings us. That revival, because coming to the big stage at Le Mans, you’ve got almost everybody’s petition to car between Peugeot, BMW, Porsche, Ferrari, Cadillac, and so on down the lines. It’s like, holy smokes, like move over Toyota. You’re not going to win Le Mans by default.

Samantha Zimmermann: Even still, racing back then was just so much different than it is nowadays. Have you seen the movie Rush? Mm hmm. Okay, there’s some aspects of what Hemsworth says as he’s portraying Hunt where he says, I [00:24:00] think women like racing drivers because they’re so close to death and they’re the most alive. It’s true in some regard.

I definitely think that the safety was not where it is nowadays, but I think the atmosphere was just so much different. Regulations and things along those lines were, again, just so much more lax. Opportunity for so much more like tinkering here and there.

Executive Producer Tania: It was a send it atmosphere because people didn’t know any better.

Samantha Zimmermann: Exactly. I’m hoping we’re getting into this next golden era because recently I’ve seen this renewed interest, not only in. Reengineering how we’re putting cars together and whatnot, but in the arts, in the automotive industry. So I’m hoping that original liveries will be making a comeback or new colorful liveries will be making a comeback.

Even as recent as Pebble Beach, if you looked at every manufacturer that was out there, they were working with an artist who was there working live. With them at their [00:25:00] booths or whatnot like I know Lamborghini have one I know Porsche at their little booth that they had out there had four or five different artists that they were working with drawing on the cars.

It was really cool. So I’m really hoping that this is going to be sparking a renewed interest. in the arts and cars and bringing back fun liveries and things along those even memorabilia to that regard like posters and all that jazz we don’t see as much of that anymore as we used to we

Executive Producer Tania: need to put the a in stem and get steam more front and center science tech engineering art in there along with mathematics

Crew Chief Eric: Absolutely.

Executive Producer Tania: Absolutely.

Crew Chief Eric: And right along with that, I took my daughter to her first big sports car race and she fell in love with the Lamborghini Huracan that’s part of Flying Lizard known as Sparkle Farts. It’s that pink unicorn. It’s a bright, you know, just ostentatious livery. But she’s immediately like, Oh my God, I took her over to meet Andy Lee and some of the crew.

And now she’s a fan. [00:26:00] She’s like, when’s the next flooding lizard race? Where are they going to be? What are they doing? And you know, that’s the thing to your point, these striking liveries, that’s how you engage the young people too, because it catches their eye and the red whites and blues and the blacks, they just fade into the background.

Samantha Zimmermann: Even if you look at the iron Danes in Europe, their bright pink Ferrari that they do, their 488 is incredible. And they’ve been killing it all season. It’s like you’re saying, it’s super important to engage a younger audience because especially with HSR and historic sports car racing, not many people know about it.

I feel like the attendance has been better in the past than it is currently, but I think it’s so important to engage younger folks and getting them in. interested in that event because that’s where it all stemmed from where everything that we’re at currently has evolved from. And it’s super cool to see the history on track and it won’t be like that

Crew Chief Eric: forever.

You mentioned at the beginning that you come by your affinity for Porsche, honestly, through your grandparents and growing up around 914s and [00:27:00] 944s and the Porsche club, et cetera. But there’s also some hints. In your collections on your website to the Audi side of, you know, Porsche, Audi, and VW. And what got me was the portrait of Walter Rural.

And I said, man, where are the Group B cars? Because if you’re focused on the seventies and eighties, we got to see some Audi Quattros and some Michel Mouton and, you know, Peugeots and Renaults and everything else. So is that next too?

Samantha Zimmermann: So I have a series in mind. If you notice, they’ve drawn a lot of guys. I have a whole series of women in motorsports that I’d like to do as well, including Michelle, including Sabine, the ladies from the Iron Dames, Lynn St.

James. There’s a whole shlew of them that I’d love to get involved with. I actually just did one of Deborah Gregg and not many people know her story and it’s a little sad and she got a little bit of flack. But she was really pivotal in helping keeping Brumos Racing alive [00:28:00] after the death of Peter Craig.

I’ll be excited to share that one soon. I can’t quite share it yet, but you know that I definitely have plans to get into some of the ladies on the motorsport side of things, as well as more cars. Walter actually said he would sign that for me whenever we get around to I’m hoping we’ll make it back over to Germany at some point and run into him at an event and get him to sign it for me.

That’d be super cool.

Executive Producer Tania: All right. So earlier we were talking about Michael and what he’s working on in the garage and you mentioned he was. Shifter kart champion and testing for Renault. He’s clearly into part of the racing community and you’ve already listed off different races you’ve been to and this, that, and the other places you’re planning to go.

So clearly you’re spending time around the paddocks. What is your favorite track so far? Did you have been to most picturesque taking it from the art perspective?

Samantha Zimmermann: There’s two tracks that come to mind. [00:29:00] Road Atlanta is absolutely stunning with the S’s. Second of all, who can say. What’s more beautiful than the corkscrew at Laguna Seca.

It’s absolutely gorgeous. You get a lot of really cool images off of there. With the Velocity Imitational, I’ve seen a lot of stuff and I’m like, oh man, I’m gonna have to cram it in and paint that because it’s gorgeous. There’s a lot of really, really beautiful pieces or photos that come from Laguna Seca and Road Atlanta.

Those are two of my favorite tracks, for sure.

Executive Producer Tania: Have you gone to many tracks in Europe at all?

Samantha Zimmermann: We’ve been to the Nürburgring. That’s the only one that I’ve been to personally. When we went back over a few years ago, we were hoping to be able to get on track, but they were doing qualifying for the 24 hour Nürburgring.

So, we just got to sit outside and listen. To all the gloriousness beating around the ring, but we didn’t get to go on it last time around, unfortunately.

Executive Producer Tania: So do you have [00:30:00] a track in mind anywhere in the world that you’d want to go or paint?

Samantha Zimmermann: Funny enough, I’d really like to do a piece from the Monaco Grand Prix.

Executive Producer Tania: That’d be cool.

Samantha Zimmermann: Historically speaking, it’s a very rich track, and there’s a lot of really cool stuff in the background. A lot of buildings. Unfortunately,

Crew Chief Eric: I want to take that to the next level. It needs to be the Monaco rally along the hillside, you know, one lane roads, I’m a little partial to rally. I’m just saying,

Samantha Zimmermann: no, I wouldn’t have known at all.

I’d like to do a piece from Road Atlanta. I haven’t gotten to do one from there yet.

Crew Chief Eric: You know, I hear V. I. R. is really pretty.

Samantha Zimmermann: V. I. R. is very pretty. Michael used to go kart there a lot.

Executive Producer Tania: You’ll have to paint the oak tree in though.

Samantha Zimmermann: That’s right, absolutely. Listen, the oak tree is not a fun time for anybody that’s had to meet it face to face, unfortunately.

Oh

Crew Chief Eric: man. But you could totally Bob Ross that thing in. I mean, it’ll be happy little oak tree. It’ll be amazing.

Samantha Zimmermann: I have plenty of reference in the front [00:31:00] yard. I mean, you know, we’ll just slap it in there. It’s no big deal.

Executive Producer Tania: You got this. You got this.

Samantha Zimmermann: I think spa would be cool too. Spa would be a fun track to paint.

Executive Producer Tania: There’s a whole bunch of them. This could go on. He’d be very busy if you were just hitting every different track. Adjacent question. So Michael’s into racing. How about you? Have you ever gotten behind the wheel? Maybe just done a high performance driving weekend or anything? Do you want to? If you haven’t

Samantha Zimmermann: So, I had this bet.

I wouldn’t say a bet, we had a deal. He said if he got on a horse, I would have to get into the race car with him. Okay, that’s never gonna happen, but whatever. He gets on the horse, he gets off. He says, you know what this means, right? Like, What? You’re gonna have to get in the race car with me. I’m like, okay, whatever.

Didn’t really think anything of it at the time. Down here in Florida, we have a little track called The Firm. He had a little [00:32:00] BMW Z3 coupe, so clown shoe. KW’s on! He redid every single bushing known to man with polyurethane, so it was literally, like, on rails. It was so stiff, it was not even funny. He takes it to the firm, he looks at me, he’s like, Remember when I got on that horse?

I was like, Oh no. Let me just say, I’m not a great passenger, alright? So I get in the car with him, and he’s just doing, like, call it a parade lap or whatever, just to get the lay of the land with everybody, and I’m already sitting there like, Oh god, okay, here we go. Comes back in, I grab a helmet, get in the car with him.

He’s like, alright, you ready? I’m like, I guess. So he takes me out, and I’m trying to film him. I’m just screaming internally, like, oh my god, it was Seriously, one of the most experiences of my life. Make it stop! Colin, who’s pretty well seasoned in that, gets in the [00:33:00] car with him, he comes back in and he’s just like, I’m not getting in the car with him again.

It takes a lot to make me nervous, but my god, he hits those brakes so late going into those turns. Granted, the whole time it was fine. According to him, I have a lead foot when I’m driving, so it’s a different story. The roles are reversed, but we both karting together. I’ve got a little low 206 kart that he got me into, and he’s got his shifter kart.

That’s a 175cc, I believe. But funny enough, it used to be Sebastian Bourdais.

Crew Chief Eric: It’s a small community, right?

Samantha Zimmermann: He’s down here for the Kart for Kids event that they put on right around the same time as the St. Pete Grand Prix. But it seems like it’s a small world, especially when you niche down even more into karting in cars.

Executive Producer Tania: All right, so we would be remiss if we didn’t have some Pit Stop questions for you and you being an artist, we will make them a little bit more specific this time. [00:34:00] What car posters were on your wall as a kid? Did you have any or maybe they were horses

Samantha Zimmermann: as a kid? I did not have any. It was just horses and more horses and motivational quotes, like hang on with the little cat on the branch or whatever.

But you could essentially say that now I do. So I have all my artwork that I have hanging up and I have a bunch of old. 80s Porsche advertisement posters upstairs that are pretty cool that are original to the period. So I just decorate my walls at this point how I would have when I was younger. So it’s just a bunch of horses and it’s a bunch of race cars.

Very nice.

Crew Chief Eric: Which begs the question, what’s the best

Samantha Zimmermann: livery? That’s a great question. So I would arguably say

Crew Chief Eric: Jägermeister.

Samantha Zimmermann: Bright orange, but you gotta give me a little bit more than just orange. I would say the Valiant, so on the K3 [00:35:00] 935, one of the reasons I painted it, because I love it. Between that one, Lohenbrau, and then your Classic Wins.

I love those three. They’re my favorites. They’re really, really good.

Executive Producer Tania: Sexiest car of all time or cars?

Crew Chief Eric: Most beautiful in the eyes of an artist.

Samantha Zimmermann: Okay. I really enjoy the look of a 356 Speedster. It’s beautiful. Mercedes 300 SL Gullwing. Absolutely beautiful car. DB5. Very classic looking, very chic, you can’t go wrong with it.

Styling from that time was just, it was all about beauty and function.

Crew Chief Eric: So the opposite of that question is obviously, what is the ugliest car of all time? But is there such a thing for an artist? Because you guys find beauty in everything, right?

Samantha Zimmermann: There’s nothing beautiful about a Pontiac Aztec. Yes! I knew it!

It’s so bad! Like, what were we doing? We just took some clay [00:36:00] and slapped it around and we’re like, yeah, it’s great. End of the day.

Crew Chief Eric: Oh, the poor Aztec.

Samantha Zimmermann: It’s just like nothing you could do to it to like soften it up at all.

Crew Chief Eric: Talk a lot about colors, right? You talk about these liveries and how you’re tired of red, white, blue, and blacks.

So, What is the best color combination for a vehicle? Is black the most beautiful? Depends

Samantha Zimmermann: on the black. I do like painting black a lot because there’s a lot of really interesting reflections you can get out of it that you don’t get out of some other colors. I really like Green so take for instance British Racing Green on Cognac.

I really like that combo. It feels Very rich to me and the two tones work really well together. On top of that if you do blue either with Uh, light gray interior. I like that a lot as well. I think that’s a really nice combination. So kind of like the Sally special that Portia just [00:37:00] came out with. Nice.

Good reference.

Crew Chief Eric: There’s a lot of famous car designers out there. Some are better known than others, right? You could say Pininfarina. You could say Bertone. Tanya and I are extremely partial to Giugiaro. So that brings up the question, do you have a favorite design house or designer or a brand that you gravitate to that isn’t Porsche?

Samantha Zimmermann: Well, I’m wearing a 962 shirt and I have Porsche earrings. If I were to pick another brand, I do really like Aston. I like Aston a lot. I think that they’re very classically beautiful, as well as even classic Mercedes. I think a lot of them are very nice as well. Partial to Aston as well, because I really like James Bond, but that’s a story for another time.

Executive Producer Tania: So are you still an F1 fan?

Samantha Zimmermann: I am. Yes, I will say. Modern F1, ever since Drive to Survive has come in, has become a bit more [00:38:00] dramatic, I suppose, or almost feels a bit scripted at times.

Executive Producer Tania: Getting too soap opery? It’s turned

Crew Chief Eric: into WWE.

Samantha Zimmermann: No, that’s what monster trucks are. It’s WWE, done with, like, big tire trucks everywhere.

Executive Producer Tania: The real question is, who do you think the GOAT is? In Formula One, across time.

Samantha Zimmermann: I’m gonna get a bunch of flack for this, probably, but regardless of what your thoughts are on him, I do really like Lewis. I think that he’s been very successful. I also really enjoy the prospect of Mick coming up through the ranks.

Albeit, has, has some Not so nice words to say about Nick saying he’s very offensive. I’m like, yeah, we’re getting attention when Mazepin was driving for you, but I digress, you know,

Executive Producer Tania: that was fine because his daddy was paying the checks.

Samantha Zimmermann: Yeah, exactly. Exactly Historically, I would say [00:39:00] between Schumacher and Senna for sure Those two I feel like are the creme de la creme for that.

Executive Producer Tania: For people interested, please go on her website, samanthaZimmermannart. com. Go to the gallery and there is a gorgeous painting of Ayrton Senna. Thank you. Just, just stare at it for a while because it’s just like, sucks you in. It’s very nice.

Samantha Zimmermann: There’s a really interesting story behind that photo actually. If you watch the Schumacher documentary, you’ll hear about it, but Schumacher and Senna had gotten into a tussle on track, and he had taken Senna out.

Senna was looking at the track, like, mulling things over afterwards, a bit heated. To be understood, but, you know,

Crew Chief Eric: that was every weekend with him and Alan Prost. So, you know, it’s all good.

Samantha Zimmermann: Oh, my God. Bless. Yeah.

Executive Producer Tania: And if you haven’t seen the Senate documentary, definitely see that that is quite good.

Crew Chief Eric: All right.

[00:40:00] Our last and final pit stop question. This is the most important one. And please think carefully before answering

Executive Producer Tania: the answer. A split second. I could be wrong.

Crew Chief Eric: You’re the last one in the design room and your vote counts to settle a tie. A debate between which car is going to be released. The venerable technology filled Porsche 959 or the hot under the collar passionate Ferrari F40.

Which do you choose?

Samantha Zimmermann: Oh man, this is a hot button topic for sure. Having sat in an F40. They’re beautiful. I adore them. I have not sat in a 959. Man, this is a real toss up. You threw me for a loop here. Oh my God.

Executive Producer Tania: I thought she’d answer easy.

Samantha Zimmermann: No, you didn’t say anything about the Enzo though. Granted, I know they’re not quite the same era.

Crew Chief Eric: She’s looking for an out. Oh, the [00:41:00] Enzo look over here.

Samantha Zimmermann: Yeah, I don’t know, man. There’s something about German engineering for me. The 959.

Executive Producer Tania: Knew it. I knew it.

Crew Chief Eric: Alright, that’s fair. That’s fair. You’re a Porsche gal through and through. I appreciate that. I can understand. I will say, you are in a very small club of people that choose the 959, though.

Samantha Zimmermann: The 959. I’ve seen one in person. They’re absolutely lovely. I’ve heard one go around the track. Absolutely phenomenal. Both of them are great cars. I mean, that’s like your classic poster that would be on any kid’s room in the nineties, right?

Crew Chief Eric: So many people say it’s true of racing as well as in your career and many other careers that failures breed successes.

And earlier you talked about that 993 that reminds you all the time of how far you’ve come on your journey. Are there still some projects that you look back on and go, man, the juice really wasn’t worth the squeeze or something that’s been sitting to the side that you never finished, you know, [00:42:00] that you’re going to get around to it.

Talk about. Advice for other starving artists, or let’s call them aspiring artists. What would that be? Lessons you’ve learned, some things you can tell them to help them get over that block.

Samantha Zimmermann: There’s a really good book written by Lisa Congdon that talks about being an artist, and the artistic process is like the shape of a U.

At the beginning, on this side, on the thumb, you start and You’re really excited because you’re starting a new piece and it’s going to go awesome. And then you start to travel down the U to what she calls the ugly pit of despair, where you’re like, this is hot garbage and it’s not going great at all. And that’s kind of the point that most people, I feel like it’s stuck in.

I still get stuck in it where I’ll just be sitting and staring at my painting from across the room. I hate it, but if you keep working at it, even if it’s a little bit, like five minutes a day, that’s all you have to do. You start to work your way back up that [00:43:00] side of the U to where you’re finished, and that’s at your high point again.

You learn a lot along the way, especially with artwork and painting in particular. It’s a process and you just have to trust the process and you have to get through the part. It’s ugly phase before you get to the pretty phase. I have a couple pieces right now that are in their ugly phase that I haven’t been able to touch because I’m busy on commissions.

But if you just even work on it just a little bit a day, you’re going to end up learning something new. You’re going to end up figuring out how to do stuff faster the next time, what works and what doesn’t work. And you’re still going to end up with a great piece at the end of the day. It’s just a matter of pushing through that point of where it’s in its ugly phase.

Executive Producer Tania: So are there any artists that you look up to? I think you mentioned a few names earlier. I mean, are those some of your top ones? Are there others that you haven’t mentioned that are still inspiring your art today?

Samantha Zimmermann: Oh, yes. One of my favorite artists, who’s a very good friend of mine, is Kelly Telfer. I call [00:44:00] him like my art mentor because he’s helped me so much get from where I was when I was first starting to where I am now.

Super great guy, super talented, super super helpful with any and all questions you may have about art. Tim Laizell is another artist that I really enjoy. He does the poster artwork for the Pebble Beach Concord as well as I think he’s done it for Goodwood. Previously, he’s based in the UK, fabulous artist.

Ackwood, he’s based in Australia and he does a lot of really nice work as well. Those are probably my top three artists that I look up to and still get a lot of inspiration from. I feel like we see each other’s work and we all somehow push each other by seeing each other’s work to do better.

Executive Producer Tania: So, are you kind of like a lone wolf here?

You’ve rattled off a lot of different artists and they’re all men.

Samantha Zimmermann: Well, actually, I lied. I do have a couple other female artists that I do like. There’s this girl named Emma. She’s based in [00:45:00] the UK and she’s very good. Kate Cook, who’s in Texas, who’s awesome. Lynn Heiner is wonderful as well, but her work is a little bit different style.

She does like all palette knife stuff. As far as women in the automotive and motorsports art industry.

Executive Producer Tania: Which was more my particular question.

Samantha Zimmermann: Yeah, it’s definitely just like the fine art world. It’s a lot more geared towards men. There may be people that Disagree with that statement. That’s okay. But it is, and it always has been, that men have preference in the art world as opposed to women.

And when you get even more specific into automotive and motorsports art, or automotive and motorsports industries, it’s predominantly ruled by men. And that’s fine, that’s well and good. We’re seeing some shifts now, like IMSA does their program that they try and sponsor a female or a minority driver to come into the series, as well as the [00:46:00] women formula series that’s over in Europe.

Like I said earlier, I’ve mentioned them numerous times, the Iron Dames over in the European law series. It’s not as exclusive to men as it used to be, but there are definitely still remnants of that mentality that it’s a man’s world in that type of work. It’s super important that women and girls are also represented just as much as men that have the passion for it because it does exist.

There’s a ton of us that are out there, and I think it’s super important to bring awareness to the fact that not many people recognize that we also make the same quality work being in the subject matter that it is. For instance, Porsche Corporate published two articles recently within the last six months.

One was about digital artists to watch that are inspired by Porsche. And I looked through it, [00:47:00] it was all men, and I know most of them, it’s digital art. That’s fine. Okay. They did a second article recently, about two months ago, for traditional artists that are inspired by Portia. I looked through it. I know all of the artists on there.

Not a single woman. It’s all men. It’s just a little discouraging because there’s plenty of women out there that are equally as talented that deserve to be represented by Portia. I feel like it just added to the stigma that cars and fine art our man’s world. Left a little bit of a bad taste in my mouth.

We

Executive Producer Tania: need to break this stigma that cars are for boys. Cars are for anyone.

Crew Chief Eric: Couldn’t agree more. And I look at it for what it is. I don’t judge it based on who made it or what made it or how it was made. I mean, a car is an example, like the Lower Brown 962. It wasn’t one person that put that together. It was a team of people, men, women.

It’s just amazing what we can do when we put our heads together and buckle down to do [00:48:00] it. So to your point, I think we do need to highlight the people that are behind the scenes that aren’t being recognized in the same way and, you know, in total fairness. So that shift is coming and we’re seeing more of it.

And that’s why we have folks like yourself on this show to tell your story and to be able to share that with everybody.

Executive Producer Tania: So what we haven’t talked about is how does one go about acquiring some Samantha Zimmermann artwork?

Samantha Zimmermann: So for commissions, if you go to my website, you can hit a contact form and you can fill out all the information and send me an email with that.

Or you can send me an email directly. It’s samZimmermannart at gmail. com. If you’re looking at buying an original for me of my produce works, I have them all listed on my website as well. I do have prints of the majority of my work. Just get in touch with me and I’m more than happy to assist from there.

Crew Chief Eric: And there’s a store coming soon, right? On the website it says.

Samantha Zimmermann: Yeah, for sure. So there’s a store coming. It’s just a matter of technologically setting everything up to get it [00:49:00] sorted out to make it easier for everybody to buy prints and originals and things to that effect. But if you have any inquiries about things that I’ve listed on the website or prints, anything to that effect, like I said, you’re welcome to get in touch with me.

I’m more than happy to answer any questions you may have.

Executive Producer Tania: So you alluded to earlier about having more women in the motorsports and cars as a theme in your artwork, or is there any other big projects you want to share or can reveal, you know, hashtag spoiler alert to anyone?

Samantha Zimmermann: So I have a project I’ve been working on with an author named Sean Cridland.

Who wrote the history of Brumos Racing. It’s a group of artists, myself included, that are working on some pieces for him that will be auctioned off for charity. That’s about as much as I can reveal on that. But I do also have some interesting things in the works coming up for this year. Maybe with Target 66, maybe with the Amelia Island Concord, [00:50:00] possibly you could see me at Rensport Reunion and some other events in California this year coming up.

Very nice.

Crew Chief Eric: Very cool. Well, with that said, Samantha, any shout outs, promotions, or anything else you’d like to share that we haven’t covered thus far?

Samantha Zimmermann: Well, in the future, I’d really love to be able to set up a scholarship foundation or something along those lines or a parody foundation that helps girls and women get into the industry, even if it’s art or if it’s something along the mechanical lines.

That’s a goal of mine to be able to provide that in the future to have that as a sort of scholarship fund for people looking to get into the industry. Thank you to my wonderful husband, Michael, who supports me in my insanity with my artwork that it is and Kelly for helping lead me along the way and all of my wonderful friends and family and followers that have come along on this journey of motor sports artwork from the very beginnings to what it is now.

Executive Producer Tania: [00:51:00] Samantha’s art influences consist of a mixed group of prominent renaissance baroque and classic masters, along with 20th and 21st century pop impressionists and realism artists that inspire and aid her in her artistic style. She brings to life through oil and graphite mediums, a near photorealistic scene from the motorsports world.

Truly breathtaking pieces that you can see, admire and possibly purchase through her website, www.samanthaZimmermannart.com. You can also follow the progress of her next pieces by following her on social at Samantha Zimmermann Arts on Facebook and at Zimmy Arts on Instagram, or look her up on LinkedIn too.

Crew Chief Eric: Well, Samantha, I cannot thank you enough for coming on break fix and sharing your story with everyone out there. And I’m hoping that if there are other inspiring artists that are listening to this right now that they go check out your work and see the kinds of things you’re putting out there because they are absolutely amazing.

And they do capture. [00:52:00] As you said, that golden age in motorsports and seeing the pictures, I really feel and I sense your love and your passion, especially for Porsches and Audis through the work, but also for the motorsports community at large. And that’s something that it’s very hard to replicate. And I appreciate you doing this for all of us, being able to show us this part of the world in such a really awesome way.

Samantha Zimmermann: Well, thank you. Thank you very much for the kind words. I, um, certainly aspire to be able to transport my viewers to feel like they’re their track side again without physically being there. Even more with the golden era of motorsports, just because. It’s going to be too expensive eventually to run some of the cars on tracks, so trying to capture the memory and put it right there.

Well, I really appreciate you having me on and taking some time to sit down and talk about cars and art, and it’s been great talking to you guys. That

Executive Producer Tania: was great.

Crew Chief Brad: If you like what [00:53:00] you’ve heard and want to learn more about GTM, be sure to check us out on www. gtmotorsports. org. You can also find us on Instagram at GrandTouringMotorsports. Also, if you want to get involved or have suggestions for future shows, you can call or text us at 202 630 1770, or send us an email at crewchief at gtmotorsports.

org. We’d love to hear from you.

Crew Chief Eric: Hey everybody, Crew Chief Eric here. We really hope you enjoyed this episode of Break Fix, and we wanted to remind you that GTM remains a no annual fees organization. And our goal is to continue to bring you quality episodes like this one at no charge. As a loyal listener, please consider subscribing to our Patreon for bonus and behind the scenes content, extra goodies, and GTM swag.

For as little as 2. 50 a month, you can keep our developers, writers, editors, casters, and other volunteers fed on their strict diet of fig newtons, gummy bears, and monster. [00:54:00] Consider signing up for Patreon today at www. patreon. com forward slash GT Motorsports. And remember, without fans, supporters, and members like you, none of this would be possible.

Highlights

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

  • 00:00 Introduction to Break/Fix Podcast
  • 00:27 Samantha Zimmermann’s Early Life and Passion for Cars
  • 02:20 Journey into Art and Motorsports
  • 04:13 University Experience and Artistic Development
  • 06:21 Challenges and Techniques in Automotive Art
  • 14:43 The Influence of Racing on Art
  • 26:52 Future Projects and Inspirations
  • 29:59 Dream Tracks to Paint
  • 31:17 Racing Experiences and Bet Fulfillment
  • 33:48 Pit Stop Questions: Childhood Posters and Favorite Liveries
  • 35:11 Most Beautiful and Ugliest Cars
  • 36:18 Favorite Color Combinations and Design Houses
  • 37:49 Thoughts on Modern F1 and the Greatest of All Time
  • 41:37 Artistic Process and Advice for Aspiring Artists
  • 43:44 Inspiration and Mentorship in Art
  • 45:10 Women in Automotive and Motorsports Art
  • 48:17 How to Acquire Samantha Zimmermann’s Artwork
  • 49:16 Future Projects and Final Thoughts

Bonus Content

Learn More

Get some art for your Home, Office or Garage!

Photo courtesy Samantha Zimmermann

Truly breathtaking pieces that you can see, admire and possibly purchase through her website www.samanthaZimmermannart.com – you can also follow the progress of her next pieces by following her on social @samanthaZimmermannarts on Facebook and @zimmy_arts on Instagram or look her up on Linkedin too! 

The turning point came in 2012, when Michael took her to her first Rolex 24 at Daytona. “The atmosphere was electric,” she said. “You can’t write a script for racing. That unpredictability, that energy—it hooked me.”

From that moment, her artistic focus shifted. Motorsports became her muse. “There’s nothing like standing trackside, getting your eardrums blasted by RSRs or Corvettes. I wanted to capture that on canvas.”

Zimmermann’s paintings are often mistaken for photographs – and that’s by design. Her process is meticulous: she begins with a soft-focus background to create depth, then layers in the car with painstaking attention to light, shadow, and shape. “I average about 100 hours per piece,” she said. “Some take over 200. The Lowenbrau 962 behind me? That was 220 hours.”

She credits motorsport photographers as essential collaborators. “I always ask permission to use a photo as reference, and I send them a print as a thank-you. Without them, I couldn’t do what I do.”


A Love Letter to Racing’s Golden Eras

While Zimmermann paints modern GT3s and LMP3s, her heart belongs to the 1970s and ’80s—the golden age of Can-Am, IMSA, and Group C. “There was so much more freedom back then,” she said. “The engineering was wild. The liveries were bold. It was art on wheels.”

She’s especially drawn to the stories behind the machines. “If you ever talk to Derek Bell about driving the 917, it’s like strapping yourself to lawn furniture. That kind of rawness doesn’t exist anymore.”

Her dream? To see a revival of color and creativity in modern liveries. “I’m so tired of red, white, blue, and black. We need more sparkle farts and Van Gogh BMWs,” she laughed, referencing the Flying Lizard Lamborghini and Samantha Tan’s vibrant GT3.

Photo courtesy Samantha Zimmermann

Looking Ahead: Women, Legacy, and the Next Golden Age

Zimmermann is currently working on a series celebrating women in motorsports, including Michelle Mouton, Sabine Schmitz, and the Iron Dames. She recently completed a portrait of Deborah Gregg, a lesser-known but pivotal figure in Brumos Racing history.

She’s also optimistic about the future of racing. “With LMDh and new technologies like hydrogen, we’re on the cusp of a second golden era. I hope it brings back the ingenuity and artistry that made the past so special.”

As for her favorite tracks? Road Atlanta and Laguna Seca top the list for their visual drama. “The corkscrew at Laguna? It’s a painter’s dream.”

Samantha Zimmermann’s work is more than just beautiful – it’s a bridge between eras, disciplines, and passions. Whether she’s painting a 962 in motion or capturing the quiet intensity of a driver’s portrait, she’s telling the story of motorsports through the lens of art.

And in doing so, she’s inspiring a new generation to see racing not just as competition, but as culture.


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Real Racers Turn in Both Directions: Women, Autocross, and the Drive Toward Inclusion

In the world of motorsports, where speed, precision, and adrenaline reign supreme, one discipline stands out for its accessibility, affordability, and surprising inclusivity: autocross. For Dr. Chris Lezotte, an independent scholar with a background in advertising and a passion for exploring the intersection of women and car culture, autocross became the lens through which to examine how women navigate – and reshape – a historically masculine domain.

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Dr. Lezotte’s journey began at the 2019 Argetsinger Symposium, where she was invited to contribute a chapter on women-only racing for an upcoming book on motorsports history and politics. Her research led her to the SCCA Women on Track Facebook page, where she found a vibrant community of female autocrossers. Despite motorsports being notoriously unwelcoming to women, autocross stood out as a space where women were not only present – but thriving.

Spotlight

After a career in advertising – some of it spent writing car commercials – Dr. Chris Lezotte earned a master’s degree at Eastern Michigan University and a Ph.D. from Bowling Green State University. Now working as an independent scholar, she investigates the relationship between women and cars in a variety of contexts, including women’s participation in traditionally masculine car cultures (including motorsports) as well as representations of women, and cars in popular culture.

Synopsis

This episode of The Logbook, our History of Motorsports series, details Dr. Chris Lezotte’s presentation on women’s participation in autocross, examining the demographics, motivations, and strategies employed by women to navigate and thrive in this historically male-dominated motorsport. Highlighting key aspects such as the affordability, accessibility, and safety of autocross, Lezotte outlines how these factors attract women and contribute to their empowerment and skill development. The presentation also addresses obstacles women face, particularly balancing family responsibilities, and the camaraderie that strengthens the community. Furthermore, Lezotte emphasizes the broader implications of women’s involvement in reshaping autocross culture to be more inclusive. The presentation is shared under the auspices of organizations like the International Motor Racing Research Center and the Society of Automotive Historians.

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

Transcript

[00:00:00] Hello and welcome to the Gran Touring Motor Sports Podcast Break Fix, where we’re always fixing the break into something motor sports related. The following episode 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 Arts Inger.

Real racers turn in both directions, autocross life skills, and the woman driver by Chris Lizza. After her career in advertising, some of it spent writing commercials. Dr. Lizza earned a master’s degree at Eastern Michigan University and a PhD from Bowling Green State University. Now working as an independent scholar.

She investigates the relationship between women and cars in a variety of contexts, including women’s participation in traditionally masculine. Including motorsports as well as representations of women and cars in popular culture. Dr. Eliza’s current project focuses on women’s growing involvement in autocross, the reasons for women’s participations, and the methods by which [00:01:00] women negotiate entry into a historically masculine environment, and how the autocross experience contributes to women’s identity, self-knowledge, and empower.

Good afternoon everyone, and thank you for your interest in this presentation, which focuses on women’s participation in the motor sport of autocross. I’m Crystal Zan, an independent scholar. The overarching subject of my research is the relationship between women and cars and a variety of contact. Three years ago, in November of 2019, I attended the Argo Singer Conference on the invitation of Don.

At that time, I had recently accepted an invitation to write a chapter focused on the history of women only racing for an upcoming book on the history and politics of motors. I called upon a conference, therefore, not only to become better informed regarding Motor Sports Scholarship, but to also conduct research at the Im rrc.

A big shout out to Jenny Ambrose, who helped me in that endeavor. As part of my investigation for this book project, I interviewed a number of women who posted about their [00:02:00] involvement in motor sports on the SST C a Facebook woman on track. While the women participated in many motor sports arenas, the overwhelming majority I discovered ran an autocross as motorsports are historically unwelcoming to women, I was intrigued by the notion of a motor sports venue that was somewhat effective in attracting female participants.

As one of my primary research interests is women who successfully negotiate entry into masculine car. Such as muscle cars and pickup trucks. I thought that an investigation of women who participate in autocross would be an interesting, perhaps Revelational project to pursue. Of course, shortly after that conference, COVID closed everything down, including a large number of motor sports events, so I had to wait a couple of years before embarking on the autocross study.

I began attending motor sports events in the fall of 2021, and just recently completed the transcription of the last of 31 1 hour interviews conducted with female autocross drivers. I also spent a [00:03:00] great deal of time on social media and locations such as the aforementioned Woman on Track Facebook page, where women ask questions, posted results, and provided support for one another.

This presentation today is a first attempt to introduce my initial. The study of women in autocross is important for a number of reasons. Scholarship on women in motor sports tend to fall into two camps. Sexist attitudes and practices which create barriers to women’s professional motocross participation and monographs focused on the success of exceptional women who have made it in the masculine world of motorsports.

Amateur sports as a potential stepping stone to professional aspirations as a male dominated activity in which men. Or as a source of female identity and empowerment has not been examined. Although women comprise over 50% of licensed drivers. Women’s participation in motorsports at all levels and all types of events is less than 4%.

However, women at have at times represented nearly 20% of autocross [00:04:00] participants on a national level. This suggests that there are qualities of autocross that are particularly appealing to women. And that women have developed successful strategies to become integrated and accepted into the autocross community.

How women negotiate entry in a traditionally hyper-masculine culture, such as motor sports, has relevance not only to activities associated with the automobile, but to any location in which masculinity and male culture hampers women’s participation. Therefore, as I began this investigation into women’s autocross participation, my initial objective was to address the following.

Who are the women who participate in autocross? What strategies do women call upon to gain entry into the autocross arena? What are the qualities that attract women to autocross? How do women benefit from autocross participation? What are the obstacles to women’s autocross participation? And how does women’s participation challenge and reshape autocross?

So what exactly is autocross, although I suspect most of you are [00:05:00] familiar with it, I thought I would provide a short description for those who are not. Autocross is a timed competition in which drivers navigate one at a time through unique course defined by cones or pylons. Autocross events are typically held on flat paved services like parking lots or airport tarmacs with few obstructions.

Unlike racetracks, autocross courses vary in size, surface, and layout. Each event presents a new challenge. Events typically have many classes that allow almost any vehicle with the possible exception of SUVs and pickup trucks to compete. While speeds are generally no greater than those encountered on the highway, success at autocross requires concentration, precision maneuvering, and quick re.

Autocross welcomes drivers of all ages and all abilities. The only equipment required is a driver’s license approved helmet and vehicle. Although I have not participated in an otros as a driver, I observed at two local autocross events held at a driver’s education lot and a regional pro solo event, which took place at the Toledo Airport to gain a [00:06:00] better understanding of otros and the women who run in it, who have the women who participate in otoc.

The women who contributed to this project were recruited from local events as well as the S E C A Woman on Track Facebook page. They arranged an age from 23 to 72 with the largest group, 30% from the 30 to 39 range. The women varied in otros experience levels from less than one year to nearly 50 beginners to national championship winners.

84% were married or partnered, but just 23% had children, 20 identified as non-white and 90% as hetero. Well, women in warm weather states were in the majority, no doubt due to the extended racing seasons in those climates. Women in other areas of the country were well represented in terms of political ideology.

Of those who provided an answer, 60% leaned left. 25% were moderate, and 15% identified as conservative. While the sample size is not large enough to be generalizable, the demographics do provide an interesting [00:07:00] contrast to the white male conservative population that makes up the overwhelming majority of the motor sports population.

This disparity does not only explain why women often have difficulty entering the motor sports arena, but also suggests that in greater numbers, women have the potential to alter the motorsports culture to be more diverse, inclusive, and supportive. So what strategies do women call upon to gain entry into the autocross?

An interest in automobiles in general, and motor sports in particular is not cultivated in the majority of young women. Not only are gendered practices regarding toys that move and forced at a very young age, but women who express more than an average fascination with cars are often labeled unnatural or freakish.

Consequently, women are often unaware of motor sports is something in which they can participate unless encouraged by someone or something with knowledge or interest. While a few of the women came from racing or car-centric. Most were introduced to autocross through car clubs, work environments, other racing communities such as [00:08:00] motorcycles or more often by male, significant others, fathers, brothers, or coworkers.

Many of the men consider the participation of their wiser girlfriends as a way to rationalize their own autocross habit, as well as an opportunity to spend more time together doing something they enjoyed. The women who often shared cars with husbands or boyfriends appreciated the male support and found pleasure and excitement and the shared autocross.

So what are the qualities that attract women to autocross? The first is affordability. Autocross is the most affordable of all motor sports when starting out. Many of the women use daily drivers to see if autocross is something they might want to pursue. Car sharing is encouraged in autocross. Couples often co drive cars, and Carlos women will usually find someone with whom to share a vehicle.

Autocross entries are less expensive than other motorsports, and there is less wear and tear in the car, although avit autocrossers go through a whole lot of tires. Historically and culturally, women have been directed toward practical vehicles. Consequently, it is often difficult for them to [00:09:00] rationalize spending money on something as impractical and excessive As a race car, the use of a daily driver and the ability to car share makes the money directed toward autocross easier to justify.

The women also mention the accessibility of auto. Experience and special driving skills are not required. Autocross is very much a learn as you go motorsport. There are always individuals on hand, eager to ride along with novice drivers, provide instruction and explain the basic. Many of the women began by attending autocross events with boyfriends or husbands as spectators eventually proclaiming that I can do this and taking the wheel themselves.

Another quality that attracts women is safety. Numerous studies have demonstrated that as a population, women are safer drivers than. Culturally, women are considered responsible for family safety and are encouraged to purchase vehicles with an abundance of features that will protect their family and loved ones.

It is no surprise therefore, that most of the women mentioned safety as an important component of autocross. Participation, safety, and [00:10:00] autocross takes two forms. First, autocross organization have established policies and procedures to make sure people on site in cars and on the course. Secondly, the course itself is designed to minimize conditions that could cause harm.

Cars are run one at a time on a flat closed course without obstructions. The only object which could cause car damage is a plastic cone as a test of coordination, concentration, and driving skill rather than power and performance. Cars rarely get above 60 miles an hour. Many of the mothers in the group mentioned that Ocross relieves the worry that something will happen to them on the track.

Although most racing events are associated with high speed risk and. Auto Cross is promoted and experienced as an exciting, exhilarating adrenaline pumping, yet ultimately Safeway to experience Motorsport. The most popular quality that attracts women to otros is camaraderie. Almost all women mentioned that the camaraderie and support of the otros community as a prime motivation for participation as most come to otros with little experience and a lot of [00:11:00] trepidation.

The support of other autocrosses helps to ease tension, build confidence, and become comfortable in the motor sports environment. There is a lot of downtime in auto. With just three to five minutes of actual driving each day. The women use time spent in the grid and the impound to talk with other drivers, discuss what went right and what went wrong, and learn from each other.

They talk about cars at lunch, at setups, or while working on the site. Ocos is a volunteer activity. If you run, you have to work. So helping with registration, working the course, spending an hour in the timing trailer or volunteering as an instructor provides time to socialize while gaining a better understanding of the sport.

Many of the women are active on social media and develop online friendships. Some attend regional and national events with a large group of female entrants, provide a sense of solidarity and empowerment. Many of the women refer to the otros community as family and feel that otros has extended their circle of.

To all corners of the country. One of the ways camaraderie has nurtured is the ladies classes. However, as an activity in which men and [00:12:00] women are segregated, there is always controversy. Those opposed to ladies classes believe that women can only improve by beating the boys. Those in favor cite the potential increase in female participation generated by ladies classes.

Many women start in ladies and move to open once their confidence and skill levels have. some run and open locally where there’s often little competition in ladies and switched to ladies at regional and national events. I attended a regional event at which there were large ladies classes in the camaraderie and support among the participants was palpable.

The women began the day by joining in a group dance, and the grid then congratulated and commiserated with each other in the impound after all had completed their. Photos from the STCA solo nationals held in Lincoln, Nebraska featured a dozen of photos with women from all over the country joining together in solidarity.

As many of the women mentioned when gathered together in the ladies classes, they feel confident and newly empowered. So how do women benefit from autocross participation? Many of the women mentioned how [00:13:00] autocross changed the relationship with the automobile in significant. Not only does Otros provide the opportunity to understand the car better, but it teaches important driving skills that translate to everyday life.

Otros also provides an experience unequal than daily driving, the thrill of driving fast, the adrenaline of competition, the opportunity to continue improve one’s performance, the mental challenge, the chance to be a badass behind the wheel. Many of the women enjoy the surprise of others when they discovered that the mild mannered school teacher or uptight business manager auto crosses on the weekends.

Otros can change women. They become more confident in their skills and in themselves more outgoing and self-assured in relationship with others. Better equipped to handle stress in everyday life and closer to those with whom they share at the otros experience. Those who do especially well in otros have unique opportunities to compete for national championships, test drive cars in other parts of the country, and become ambassadors for all Autocrossing women.

What are the obstacles to women’s particip? In order to [00:14:00] consider participating in otros, one has to know what exists. Most women are unaware that engaging in motor sports on such an accessible and affordable level is possible. Those who do find their way to an otros event often start out fearful, not by the course or getting behind the wheel, but are nervous.

They will embarrass themselves in front of friends, family, and most especially the men in attendance. Positive interactions with newcomers to autocross are essential for retaining new. Those who have remained in otros cite the camaraderie of the otros community as responsible for their continued participation.

The woman I spoke to mentioned how in the beginning they were able to get over their fears through the actions and assistance of more experienced drivers, especially other women. Now that they have gained confidence as drivers, the women actively play it forward to otros novices. Out of the 31 women interviewed for this project, only seven had.

This points to the biggest obstacle in female participation, how to accommodate families so that women can drive. As culturally, women are considered responsible for [00:15:00] childcare. If someone has to stay home with the kids while the other ones at otros, it is almost always the female partner. Women within autocross organizations have developed groups to specifically address the obstacles that hamper women in the sport.

One of the key tasks was to create an environment that encourages family particip. The ladies’ classes were in fact, developed and part addressed this issue. If a couple shares a car, but not the same class, one parent can watch the kids while the other competes. This has allowed women who had reluctantly stayed at home to not only have the opportunity to run, but to share in a mutually enjoyable activity with the family.

Historically, motorsports has been dominated by white conservative men as indicated by many of the women. Some of the old timers have misogynistic views that hamper, if not discouraged females, particip. Women who participate with male partners are often somewhat shielded from this type of behavior.

Those who don’t either learn to avoid such individuals or learn to let it roll off their backs. Women within the autocross community work diligently to make the environment a welcoming [00:16:00] one. While this has been mostly successful in the ladies’ classes, there need to be more women in autocross on all levels, particularly in leadership positions to affect that kind of cultural change.

How does women’s participation challenge and reshape autocross culture? Women in autocross understand that it is on them to increase female participation. Often this means gaining respect and working their way into places of authority within various motorsports. Organizations becoming active in autocross clubs and programs provides the opportunity to create and implement policies beneficial to the female.

Many of the women I spoke to, volunteers as committee chairs, club officers, program directors, newsletter editors, photographers, graphic designers, social media administrators in a multitude of other positions that provide access and influence to the otros community. Others take part on a more basic level By volunteering as instructors and creating a welcoming environment for those new to the sport.

Women-led groups within otros organizations work to serve the needs of female. They not only develop [00:17:00] strategies to recruit more women to otros, but also work to secure sponsors to create scholarship opportunities for novice women. By working from within, women at Otros have the opportunity not only to increase female participation, but in doing so, change the culture of autocross from a historically white masculine fraternity to a diverse and inclusive community that welcomes all.

Autocross is an amateur activity. Although women have achieved great success on the otros stage, the sport is rarely a route to a professional career in motor sports. Rather, it is an activity taken on for its challenges, thrills, uniqueness, fun, and most importantly, comradery. It provides an opportunity to develop friendships with those who share an interest from all walks of life, from all over the country.

For those with auto crossing partners, it is a chance to spend time together in a mutually enjoyed PAs. To the women in Aros, success is not only measured by time on the clock. Rather, it’s about successfully applying oneself to an undertaking that is challenging, invigorating, exhausting, and ultimately rewarding.

It’s about [00:18:00] learning and improving skills one run at a time. It is about bringing other women into the sport and helping teaching commiserating and encouraging them. It is about creating a supportive, welcoming, and empowering community, not just for women, but for everyone involved in the autocross hobby.

That concludes this presentation. Thank you for your attention and I am welcome to any questions

underneath. Can you tell me how to get in touch with is S C C and get my wife involved in this? Yes, I can. I’ll, I interviewed her. Yeah. Do any of the women involved in autocross move up to another category like a track racing or rattling? Some. Some do. I was curious about that. Some of them do track days and they do driver’s education, but very few of them go on to any wheel to wheel competition.

Problem with those activities is they’re more expensive, gasoline’s expensive. It’s more wear and tear in the car, so most of them just [00:19:00] stick to ox and a lot of them have been doing it for 40 or 50 years. I’ve been doing it for a really long time. Some of them are quite. Okay. They have national championships.

So another way to come at this is to look at an organization that promotes this kind of thing. I, I was thinking about the Porsche Club of America, as you spoke, whose slogan, by the way, is it’s not the cars, it’s the people. They’re propaganda. All media is filled with, um, the sense that this is a family friendly set of activities.

Many photographs of men and women, although generally heterosexual couples at the same time. It’s pretty. The power brokers within the organization at various levels are nearly all male. And the little bit of marketing information I’ve seen, particularly if you exclude the, the SUVs show that nearly all Porsche purchasers or leasers are males.

It’s a kind of a difficult situation. Right. Well, I actually, one of the women I spoke to started an outros through the Porsche Club. She and her husband drive boxers, but she [00:20:00] mentioned that they don’t have ladies. In the Porsche Club, all everybody has to run an open. So if you’re sharing a car that becomes problematic.

It’s okay if you don’t have children, but if you do, then it’s an issue. But like I said, most of the women I talked to didn’t have children, and perhaps that’s what made them able to participate this for a long period of time. If I missed it, I apologize. But have you done this yourself or in all of the research that you were doing, did you get the urge to get behind the wheel and do it yourself?

Uh, no, I have not. And I am too old to start, but I would like to ride along with somebody that I think that would be all right. But I don’t wanna really wanna try it myself. I’m not that confident. Number a driver. I didn’t know it existed when I was younger. I think it should be pointed out that the national S C C A National Solo Championship is probably one of the largest motor sport events in the world.

Yes. In Lincoln, Nebraska. As a former director of S C C A, I’ve watched this sport develop and come up and it used to be yes, it, a lot of people did, did our crossing went [00:21:00] into racing. It doesn’t seem to be that crossover anymore. Most of the people who go autocrossing do Autocrossing, and that’s, that’s as far as they.

but it is still an incredibly popular event and it is, as I say, once again, I’ve forgotten the exact numbers, but I think it approaches a thousand then. Yeah, I think they had 1200 this year and they had a lot of women teach sounds. Right. I know some friends who were went. Yeah. A lot of the women I talked to were went and that’s the event you should go to.

Yeah, it’s in October. Hi, my name is Lee Martinez and I’m very active in the Porsche Club of America. I used to be the president of the Finger Lakes region and I’m a track instructor here at Watkins Glen and I have been for over 20 years. Just going to give you a few positive examples of women in Porsche Club of America.

The youngest ever track instructor certified by P C A by Porsche Club of America. America is Ashley Novak. She was 18 years old and she was a track instructor here and elsewhere. And uh, now of course she’s married and has a family. Another positive example [00:22:00] is Aurora Straus. Her father’s a Strauss, Aurora Strauss.

I remember when she was 11 years old, 12 years old, and she was being taught how to drive at Monticello Motor Club in uh Monticello, New York today. She’s a professional AMSA driver as well as a Harvard graduate. Just last week I released a story that went to the PCA Club Racing News, which is based in California about a husband, wife.

Club racing teams, Steve and Mary Shindler, whom I’ve known, and they were here in June and I wrote a story about Mary and Steve, and they each have what I call his and Herst car. And they both, they change in, I mean, they race in different categories, but they do race. I could go on with many examples of being active in, uh, Club racing sports, uh, for over 50 years.

Thank you. Mm-hmm. , with your background in writing car commercials, I was thinking you might be the perfect person to do, um, a presentation or a book on a woman in, um, automotive advertising. Any thoughts on that? I’d like to leave [00:23:00] my advertising pass behind. But I did write an article that was in the um, automotive history review about my time spent at McCann Erickson working on Buick and GMC Truck, and I did do some advertising that focused on women, which at the time, this was in the eighties, which was very unusual at the time.

But as a book, nah. No, but thanks for the idea. In which states do most of this auto cross? Happen. Well, the women I talked to were, a lot of them were on the West Coast, but there were also people in Utah, Texas, Georgia, Florida, New York. They were pretty much from all over. I think they just have a longer racing season on the west coast than they do obviously in the north.

Well, I know they ought across in the rain. I don’t know if they ought to cross on the ice, but thank you, Chris.

This episode is brought to you in part by the International Motor [00:24:00] Racing Research Center. Its charter is to collect, share, and preserve the history of motorsports spanning continents, eras, and race series. The Center’s collection embodies the speed, drama, and comradery of amateur and professional motor racing throughout the world.

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Autocross is a timed driving competition held on flat, paved surfaces like parking lots or airport tarmacs. Drivers navigate a cone-defined course one at a time, testing their reflexes, coordination, and precision. Speeds rarely exceed highway limits, but the challenge is real—and the thrill undeniable. With minimal equipment required (a license, helmet, and car), autocross welcomes drivers of all ages and abilities.

Dr. Lezotte conducted 31 in-depth interviews with female autocrossers, ranging in age from 23 to 72. Most were married or partnered, but only a minority had children – a detail that underscores one of the sport’s biggest barriers for women: childcare. Politically, the group leaned progressive, contrasting sharply with the traditionally conservative motorsports demographic. This diversity hints at autocross’s potential to evolve into a more inclusive space.

Many women stumbled upon autocross through car clubs, work, or male partners. Few grew up in racing families. Instead, they were introduced to the sport by boyfriends, husbands, or coworkers – often sharing cars and learning together. This shared experience helped ease the transition into a space that can feel intimidating to newcomers.

Several key factors make autocross uniquely attractive:

  • Affordability: Daily drivers can be used, and car sharing is common. Entry fees are low, and wear on vehicles is minimal.
  • Accessibility: No prior experience required. The community is eager to teach and support.
  • Safety: Closed courses, low speeds, and strict safety protocols make autocross a low-risk motorsport.
  • Camaraderie: With only minutes of actual driving per event, downtime becomes bonding time. Women support each other, share tips, and build lasting friendships – both in person and online.

Ladies classes, while controversial, play a key role in fostering this camaraderie. They offer a space for women to compete, grow, and celebrate together. At regional and national events, the sense of solidarity is palpable – group dances, shared victories, and collective empowerment.

Transformative Benefits

Autocross changes lives. Women gain confidence, driving skills, and a new relationship with their vehicles. They relish the surprise of others when they reveal their weekend alter egos – badass drivers who tear through cones with precision and flair. Some go on to win national championships, test drive cars across the country, and become ambassadors for the sport.

The biggest obstacle? Awareness. Many women simply don’t know autocross exists. Others fear embarrassment or judgment. Positive first experiences are crucial. Veteran drivers – especially women – play a vital role in mentoring newcomers and creating a welcoming environment.

Childcare remains a persistent challenge. Women-led initiatives within autocross organizations have worked to make events more family-friendly, including the creation of ladies classes that allow couples to alternate driving and parenting duties.


Reshaping the Culture; More than a Sport

Women in autocross aren’t just participants – they’re changemakers. Many hold leadership roles, from club officers to social media admins. They advocate for policies that support female drivers, recruit newcomers, and secure sponsorships for scholarships. Their efforts are transforming autocross from a white, male-dominated fraternity into a diverse, inclusive community.

Autocross isn’t a stepping stone to professional racing for most women – it’s a passion, a challenge, and a source of joy. It’s about learning, growing, and connecting. It’s about helping others find their place behind the wheel. And it’s about proving, run after run, that real racers turn in both directions.

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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Michael R. Argetsinger Symposium on International Motor Racing History

The International Motor Racing Research Center (IMRRC), partnering with the Society of Automotive Historians (SAH), presents the annual Michael R. Argetsinger Symposium on International Motor Racing History. The Symposium established itself as a unique and respected scholarly forum and has gained a growing audience of students and enthusiasts. It provides an opportunity for scholars, researchers and writers to present their work related to the history of automotive competition and the cultural impact of motor racing. Papers are presented by faculty members, graduate students and independent researchers.The history of international automotive competition falls within several realms, all of which are welcomed as topics for presentations, including, but not limited to: sports history, cultural studies, public history, political history, the history of technology, sports geography and gender studies, as well as archival studies.

The symposium is named in honor of Michael R. Argetsinger (1944-2015), an award-winning motorsports author and longtime member of the Center's Governing Council. Michael's work on motorsports includes:
  • Walt Hansgen: His Life and the History of Post-war American Road Racing (2006)
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Motoring Podcast Network

Lucy O’Reilly Schell: The Forgotten Force Behind French Motorsports

In the hall of motorsports legends, some names roar louder than others. But every so often, a quieter story emerges – one that deserves the full-throttle spotlight. Lucy O’Reilly Schell, a pioneering team owner and driver, was one such figure. Her legacy, long overshadowed, is finally being rediscovered thanks to the passionate research of screenwriter Lauren Goodman.

Born in Paris in 1896 to an American father and French mother, Lucy inherited a substantial fortune from her family’s railroad empire. But wealth alone didn’t define her. During World War I, she served as a nurse at Val-de-Grâce military hospital, witnessing firsthand the brutal toll of war. That experience would later shape her fierce anti-fascist stance and her determination to elevate French motorsports on the world stage.

Her husband, Selim “Laurie” Schell, was a soft-spoken coachbuilder with a knack for design. Together, they formed a dynamic duo – racing in rallies like Monte Carlo and sharing driving duties. Their marriage was a true partnership, with Lucy often taking the lead both on and off the track.

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Lucy began racing seriously in her early 30s, quickly earning respect in the French press. She favored powerful French cars like Talbots and Delahayes, and her results spoke volumes. At the 1936 Monte Carlo Rally, she and Laurie placed second overall—missing victory by mere fractions.

Her pursuit of performance led her to Delahaye, a conservative manufacturer known for truck engines. Lucy’s bold request to combine a larger engine with a smaller chassis pushed the company into innovation. Her investment and influence helped birth the legendary Delahaye 135 CS, a car that would dominate endurance racing and rally circuits.

Spotlight

Lauren Goodman received her MFA in screenwriting from the College of Motion Pictures Arts at Florida State University.

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Synopsis

In this episode of The Logbook, our History of Motorsports series, featuring Lauren Goodman, she delves into the life and achievements of Lucy O’Reilly Schell. Born in 1896 in Paris, Lucy was a pioneering figure in French motorsports, known for her significant contributions as a rally driver and team owner. Goodman’s research, inspired by a Maserati Schell entered in the 1940 Indy 500, highlights Lucy’s legacy, from her early involvement in racing to her role in revolutionizing the Delahaye car company. Lucy and her husband Laurie were a powerful team, with Lucy emerging as a decisive driver and team manager, creating notable race car models and achieving significant victories. She also played a crucial role in promoting French motorsport internationally, notably at the Indianapolis 500. Despite the challenges and her eventual retreat from the sport, Lucy’s influence persisted through her son Harry, who continued the racing legacy. The presentation underscores Lucy’s underappreciated role in motorsport history and advocates for greater recognition of her contributions.

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Transcript

[00:00:00] Hello and welcome to the Gran Touring Motor Sports Podcast Break Fix, where we’re always fixing the break into something motor sports related. The following episode 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 Arts Inger family, Lucy O’Reilly, shell Innovator of French Motorsports by Lauren.

Good. Lauren Goodman has received her MFA in screenwriting from the College of Motion Pictures Arts at Florida State University. While volunteering at the Revs Institute in Naples, Florida, she encountered one of two Maseratis entered by Lucy Shell in the 1940 Indy 500 Ms. Goodman’s research into Lucy’s time in France as team owner and principal has been presented at the Revs.

Her writing draws heavily on history and the lives of women whose achievements have been overlooked. Presently, she’s developing Lucy’s story into a feature-length project. Ms. Goodman’s presentation will highlight Lucy’s role in motor racing [00:01:00] and her contributions to the sport. All right, folks. Next up is Lauren Goodman on Lucy Riley.

She. Well, good afternoon everyone. I’m so pleased to see so many faces here and online. Hello, out there in TV land. Hi mom. So a brief background about me in case we haven’t met before. My name’s Lauren Goodman and my background is not history, but in creative writing and filmmaking. My first love is story.

But during the pandemic, like a lot of us, I developed a new interest and specifically in cars that go really, really fast, and I started volunteering at the Revs Institute down in Naples, Florida, but it was while I was there, I encountered this beautiful. Eight cylinder Maserati that was entered in the 1940 Indie 500.

Now you can see on this car the French flag, the American flag. And then very curiously, this name [00:02:00] painted on the side, the l o r Shell special. And when I learned that the L there stands for Lucy, I had to know more. And it became kind of a passion for me and I, I’m looking forward to sharing her story with.

today’s presentation. I’m gonna give you a brief overview of her life and accomplishments. She was an established rally driver in her own right, but her real legacy was putting a little car company named Della Hay on the map in talking about Lucy’s work. We’re also gonna touch on her portrayal in the media at the time, and then later how she got ignored in some secondary sources about the history of Motorsport.

And finally, I’ll sum of just a few little thoughts about her. I. Lucy Marie Jean O’Reilly was born in Paris, October, 1896. Her father, Francis, was an American businessman whose own father had immigrated from Ireland, and the O’Reilly money came from building the railroads that were [00:03:00] the lifeblood of the gilded age.

Francis was already in his late forties when he decided to settle down in Paris with a young French widow, and when he died in 1937, he left Lucy her own personal. Now, Francis frequently traveled between Paris and Pennsylvania to attend business, but Lucy was 18 before she made her first trip to the us where in fact, in Redding, her arrival was news in the town paper.

And you can see here, she’s bringing news to the people of the town about her work as a nurse at the military hospital in Valgra, in Paris, really, when she was a teenager, she saw young men returning from the front suffering and sometimes dying from the wounds they received. And later in life, Lucy would again find herself locked in a battle with the Germans.

Another important character in this story is her husband. Whom she met around 1912, and they were married outside of Paris. In 1917, Celine Lawrence Shell, who was known [00:04:00] always as Lori, was born in Geneva to an American businessman and a family connection, gave them first employment at Butter Rosi. Some of you classic car lovers may know the name Butter Rosi.

In addition to war goods, they also constructed a few cars of their own, which were terrible, but he ended up also working for some coachwork around Paris, and he would provide a lot of coachwork for Lucy’s cars during her life. Here are the shells. They were a study in contrast. Lucy was gregarious, assertive.

Lori was soft spoken and diplomatic, but their egalitarian marriage made them a powerful team, both on and off the track. Lucy and Lori ran the Montecarlo rally together numerous times, sharing both navigational and driving responsibilities. And here they actually had a reporter come along with them one year, and he wrote a wonderful series of articles about his adventure with the shells as Renee d.

Who became very close to the couple later in life, wrote in his autobiography. There was no question, but that she was [00:05:00] absolutely an equal partner to Lori in their marriage. There was no subservient, no uns swerving, ob evasions, no pipe and slippers. Indeed, she was the driving force of the family. Lucy and Lori had two sons, Harry and Phillip.

Harry seems to have inherited the racing gene from both sides of the family and the Shell family resided both outside of Paris at Bruno and in. Lucy was already a mother and wife when she began to race. Seriously, her first race results show up in the French press in 1927, which would’ve made her about 31 years old.

Auto journalist Maurice. Felipe called her a decisive driver, and we can see she liked serious cars, serious French cars. That Talbot would’ve been branded as a DRock if sold in. At her very first hill climb in 1928, Lucy came first in her class. The reporter was surprised to see a woman that entered the race, but he said, if this little lady keeps at it, she’s gonna see some good results.

Good results. She didn’t indeed have. [00:06:00] Here’s just a selection of things I was able to pull from papers at the time. Now, Lucy’s specialty was the rally and the Monte Carlo was her white whale Lucy, with Lori’s code driver placed as high as P two. At the 1936 rally and lost out to a couple of Romanians in the strip down Ford by mere fractions of a point, it was her search for the right mix of performance, power, and reliability that led her to call on the factory offices at dhe.

At this point in time, Della Hay was a stuffy firm with a background in long-wearing sturdy truck engines. The general director of Della Hayes Factory, Charles’s wife. Known to everyone always as Mico Charl had grand plans to lead this company into a new era. Key to this plan were his engineer Jean, and a plan to break into the market for high-end high performance sports cars.

De Hay unveiled two new super lux models at the 1933 Barry Auto Salon, the 12 Chao [00:07:00] and the 18 Chao. These two super lux models were really just older models with updated suspension, but the stir in the press was enough that it caught Lucy’s attention. She appeared with Lori and Toe at the offices of Mr.

Charl to order a special, she wanted the bigger engine of the 18 shiau put into the smaller chassis of the 12. Mr. Charl said, no, no, no. It’s possible. The reason he said it wasn’t possible, it was because his engineer, John swa was trying to figure out how to, uh, do just that so Del Hay could start its own Factory Works team.

However, I will point out here that when Mr. Charl went to test his Factory Works team specials, Lucy still managed to outperform them in her regular car. So he decided, you know what, maybe she is after all the best owner for one of my. You’ll, I’ll also note here that de Hay wanted to further prove the merit of their new cars by showcasing one of their specials in a few world record [00:08:00] attempts.

They were actually able to set a few world records at Mare. One for the 10,000 kilometers and one four of the 48 hours. It was going really, really well, beating records previously held by Reno, and this was enough. That before Jean could finish constructing De Hay’s first real sports car, the 1 35, Lucy had already ordered six and she called on six of her wealthiest friends to order some as well.

And that Ready Cash enabled de hay to build a works team. So by way of thanks, they built Lucy a competition spec of the 1 35, the 1 35 Cs, which would become one of the most important race cars ever to come out of. Lucy was a determined, gregarious, and well-connected person. She was already becoming a team owner in all but name.

So for this little fleet of 1 35 css, she decided it was gonna be her own team, which she dubbed Blue Buzz. And it premiered at the 1936 pais rally writer [00:09:00] Neil Baskim in his fabulous book, faster Asserts that her dismal performance during the Hill Climb portion of the Paice gave Lucy pause about her own driving career and inspired her to focus solely on team management.

She recruited Renee Dreyfus as lead driver, and Renee is one of the great talents ever to come out of France. Dreyfus had a proven track record as a Grand Prix winner, having driven for Bugatti and Maser. and even having an offer from Ferrari. But then Mussolini decided he didn’t want a Frenchman in his Italian car, and the only other serious team in Grand Prix racing at that time were the Germans.

And the Germans didn’t want a Jewish guy in their car, but Lucy surprised Renee and said, hello, how would you like to join me? It’s gonna be totally. Don’t worry. And Renee has a wonderful observation about this meeting, how she just kind of wouldn’t sourceful people and get them on her side. So I’ll say at this point, a note about the Del Hay, really, even though the 1 35 was a [00:10:00] sports car, it was essentially using a modified truck engine.

And this might have been laughable except it gave the car incredible reliability. Jean focused on, listen, I’m gonna make the car as light as possible to increase the torque and take it from. You’ll see here I have some results for the 1 35 Cs. You’ll note that it’s both under the team name Blu Buzz, and sometimes it was run under her later team name, a Keri Blue, but in rallies and in speed races and in endurance races.

This car was really marvelous. That was going well, but the outlook for French victory and thee of the European calendar was grim. Of the championship Grand Prix run in 1936. No French car finished in the top five for a country that had once produced delage and more. This was hugely embarrassing. The anxiety that the Germans felt about national pride also is happening [00:11:00] in France.

The A C F, which was the governing body for Motorsport in France, and the French press got together and made a. They enlisted. The government’s help to raise money for the cause of French Glory on the track. Attacks on every new driver’s license went into the Fond kus. A new Grand Prix formula was set to begin in 1937, and the ACF was giving French automakers an incentive to create a costly new race car.

A prize of 1 million fk. To the constructor who could post the fastest time on the track at Montey. At this point, I wanna point out, Della Hay had already closed down its Factory Works team. There were a couple bad wrecks. The Grand Prix, DeMar and mis Charl kind of lost his stomach for it. But after the announcement of the Million Franc Prize, Lucy paid another visit to the offices of Mis Charl.

She had decided to create her own Grand Prix team, and she would pay DE to build her a car for the million front contest. Sean swa, busy himself building a brand new car with a brand new engine from the [00:12:00] ground up when Lucy busy to herself running the 1 35 Cs in various events. And finally, when this new DHE was ready to test and was unveiled, they kept it a quiet affair per Peter Stevenson.

The car was ugly, but boy could it go. It only took, drive us a few laps to decide this ugly car was instead truly be. And in it, he managed to drive it and outperform Bugatti to win the Million Frog Prize. With this creation of this new Grand Prix car, the 1 45, as well as all the victories already under Lucy’s belt with the 1 35 Cs de hay was celebrated as the return of French glory to the track.

When here you can see Mr. Charl giving Renee Dreyfus APIC kiss and later being made an officer in the Legion of Honor in recognition for those efforts. But the big. Was yet to come. You see adoption of the new formula for the Grand Prix was pushed back to 38, and DHE still had to prove itself against German teams.

At the 1938 season opener at Poe, it was [00:13:00] the little David of Della Hay with its Jewish driver and American money against the Goliath. Of Mercedes with lots of money from Hitler. I can only imagine how Renee Dreyfus felt when he crossed that line in first place. He then went on to win at Cork, and this would be a pinnacle for this new Grand Prix team that Carrie bla.

Now if you’re wondering where Lucy was at Poe, she wasn’t at that time, major Concor and the niece, so were hopping on the coat. Dessert sources report that at least four of the V12 engines went into touring cars. Carl say, by the likes of Ficon. And she, car manufacturing is a business. After all, Lucy’s wins both on the track and at the Concor Show that Della Hay is the peak of performance and style.

And here she is modeling her winning cars along with her English bull. Who was also award-winning these Grand Prix victories, as well as other finishes with the 1 45 Equipped as a sports car. Eventually made Dreyfus the champion of France for 1938 and [00:14:00] unfortunately Mercedes and Auto Union dominated from mid-season on, and the ACF decided, well, we need another distribution from the phone to cos.

To jumpstart more innovation. They decided this time to award the funds, the constructor, showing the most promising plans for a future car. They ended up awarding those funds to Talbot Lago. To say that Lucy was enraged would be an understatement in protest. Lucy withdrew her team, the Kerry Blue from the French Grmp Ram, as it was hosted by the acf.

This cost an uproar in the papers without de hay. Surely the deck is stacked against French constructors at our home. The sentiments were roughly how could this lady do this to us? How fickle is the press lading her just a few months earlier as a hero for France? Now the ACF then tried to strong Arm Lucy and Le Carry Blue back into the Grand Prix.

By stipulating with that withdrawal would also mean they were disqualified from the Constructor’s championship. Lucy wrote an open letter to them in the press [00:15:00] and what’s truly incredible here is we have her own words about her ownership and leadership of the team. She is the interested. , she makes the decisions.

It’s her call now. Lucy eventually changed her team name to Lake Huie, Lu O’Reilly Shell. She was clearly irritated with the a CF and wanted to remind them who exactly had made those victories happen. 1939 was a tough year for her. The next iteration of the Della Hay car, the 1 55, never fully materialized.

And in 1939, Lucy had to run the previous seasons one 40 fives against a Mercedes with an updated. . By the time the team arrived in Switzerland for the Grand Prix, Lucy switched her team to Maserati. I think it’s very telling. She didn’t choose another French mark at home, tragedy struck. Lori was killed in a car accident that also badly injured.

Lucy Renee Dreyfus stood by her sons at the funeral because she was still in hospital during Lori’s funeral, and then he hit packed up and reported back to base because after all, France was at [00:16:00] war, but it didn’t keep her down Long. Within a month, she’d contacted Dreyfus because she had a new plan. She was gonna send a French team to compete in Indianapolis 500, bringing more attention to the the French cause to the isolationist us.

Now I’m gonna use this moment to plug for the Revs Institute down in Florida. Not only is the collection incredible, but we have an app and a website with lots of stories and pictures and videos. So if you wanna know what happens to our team at Indy 500, I’m afraid you’re gonna have to go to Revs Institute dot.

Now, Lucy wasn’t well enough to make the Atlantic crossing by the time it happened, but that’s perhaps fortunate because no women were allowed in the pits. Dreyfus later were called how his teammate’s timekeeper, who also happened to be his wife, was built a special tower so she might watch the driver without setting foot in the forbidden zone.

That wouldn’t have been good enough for Madam Shell. Renee later wrote she would’ve been picketing gasoline alley as icky. Shell battled Rain on the Speedway, Paris. Fell to the [00:17:00] Nazis after the 500. Lucy instructed the team to sell the Maseratis and she herself decamped her home in Monaco. She did not return to motor sports after the war, at least not officially.

By 1947, her son Harry, was making a name for himself on the European sports car circuits. Harry would go on to be the first American in the newly organized Formula one championship. He later would enter cars, sometimes under the name bl, keeping his mom’s team alive in motor. Looking at that Maserati she sent to Indie, which was an Italian car with Franco American Livery and her Irish name on the side.

You might wonder how Lucy felt about her nationality and any contemporary would’ve been forgiven for thinking the shells were French nationals speaking fluently. Yet the shells and their sons considered themselves American. Through and through. They are listed as American in every race, entry and result.

And here we even have her. I’m an American. I love automobiles, and I love. And I had wanted to contribute to the. A French [00:18:00] prestige. I think also briefly interesting was I saw how Lucy really intended that the O’Reilly name, her name, would be carried on on his birth record at the US Consulate. Harry’s last name is capitalized as O’Reilly.

Shell and Harry himself often use O’Reilly and was listed in under o alphabetically. And uh, that’s his draft card. It kind of reminds me of his delivery on his mom’s. And in fact, during Lucy and Lori’s lifetime, the International Herald Tribune referred to them as Mr. And Mrs. O’Reilly Shell, when of course Lori was not an O’Reilly.

I thought that was pretty interesting. I know we didn’t get a chance to go too in depth, but I just wanna thank you so much for having me here today and I just hope I’ve piqued your interest about Lucy and her life. And believe me, there’s a lot more there to discover and I hope I’ve left Yes. Time for any questions if there.

I read the book Faster. Uhhuh , and fascinating book. Everyone should read it. I [00:19:00] thought I knew a lot about that period of racing, but never heard of Luci O’Neill shell until I read the book. And then you also expounded on someone, her other accomplishments that the book didn’t mention. Other women got their due during that time period.

Do you have any theories why? Historians have pretty much forgotten about her. I think it’s interesting. I lighted a little bit for time, some of the mentions of her in the press, in a press clipping that I had up and I can bring up again. Basically, the reporter mentioned everything about the creation of her new Grand Prix team and talked to everyone, miss Charl, Renee Dreyfus, and her husband, and never actually mentioned her even when in the article.

Mis Charl said, this team isn’t mine. The woman, the madam, she created it and the reporter still never bothered to talk to her. I found too later that in some secondary sources, they might mention Lori as being running the team when that just wasn’t true. From the primary sources we have was kind of incredible to me, and I couldn’t, honestly, I can’t make sense of it [00:20:00] because to me it’s like trying to tell the history of Mercedes F.

And not mentioning Total Wolf. It’s like trying to talk about Red Bull racing and making only a passing reference to a Mr. Ginger Spice is how I feel about that. So I think there was some intentional, and I think also sometimes people just received common wisdom. How much do you think Lucy’s family Fortune played a role in her life in motor sports?

It was everything. It was everything. Do you think she would’ve had the same role in motor sports without it? No. No. Or. Not any why? Because money created Access. Women didn’t have acc. Now, there were a lot of women driving at that time. Women ownership. It really was her money creating it. I think she inherited about, in that day’s money, about 9 million bucks when her dad died.

And that’s in, you know, 1930s money. So you can only imagine maybe 150 million today. That she had to spend. I was just, uh, wondering that card, the indie card that’s in the museum, yeah’s, they at Revs. And was it damaged a museum from the hurricane [00:21:00] or anything? Oh, no. Every, everything at Revs is great. Okay.

So please come on down. In fact, they’re having a conference there next weekend. Yep. Yep. Just a couple of statements. I believe that she sold the two cars to Lou Moore. The race of Indies is correct. Yeah. Harry, her son was killed practicing her Grand Prix in 1955. He was, he was driving for, I believe it was, uh, the Yeoman credit union.

It was Sterling Moss’s outfit. Yes. During free practice. Now, when she got Dreyfus out of. France, he was already in the French Army and mm-hmm. . I understand that they let him go because he was going to Indianapolis. Yeah. How much of that was a plan to get a Jewish driver out of France before the Germans caught him?

That’s a really interesting question. And it’s something I haven’t found yet, but it doesn’t mean the answer’s not there. There’s in fact stacks of her letters that just have never been digitized. We know for sure that Dreyfus himself says, my friends told me not to come back after Indie. I, he didn’t [00:22:00] say which friends though.

She was a confirmed anti-fascist at the point that there were certain French who were pro fascists. So yeah, absolutely. I, I love so much the little news clipping about her work as a nurse and talking about the French battle against the Germans and really the arrival of the French drivers for Indy 500 was a media spectacle.

And Dreyfus actually gave out signed headshot of him and his military uniform. So it really was sort of the, there was public pressure against the Minister of Information to release these two drivers, Renee Dreyfus and the other man I didn’t mention, Renee Le Beg as sort of promotion for France and for the French War effort.

And it was important. Thank you very much. Thank you. First, thanks for filling in the blank and my personal knowledge about who Harry Shell was and where he came from. Yeah, I always wondered about that. I’m just picking up the last comments. You didn’t mention that Ren Prefu when he ended up here in USA became well known Lehan Clair issue.

His restaurant was Shawn Claire. Mm-hmm. In, in New York. I had the [00:23:00] dining there once. Yeah. His autobiography is, honestly, it’s terrific. I highly recommend it. So when are you making a movie of her story? I, this is what I’m hoping. I’m hoping the more people get excited about it, the more there’s a ground swell, and I think there’s a real hunger for stories like this to me.

One of the things I learned when I learned about Lucy is, yeah, she was rather unique in terms of being a team owner and principle of a Grand Prix team. But in terms of being a driver, every time I went to the French papers to look for results, anytime a woman was allowed to race, there are madams and.

Scattered through the results, they’re all there. And, um, I, I had no. Just another comment. When, uh, Wil Shaw persuaded his car owner to buy the H ctf, the year before Cotton Hennings, their mechanic changed the firing order on that car to smooth it out. And it was, uh, more successful in Indianapolis to say the least.

[00:24:00] Mm-hmm. . Now, the car that at Res now belonged to Dean Butler at one time. Mm-hmm. , and he got his. To change the firing order also, and I was at Milwaukee when email Andrews, who I believe came in second in that car to Indianapolis, drove it again, and he came in and said how great it was if it had been that good in indeed to won the race.

That’s amazing. That’s amazing. I wanna say too, not only did Lucy get Renee Dreyfus into America out of France, but also Luigi tti, who is the reserve driver on that. And he stayed in America, of course, founded North America Racing Team. Thank you, Lauren. Yeah, thanks,

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Lucy didn’t just race – she built teams. Her first was dubbed “Blue Buzz,” later renamed Écurie Bleue. She recruited top talent like René Dreyfus, a Jewish Grand Prix winner sidelined by Mussolini and the Nazis. Lucy offered him a professional home when others turned him away.

Her Delahayes, though powered by modified truck engines, were marvels of reliability and torque. With Dreyfus at the wheel, the team won the prestigious Million Franc Prize in 1937, defeating Bugatti and restoring French pride.


Politics, Prestige, and Protest

Despite her success, Lucy faced institutional resistance. When the French motorsports governing body awarded future development funds to Talbot-Lago instead of Delahaye, Lucy withdrew Écurie Bleue from the French Grand Prix in protest. Her open letter to the press made it clear: she was the team’s principal, not a figurehead.

In 1939, with war looming and her husband tragically killed in a car accident, Lucy pivoted again – this time sending a French team to the Indianapolis 500. Her goal: to rally American support for France. Though she couldn’t attend due to injury (and women weren’t allowed in the pits), her presence was felt. Dreyfus and Luigi Chinetti raced under her banner, and the spectacle made headlines.


Legacy on the Track and Beyond

Lucy never returned to motorsports after WWII, but her son Harry Shell carried the torch. He became the first American to race in the newly formed Formula One championship, often using the name O’Reilly Shell to honor his mother’s legacy.

Lucy’s story is one of grit, vision, and defiance. She was an American who loved France, a woman who built teams when few others could, and a strategist who challenged the status quo. Her contributions to motorsports were monumental – and it’s time they were recognized as such.

Lauren Goodman, who discovered Lucy’s story while volunteering at the REVS Institute, is now developing a feature-length film about her life. With stacks of undigitized letters and untold anecdotes still waiting to be explored, Lucy’s story is far from over.

As Goodman said, “It’s like trying to tell the history of Mercedes F1 without mentioning Toto Wolff.” Lucy O’Reilly Schell wasn’t just part of the story – she was the story.

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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Michael R. Argetsinger Symposium on International Motor Racing History

The International Motor Racing Research Center (IMRRC), partnering with the Society of Automotive Historians (SAH), presents the annual Michael R. Argetsinger Symposium on International Motor Racing History. The Symposium established itself as a unique and respected scholarly forum and has gained a growing audience of students and enthusiasts. It provides an opportunity for scholars, researchers and writers to present their work related to the history of automotive competition and the cultural impact of motor racing. Papers are presented by faculty members, graduate students and independent researchers.The history of international automotive competition falls within several realms, all of which are welcomed as topics for presentations, including, but not limited to: sports history, cultural studies, public history, political history, the history of technology, sports geography and gender studies, as well as archival studies.

The symposium is named in honor of Michael R. Argetsinger (1944-2015), an award-winning motorsports author and longtime member of the Center's Governing Council. Michael's work on motorsports includes:
  • Walt Hansgen: His Life and the History of Post-war American Road Racing (2006)
  • Mark Donohue: Technical Excellence at Speed (2009)
  • Formula One at Watkins Glen: 20 Years of the United States Grand Prix, 1961-1980 (2011)
  • An American Racer: Bobby Marshman and the Indianapolis 500 (2019)

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Happy Birthday, Mustang!

On March 9, 1964 the first production Ford Motor Company Ford Mustangs began rolling off the assembly line. Nearly 700,000 were sold by the time the 1966 Mustang entered production, and some 22,000 were sold on the first day of availability. For 1966, over 600,000 would be sold. Today, Mustangs of all variety continue to be of high interest with people in all walks of life.

Interestingly, the first concept Mustang, Mustang I, was a two-seat, open-top, mid-engine sports car meant to fill the void between a go-kart and a Corvette. At least, that was the command at Ford HQ, who wanted something remarkably athletic, tunable, and attractive to racing sanctions and drivers, and it was delivered, making its debut at Watkins Glen Raceway in New York on October 7, 1962. Dan Gurney piloted the car around the track supposedly achieving speeds of 120 MPH, spurring the media to promote that Ford was building a car to compete with Corvette. This, of course, drew a lot of attention to Ford, exactly what they needed.

Mustang I would tour the country and work in consumer focus groups, including groups at colleges, to gain the public’s insight and opinion. By the end of the day, it was confirmed that Mustang I would have only limited public appeal, something Ford knew would be the case from their experience with Thunderbird and watching Chevrolet struggle to sell early Corvettes but also struggle to keep Corvair and Chevy II in supply. Die hard sports cars don’t succeed in sales, but an inexpensive, stylish four seater was poised to rule the world.
But the Mustang I was awesome as a publicity tool, and showed the world, again, what Ford could do.

Mustang II was introduced in 1963, and looked infinitely closer to what would be put into production. The long hood, short deck body design seemed to appeal universally, while the Falcon’s traditional front engine/rear-wheel drive platform worked perfectly as the basic underpinning for the new car. The press was having a ball scooping one another, and Ford marketing worked seemingly ‘round the clock, feeding reporters scoops and secret information to keep the name before the public eye. The whole world was having a ball and couldn’t wait for Mustang to be available. And, by the time Mustangs were in showrooms, buyers were ready to burst.

By 1973, the Ford Motor Company Ford Mustang had become roughly the size and weight of a midsize family sedan. While it handled beautifully and rode exceptionally well, many felt it had lost its way. Sustaining that notion were buyers, of which only 134,867 could stomach buying a 1973 Mustang. The writing was clearly on the wall by 1971, buyers wanted smaller, sportier, more efficient cars, and Ford’s new president, Lee Iacocca, was going to make sure they got what they wanted.

The Ford Maverick was selling very well, the Pinto likewise, and for a brief moment, Ford toyed with the idea of a Maverick-based Mustang, but ultimately decided a Pinto-based Mustang would appeal to more buyers and sell better. Dick Nesbitt began design work in 1971 creating a car that he said was less Pinto than the original Mustang was a Falcon. Examining the Mustang II more closely shows how different it was compared to a Pinto.
Mustang II was the first American car with power rack and pinion steering, it had unibody construction, an engine-mount subframe, and an isolated front suspension, none of which was on the Pinto (except the unibody), but all of which gave Mustang II a remarkably tight feel. It was nearly 500-pounds lighter and nearly 18-inches shorter than the outgoing ‘73 Mustang, which spelled nimble maneuverability and fuel efficiency. Available in two-door notchback or three-door lift back, the convertible was dropped as consumers sought safety over open-air motoring. The lift-back offered substantial cargo access and interior space, which also spoke loudly to buyers. So loudly, that over 385,000 were sold during the first year, with 1.1-million sold between 1974 and 1978. Needless to say, Iacocca’s vision of a little jewel with high build quality and exceptional efficiency was indeed the right car at the right time.

So, here’s to one of the most successful car models ever, the Ford Mustang. Happy birthday.


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Don Weberg - Editor-Publisher-Founder, Garage Style Magazine