Podcast appearances and mentions of Ford Fiesta

¿Te gustan las rarezas? ¡Pues te va a encantar este video! Ahora los motores de 2 tiempos están casi desaparecidos por temas de emisiones y consumo… pero hubo un tiempo en que era una alternativa interesante y muchas marcas apostaron por él muy decididamente… Antes de nada, recordaros que en este podcast tenemos…¡el “Consultorio Clásico” de Jaime Sánchez! A ningún aficionado al mundo del motor le dejan indiferentes los motores de 2 tiempos. Menos aún si vienes o te gusta el mundo de la moto. Y menos aún si vienes o te gusta el mundo de la moto off road, el único nicho donde el motor de 2 tiempos sigue vigente… sin ir más lejos, tengo una moto de 2 tiempos, una Gas Gas de trial… Su sonido, su olor para bien y para mal, ese petardeo, su especial comportamiento y su ligereza son destacables. Como el hecho de que a igualdad de cilindrada un motor de 2 tiempos da más potencia que uno de cuatro y que a igualdad de potencia un motor de 2 tiempos es más pequeño y puede llegar a pesar un 30 por ciento menos. El asunto de las motos no es intrascendente, una palabra más moderna que gustará más a Rodrigo, porque en muchos casos el motor de 2 tiempos llega al automóvil desde las motocicletas donde su sencillez, simplicidad, bajo precio y ligereza, los hacían especialmente adecuados. ¿Un “Escarabajo” de 2 tiempos? Incluso Ferdinand Porsche pensó en un motor de 2 tiempos para su “coche del pueblo” algo que no siempre se recuerda. Lo cierto es que el estudio de un motor V4 de dos tiempos se complicó tanto que al final era más sencillo un bóxer de 4 cilindros de 4 tiempos. No es tan raro, porque en esos años, ten en cuenta que hablamos de 1938, eran muchos los coches alemanes y del Este que usaban, con buenos resultados, estos motores. He elegido 10 modelos, pero podrían ser muchos más porque ha habido marcas, en especial marcas de este de Europa como sobre todo DKW, sin olvidarnos de Saab que no es del este sino del norte, que fueron durante años muy fieles al motor de 2 tiempos. Ya llevamos más de mil videos, así que ya puedes encontrar en nuestra videoteca casi de todo. Si te interesa la historia y técnica del motor de 2 tiempos busca el titulado “Motor de dos tiempos: una historia de espías”. Si te interesa Saab, el titulado “¿Qué fue de Saab? De los aviones, a los coches y a la ruina” y si te interesa DKW… tenemos ese video pendiente, pero hablamos de la marca en el video titulado “El primer COCHE TRACCIÓN DELANTERA: ¡No fue un Citroën!” porque esta marca apostó por el motor de 2 tiempos y la tracción delantera. Y ahora vamos con esta lista en la que te prometo que habrá sorpresas… por lo menos una. 1. Goggomobil (1954). 2. DKW F93 (1955). 3. DKW 1000 SP (1957). 4. FSO Syrena (1957). 5. Subaru 360 (1958). 6. Saab 96 (1960). 7. Trabant Tramp 601 (1963). 8. Wartburg 353 (1966). 9. Suzuki Cervo (1977). 10. Ford Fiesta (1993). Conclusión. En 2022 saltó la noticia de que Mazda, especialista en motores rotativos que no dejan de ser de 2 tiempos, había patentado un motor de 2 tiempos sobre alimentado que iba a ser la bomba… pero no se ha vuelto a saber nada. Me temo que, sobre 4 ruedas, no volveremos a ver coches de 2 tiempos… pero os he traído unos cuantos que valen la pena y que pueden comprarse, algunos a precios interesantes.

The Ford Fiesta is rolling agin as we move through the wide variety of films that featured Harrison Ford in the '90s, starting with Regarding Henry. A Mike Nichols film, a J.J. Abrams script, Annette Bening, and Ford up to his more risky ways, taking on another against-type character. Paul and Adam get to the bottom of this unusual Ford vehicle right before he goes action city with Jack Ryan and The Fugitive. Like good movie talk? Please subscribe! Website: www.themovieguys.net The Ford Fiesta: https://apple.co/3s3Om9l The TMG Interview: https://apple.co/3c21SEI The Movie Showcast: https://apple.co/3eXSrrW Countdown: https://bit.ly/38XVDzS YouTube (The Movie Guys): https://www.youtube.com/TheMovieGuys YouTube (The Movie Guys LIVE): Youtube.com/user/TheMovieGuysLIVE Vimeo: https://vimeo.com/themovieguys   Facebook: https://www.facebook.com/TheMovieGuys Instagram: https://www.instagram.com/themovieguys/ BlueSky: https://bsky.app/profile/themovieguysonline.bsky.social X: https://x.com/TheMovieGuys

Skip the Queue is brought to you by Rubber Cheese, a digital agency that builds remarkable systems and websites for attractions that helps them increase their visitor numbers. Your host is Paul Marden.If you like what you hear, you can subscribe on iTunes, Spotify, and all the usual channels by searching Skip the Queue or visit our website SkiptheQueue.fm.If you've enjoyed this podcast, please leave us a five star review, it really helps others find us. And remember to follow us on Twitter  or Bluesky for your chance to win the books that have been mentioned in this podcast.Competition ends on 21st May 2025. The winner will be contacted via Bluesky. Show references: Museum Wales website: https://museum.wales/Big Pit National Coal Museum: https://museum.wales/bigpit/Catherine Pinkerton LinkedIn: https://www.linkedin.com/in/catherine-pinkerton-b1905a110/Catherine Pinkerton is the Group Retail Manager at Amgueddfa Cymru - Museum Wales.Having worked in senior management positions for some of the high street's most recognisable brands such as Harrods, Selfridges, Dior and Guerlain to name but a few, Catherine spent 20+ years in London building her management career. Catherine is now the Group Retail Manager for Amgueddfa Cymru (Museum Wales). She is responsible for the management of all aspects of retail operations and development, across the national museums of Wales. Catherine is currently leading on a transformation project to create immersive retail experiences in each of the museum shops, reflecting the visitor experience and collections of each of the varied museums.Guests Also Featured in This Episode:Anya Kirkby, Freelancer - Anya Kirkby Ltd – Product Development and Graphic Design anyakirkby@gmail.comArantxa Garcia, Freelancer - Exibeo VM Creative Studio – Shop Design and Visual Merchandising Arantxa@exhibeovm.co.ukNia Elias, Director Relationships and Funding, Amgueddfa Cymru nia.elias@museumwales.ac.ukGuy Veale, Freelancer – Freelancer - Sound artist/designer - gbveale@gmail.comAmy Samways, Shop Supervisor, Amgueddfa Cymru - amy.samways@museumwales.ac.ukKate Eden, Chair, Amgueddfa Cymru - Members of Board | Museum Wales Transcriptions: Paul Marden: Welcome to Skip the Queue. I'm your host, Paul Marden. So today you join me on the top of a mountain in Blaenavon in Wales at Big Pit, the National Mining Museum. I'm here today for a really special event. I've been invited to the opening of Big Pit's new Museum Retail experience, which is a programme of work that's being done by the Museums Wales Group to improve the sense of place and the sense of feeling for what could be a blueprint for the rest of the group. We're going to be joined by a number of different people that have taken part in the project and without further ado, let's get started on our tour of Big Pit. Catherine Pinkerton: Morning, everybody. Hello, welcome. It is my absolute pleasure to welcome you all today and I know there's been a lot of you'd have travelled far and wide, so thank you so much for your time. I really appreciate you coming to see the amazing store that we've created and I hope you love it. We're just going to cut the river now. Paul Marden: First up I've got Catherine Pinkerton, Group Head of Retail at Museum Wales. Catherine, welcome to Skip the Queue. Catherine Pinkerton: Thank you very much. Thank you so much for having me. Paul Marden: Absolute pleasure. And this is a corker of an episode. I think everybody is going to be really interested in finding out about the retail, the gift shop experience that you guys have introduced at Big Pit and then you're going to go wider into. Into Museums Wales. This is a really weird episode because you and I are recording the morning after the day before. So yesterday was the big launch event and I was with you at Big Pit and I've met lots and lots of people and we're going to cut to them throughout the episode and hear from those people that were taking part in the project. But you and I have got the benefit of having enjoyed yester today's event and we can look back on what that experience was like and talk a little bit about the project. Paul Marden: Before we do that, I think it would be really lovely for you to introduce yourself and tell us a little bit about Museums Wales and Big Pit specifically. Catherine Pinkerton: Absolutely. Okay. So I'm Catherine Pinkerton. So I head up all of the retail stores within Amgueddfa Cymru, which is National Museums of Wales. I've been with the museum just under three years and I'm good that Cymru hosts seven sites. It's an incredible establishment to be part of and I think, you know, coming from a very commercial background, this is very different for me, but I think it's given me lots of insights into bringing kind of. Lots of. Kind of different skill sets, I guess, to this cultural sector. I think when I first initially joined Amgueddfa Cymru, there were lots of challenges. And that's not to say that we still have those challenges as they are in many of our museums. And I think coming from a retail background, it's. It's looking at something that's not. That's commercial, Paul.Catherine Pinkerton: That's key. But actually, how can we make it very collection and story based on our amazing assets that we hold within our museums? And I think that I felt was probably the biggest thing that was missing because I thought we've got these amazing exhibitions, these amazing collections, amazing, you know, opportunities, and how are we putting that into the retail structure and how do we offer that to us, you know, to our visitors? And I think. I think sometimes it may be. Have forgotten that you go around these amazing spaces and it's very based on that visitor focus and how can we make that visitor feel very happy and engaged. But actually the end part of that process is nearly always coming through, exiting through the retail space. Right. Catherine Pinkerton: And if they've had this amazing opportunity to go and, you know, a lot of investment in these amazing spaces, and then they come through that retail space which has some elements, but not all of what our collections hold, there's a confusion there. You know, that end piece. And for me, customer service and visitor experience is absolutely key to how they. How they finish and how they end their day. And if they're ending their day with something, oh, okay, I'll just have a magnet then. Because there's nothing really else here. Yeah, that pains me. That really hurts me. I think, come on, guys, we can do better than this. We are in an element of. We have our own assets, our own elements to be able to kind of display that. Catherine Pinkerton:  And I think very much it would be very easy and to take the kind of easy road of having, you know, let's. Let's pop a dragon on a mug and yeah, we're a Welsh museum. No, we're not. We have assets here. We have beautiful exhibitions, we have beautiful spaces. And actually looking from further afield into. In terms of an emotional connection. And I think, you know, for me, from all of my past kind of previous work, I'm working with Amgueddfa Cymru. It's probably been the most challenging to get perhaps senior management to understand a crazy way of Catherine Pinkerton working into a. What's emotional retail? What does emotive selling mean? This lady is crazy. What's she talking about? But actually, it's really basic, isn't it? Catherine Pinkerton: Because for me, if I take my daughter or my husband to any kind of day trip, I want to take something emotional that I've connected with home with me, and that's so simple. But actually, sometimes it's not thought about in that way. And, you know, for me, I'm all about the emotional connection. And I think we put so much investment in curatorial teams to kind of give that to our visitors. We need to end that. That end part is so important for them to finish, you know, that journey with that emotional connection that they can take home as a souvenir. So, yeah, I've probably said more than I needed to there, Paul, but.Paul Marden: Absolutely. So I think you're capturing the need to curate the. The ending experience because, you know, the nature of. The nature of people's memory is they remember the beginning and they remember the end and the bit that is in the middle is hugely important to the storytelling experience they have whilst they're at the attraction. But if you don't end on a high, then their emotional connection to you and the space and the stories they've heard is not going to be as impactful for them. Catherine Pinkerton:  Absolutely, totally agree. I think it's really key, and not just in the kind of, you know, the cultural sector, but in any sector, really. I think it's really important that connection is instant, really, because that is what you need to. That's the hook, isn't it, of getting that person, you know, and. And actually understanding what the visitor needs. I mean, it's very easy for me to say on a personal level, I'd love to have this collection of products within the shop, but actually, that's not what data tells us. That's not what our demographic tells know, you know. And they are the ones that are important. Our local communities, our demographic is key for us to be successful. Paul Marden: You know, so one of the things that I took from yesterday was the importance that you were moving away from being just any other generic Welsh gift shop to being a gift shop associated with the place. Yeah, that. That's the. That was the nub of I think, what you were trying to get to how do you go about doing that? How did you make it feel so much like a gift shop? About Big Pit? Catherine Pinkerton: It's taken a process of really pulling everything back and getting under the skin, what is the detail and the personality of the site. But actually it's talking to people and being humour. And Paul, you know, I think, very much, as I say, it'd be very ignorant for me to say this is what I think will work. And that's absolutely not what we want. What we want is for the visitors to say, I really. I mean, what was really interesting, actually, is that we did quite a lot of data analysis in terms of the demographics of customers that come through our sites. But also what was really key is areas of the sites that were really kind of, you know, three key areas that they really enjoyed or they really loved. Catherine Pinkerton:  And actually, one of the top ones was the pit ponies that they all love the pit ponies, they love talking about it, they love the stories that the mining team would talk about. It was a really inspiring, you know, inspirational moment for them to think, oh, my gosh, the pit ponies lived underground. This is really so, you know, I think in some respects that was probably missed in terms of our retail offer, because what we did after that is that we had a workshop with all our retail team and we almost did a little bit like a Dragon's Den effect. We said, right, these are the products that we have, right? Can you pick up out of these products, which products represent the pit ponies? Which products represent the shower rooms? Catherine Pinkerton: And actually, when you're talking to the teams in kind of a literal sense, there wasn't a lot within our retail offer that we already had. And I think it was a bit of a light bulb moment, really, for the retail team and said, “Oh, Kath. Right, I see, Yeah, I understand what you mean.” That's not represented in our retail offer. So what's represented currently was wonderful things and lots of Welsh kind of products. But actually, what. What makes that relatable to our site? And so I think what I wanted to do originally is just go on a journey and to kind of really, from a very basic stage, is understand what the site's POS was and actually understand what their personality was and what the curatorial team were trying to push forward as being their identity. Catherine Pinkerton:  And I think once we got the identity, we then broke that down into themes in terms of there's pit ponies. That's a huge part of the, you know, the exhibition. The other huge part of the exhibition were the canaries. So, you know, that was something that was talked about. There's a huge story around that. And then, you know, the kind of mining history and the community was massive. And actually that element was so important to me and the retail team to make sure that we got right. Because this is history, right? And this is. I come from both my grandparents were miners. So for me it was very much a, you know, a very emotional time for me to make sure that we got it right and that it was respectfully done. Catherine Pinkerton:  So that was really key in terms of how do we deliver this. That's really. That we are not stepping on people's toes. We're not profiting from something that was, you know, the strike range is very significant within what we've offered, but we really wanted to make sure that was respectful and that it was done in a tasteful way that people felt they could take a souvenir away, but know that was actually part of the exhibition. So it was those kind of areas that we really wanted to work. So once we have those themes in place in terms of what those looked like, it was then developing that and how do we develop that into an actual concept? Paul Marden: Yeah, and you've drawn in lots of people. You've already mentioned the kind of wide team that you brought in from Big Pit itself, but from the wider team in the group. Talk a little bit about what that experience has been like as a team. Who have you brought into this? Catherine Pinkerton:  So originally, when we wrote the retail concept and the retail strategy, you obviously have to kind of involve quite a lot of internal candidates to be able to allow them to believe that this journey and vision is a good one. And I'm super thankful. I've got the most amazing manager, Marc Simcox. He's the head of enterprises and he is incredible. He's very commercial, but very trusting in terms of understanding what the business should look like and actually giving that freedom to say, yeah, I think this can work. Kath. So you, you go ahead and that. That's huge. Right. We're not talking about a small project here. So that firstly was great for me. And then I think having the, you know, the opportunity to be able to get some key people. Catherine Pinkerton: And Matthew Henderson we've worked with previously and we've, you know, I knew straight away, for me, Matthew Henderson has gotten. Got a very unique way of working and we work very well together. We've got quite similar kind of ways of working, but I think that development and concept phase is really key and I think it really got to the point where we just sat in a room and kind of really understood what are we trying to achieve here, how can we achieve that? And really just making it very basic in terms of the key themes. And then in terms of product development, we brought on Anya Kirkby. So she is an illustrator and a very clever lady indeed. And we have worked with lots of illustrators and lots of suppliers over the years. Catherine Pinkerton: But what we wanted something for Big Pit was to be quite different in terms of the illustration and the product development. Because what we wanted to deliver with Big Pit was something that had been my vision since the very beginning when I started with Amgueddfa Cymru. And that is, you know, going into the shop and having those guidelines, you know, pricing guidelines, information guidelines, those small details which would probably mean nothing to the average person walking through, but actually a price ticket on something that's been illustrated pains me to see, because the work that's gone on behind that is so key. Catherine Pinkerton: And, you know, for most people not understanding that a price ticket on that is so I think those details are really key, Paul, and I think she really worked stringently with me to make sure that was, was, that was kind of a massive aspect of that role. And then Arantxa Garcia, who is just the most incredible designer. She's, she's a genius in what she does. She's incredibly creative and sometimes you have to kind of pull her back and say, okay, you want this? Okay, can you deliver this rancher? Paul Marden: Yeah. Catherine Pinkerton: And what was really interesting with a rancher is that, you know, she's got a huge, amazing CV of working with lots of people within the cultural sector and designing amazing, incredible pieces. But I think were very nervous because the, the original kind of renders that she sent through to us were quite amazing and impressive. And I said, arantha, are you able to deliver this under the kind of, you know, the budget? We've got a tight budget here. Paul Marden: That's the challenge, isn't it? Catherine Pinkerton: I mean, isn't it? Paul Marden: You do not want to be paying, you don't want to be offered the picture of a Maserati when you have got a Ford Fiesta budget, do you need to know that you can afford it. Catherine Pinkerton: Absolutely. And I think with Aranta, she was very, again, super creative lady. And I think I, as soon as I saw that image, I did say to her, right, you need to deliver this now. You've, you've committed to it, Arantia, so this needs to happen. And then finally, Richard Evans, who has, is hugely respected in the cultural sector and he really supported in terms of project management and the, you know, I hate to say this, and you won't mind me saying this, but the kind of boring kind of financial Gantt charts and keeping me in line actually. Right, Cath, we haven't got a budget for that. You can't spend that. Come on, Richard, make it work. Move some things around, you know. Catherine Pinkerton: So I think that was kind of the main area and then internally, Tracy Lucas, who was kind of my right hand woman, is our operations manager within Amgueddfa Cymru and she really supported me along with Amy, the shop manager, shop supervisor to really look at the product development. So I think, you know, and I think it was really nice actually to have them on board because I think it gave an opportunity for them to see what could be. And I think, you know, definitely in terms of retail, it's been an opportunity for us to be able to say, look, this, the impossible can be possible. Catherine Pinkerton: Actually this is an amazing project and I think what was really incredible is that when we decided to work on Big Pit, the Big Pit team and all of the mining team actually just came on board, Paul, they took it on board and I think the reason why they did that is that one of the mining teams said to me, he said, kath, you know, we never get any funding here. It's always in this big cities, you know, we, the Cardiff and it's never here, you know, we're just in the middle of nowhere. And I was like, absolutely not. That is not what this is about. It's about, you know, making sure that the community in that area is solid. Catherine Pinkerton: And I think the mining industry and they're very proud of that in terms of who works there, they're incredibly proud of what they do. And so because we chose that as our first project, they were so helpful in terms of, yeah, we're going to make this work, let's make it a success. Cath, how can we do that? What do you need from me? I mean at one point we had two of the mining staff pulling one of the drums which we upcycled out of it was like a lake or, yeah, I suppose a lake with a tractor. And I was like, this is crazy. This is crazy but just amazing that these team members are willing to do above and beyond to kind of go and help and support.Catherine Pinkerton: Dwayne Smith, finally I have to mention him because he went above and beyond. He, he's an electrical engineer for Amgueddfa Cymru and no feat was kind of Too hard for him. He helped us massively. He's got a huge team of people and anything that we needed done, I'm not, you know, I'm not a trades person, so anything Trady. I was like, Dwayne, yeah, I'm on it, Kath, I'll do it. Which is great because I was like, okay, yes, that was massively helpful, but huge learning curve, Paul. I feel I've never been so excited about drums in my entire working career as I am now. Paul Marden: And I never heard of one until yesterday. But what I found interesting was you see them all the way through the underground experience. I went down in the. The cage to the bottom of the pit head, did the whole tour. You talk about these drams and the importance of them and the transportation of the coal from throughout the mine back up to the top. And then you walk into the shop and it's subtle. The way that you've blended the museum into the shop is a subtle experience. It doesn't feel, it doesn't feel crude. But you've got a dram in the middle of the workshop. Now, I know it's a real one because we talked about it yesterday and I know the pains that you went through, but it's very subtle placed in there so that it doesn't feel crude. Paul Marden: It doesn't feel like you're trying to overwork the metaphor of the mine in the shop. It's very cleverly done. Catherine Pinkerton:  Oh, that's great, great, great to hear. Because that's absolutely what we did not want. And I think in terms of visual merchandising, actually, and picking up on your point there, is that it's very easy for us and this is something that we're doing in a different shop. It's very easy for us to look at some of our assets and pop them on a tote bag and say, there you go, that's done, we'll sell that. But actually, no, what can we do that's different? That's more kind of innovative? That's more creative. That is a hint or perhaps an opportunity for us to show and display something that is. Is then part of the visitors question. So when they're coming into store and they're speaking to our retail teams, they're questioning, is this a real drum? Catherine Pinkerton:  You know, and that is a conversation opener, isn't it? You know, and I think Kerry Thompson, who is the curator for Big Pit, he's a really inspiring man. I could listen to him all day. And he told me lots about kind of the drums and the history of Big Pit and the strikes. He's such an interesting man, but I think having the inspiration from him allowed us to make sure that we did it not in a crude way, actually, Paul, but that it was representative of the site, but not in a way that's, I guess, too obvious, you know. Paul Marden: Look, Kath, we could carry on talking for ages, but let's cut at this point to hear about some of the voices from the team that you worked with, your internal team, some of the partners that you worked with, about the experiences that they've had on the project. Paul Marden: So let's hear from some of the internal team members involved in the project. Firstly, we have Amy Samways, the retail supervisor at Big Pit, followed by Kate Eden, the chair of Museum Wales. And lastly, Nia Elias, the Director of Relationships and Funding at the Museum of Wales. Hey, Amy, how you doing? Lovely to meet you. What's your role at the museum, Amy? Amy Samways: I'm the shop supervisor for Big Pit. Paul Marden: What have you been doing in this whole project? I guess you've been integral to the whole kind of making it all about the place. Amy Samways: Yeah, so I've worked with Anya, who did all the products for the new shop. So we walked around all the exhibitions. We did a lot of underground visits and a lot of museum visits and just put things together. I've done a lot of work before this project for the last two years to try and get things more relevant to us and not just a Welsh souvenir shop. So a lot of those products stayed and then we just expanded them then. Paul Marden: So how do you go about looking for those products that make it local to here? Amy Samways: Well, we've got a fantastic exhibition at the top of the hill. We've got obviously our ex miners and we also have a lot of events through the times as well. So this year was a lot about the strike because obviously it's the 40th anniversary and we've got a massive exhibition down in Cardiff and also there's a smaller one up year as well. So we just walked through the museum and obviously, you know that disasters are obviously a big issue. We didn't want to make a big issue about those, but obviously they need. They're part of history, aren't they? So more books. We made sure we had books around that. And as you walk through, there's a lot of signs that the staff liked as well, because a lot of our guys have been done about the new projects with those as well on. Paul Marden: So do you then go looking for local suppliers to help you with that? And where do you find those? Amy Samways: Etsy, Facebook. Paul Marden: Oh, really? Amy Samways: Yeah, a lot of them. And also online. And then we've also. Because we work with a lot of suppliers as well, I'll say we need this and then they'll say, oh, you should ask so and so, and then we'll go and ask both. Paul Marden: Brilliant. So one of the things that's really interested me this year is talking to people that are running museum retail and that kind of process that goes from you as a buyer, having an idea, what do you want? How do you stock the shop? I think is really interesting process to go through, but flip it on the other side, as a local creator, you've got your thing and you want it in the shop. How do you get it found? Well, yeah, sticking it on Etsy is something that they're going to do, but then that might help them get into the museum. Amy Samways: Even if there is something that we want. Like at the minute, we're looking for NCB soap. Paul Marden: For what? Amy Samways: NCB soap. Paul Marden: What's that? Amy Samways: It's either bright green or bright pink and they used to buy it in the canteen shop and it's just imprinted with NCB. The guides have been asking and asking for it, but we have actually found a supplier now who's going to be working on it. So that should be coming this summer. Paul Marden: Wowzers. Amy Samways: Yeah. That's really exciting for you. Paul Marden:  What was the highlight? What's the one thing about this space, about the whole experience of the project. Amy Samways: That jumps out for me is seeing all the stock we've worked on and somebody actually buying it. Paul Marden:  And what is it that people are picking up? What are they walking in and gravitating to? Amy Samways: Anything Big pet, really. The little enamel little mugs have gone really well. I think the wording on those are great because it says they must not be removed from the premises. So our guides are loving those. And also our retro sign, which we had for our 40th anniversary and three years ago, but we kept it because it's such a brilliant design. It was the original from 1983 and it was on the original road sign as you drove in. So we've had that recreated and that sells really well. Paul Marden:  That's really interesting. So my wife with the family about 25, 30 years ago, came on a family holiday and they had the original guidebook that they picked up when they were here with the kind of the retro. Retro signage on there. Amy Samways: Yeah, we're back selling it again. Kate Eden: Yes, So my name's Kate Eden. I'm chair of the board of Amgueddfa Cymru. Paul Marden:  Tell me a little bit about your involvement in this project. Kate Eden:  As the board, we've been tracking the development of commercial and enterprises over the past year. Really. And really thrown our way, weight and support behind what the team has been trying to do here as a kind of flagship, really, for what we would all like the new benchmark to be across all of the seven sites of anger for Cymru. So seeing it all come together this morning has just been such a special experience. It's absolutely fantastic. I'm going to bring the rest of the board here as soon as I can so the trustees can see this and see the reaction of staff and of visitors as well, because it's a fabulous achievement and it shows us what we can do now as a national museum. Paul Marden: How well does it tie back into the original pitch at trustees? So I'm a trustee of a charity as well. The pressures that we're all under in terms of reducing funding and having to generate our own funding is so hugely important. This must be integral to the conversations that you were having as trustees. Did you have this in mind when you were signing off the agreement to spend the money? Kate Eden: Yeah. So I don't think anybody realised just how successful this could be. We'd had some mock ups and we'd had a presentation, so there was a lot of excitement and there was sort of the fledgling idea years. So we've got a sense of what it could be. But I think importantly for us, it's about that marriage of financial sustainability because it's got to wash its face, it's got to provide a working profit that can go back into the running of Big Pit here.Kate Eden: But it's got to be authentic to this place. It can't be the add on the visitor should shop that you walk through at the end. And it's a bit of a tedious thing to get back to the car park. It's got to be an integral part of the whole visitor experience in this place. And I think that's what they've achieved. Paul Marden: It's so impressive. So impressive. You know, just the structure that they've built to give you the impression of the mine in a really subtle way. The product that they've chosen, the way that they've laid out that, the shop is amazing. I think they've done an amazing job. Kate Eden: That's it. I mean, this is my local site. Paul Marden: Okay. Kate Eden: I live about three miles over the mountain there. So I bring my friends and family here. This is our go to place when I've got visitors. And I think just the way they've opened up the room, they've removed the barriers, which is really important. It's a small thing, but really important so that people feel welcome. They can walk in or they can walk ground. Paul Marden: Yep. Kate Eden: And it's. And it just feels a little bit more inclusive. It feels a bit more kind of, you know, we're here, it's easy to come and see us, you know, and spend time and then spend a little. Paul Marden: A little bit of money. Yeah. So where do we go from here as trustees? Are you fully behind rolling this out now? Kate Eden: Yeah, I mean, I think now that we've seen what we can do and the type of data that's coming through from sales, this is now the new. This is the bar. Paul Marden: Oh. So it has made a discernible difference to say. Kate Eden: So early data from Easter is really promising. Yeah. So this is the benchmark now from all of the other sites. Nia Elias: Hi, Paul. Hi, I'm Nia. Paul Marden: Lovely to meet you. Tell me about your role at the museum. Nia Elias: I am Director of Relationships and Funding. It basically means I get to work with all of the teams across the museum that work on the reputation, the reach, but also the revenue of this wonderful charity and national museum that we are. Because as well as getting funding from Welsh government, we raise our own income so it can be invested.Paul Marden: What sort of split? Nia Elias: What sort of split? So the majority of the money that comes to us does come from Welsh government because we're a public service, we're here free of charge for the people of Wales and we look after the national collection, which is over 5 million items across seven museums and a collection centre. Nia Elias: But there's a proportion then of money that we raise ourselves about sort of 30%, which is from our cafes and our car parks and the experiences that people have, and most importantly, our shops. Paul Marden:  So what was the inspiration for this project? Why kick off a strategy project around the whole retail experience? Nia Elias:  Well, this whole project, in essence started three and a half years ago when the museum decided that it would bring a strategy together for all of its self generated income. So that means our philanthropic income generation and through our enterprise, including our retail. And from a retail perspective, we knew that what we wanted to achieve with all of the money that we raise ourselves is that it's really rooted in the collection, because we have an amazing collection. It tells the story of Wales and it's owned by the people of Wales. Paul Marden: Right. Nia Elias: And from a retail perspective, we knew if people could engage with that and could take away something from the wonderful experience that they've had on site, that it would be something that they would want and it would make it unique that it's only possible to have here. Developing a project like this is quite challenging. You need the time, you need the teams and expertise, some of which are on your permanent team, some of which are naturally not. And also you need investment. And so by starting the thinking and the route of where we wanted to get to three and a half years ago, it meant when we had the funding and the opportunity to do so here at Big Pit, we knew exactly what to do. Paul Marden: Okay, so you. You put all of those pieces together and then came here and did the first cookie cutter stamp. But what's interesting is it's not a cookie cutter stamp, is it? This totally feels like the gift shop for this museum, doesn't it?. Nia Elias:  Yeah. So we feel really strongly that we wanted the balance of knowing that you're at a National Museum Wales site, knowing that you're somewhere unique, but equally that it has a sense of a place. Because all of our seven museums together tell the holistic story of Wales, but you really get a sense of personality on all of those sites, not just from the collection and the buildings and the items, but also from the colleagues that work here as well. Paul Marden: Right. Nia Elias: They're very much a part of that in terms of the stories that they tell, their lived experiences, and we had a sense of responsibility and fun to bring that through in the shop. Not just the ambiance, but also the products themselves, so much of them, the majority of them actually, are grounded in being inspired by the collection in some way, and also has a really strong Welsh and local profit as well. What we think that will come through to our customers and visitors and guests is that because we've worked across all of the teams in the museum, so curators and people who care for the collection, our colleagues here at Big Pit, many of whom are former miners, and our colleagues front of house, it means that everybody will be able to speak about the product. Nia Elias: So as you're walking around picking things up, imagining them in your home or as gifts, our colleagues can talk about what they mean to the place. And that brings something additional that you can't really buy. Paul Marden: Yeah. There's a story to it. There's a background to it that roots it. Yeah. Lovely. For you, what's the standout experience from the whole project? What have you enjoyed the most? Nia Elias: Two things I think in terms of the way that it's been done, the fact that so many teams have worked together behind the scenes to make it happen. That means that as we want to change things or tweak things or improve things, we'll have all of the knowledge and expertise already baked in, especially learning from other suppliers who've come along and helped us. So we've got that baked in now, which is really exciting. And the second thing is that I can stand here knowing that this is the standard of a national museum that our guests and visitors expect and want to see. Paul Marden: And now let's hear from a few of the external partners that Kath brought into the project. Arantxa Garcia was the shop designer and visual merchandiser. Anya Kirkby was responsible for product development. And Guy Veal was responsible for sound design. Tell me about your involvement in the project. Arantxa Garcia: Sure. So I'm the shop designer and visual merchandiser. It's a freelance role, so. So I worked with the team, Matthew, Richard, Anne and Guy. Paul Marden: Excellent. Arantxa Garcia: So we kind of all came as part of a team and each one of us looked after different areas of the project. And my involvement was to kind of reinvent and reimagine what was already here. And the idea was to create a space that was connected to the experience and to the site itself. So we've basically ripped the space apart. We've kind of kept the structure, obviously, but we've opened up the space as well. Before the shop, it would be very separate. You'd have admissions and then you have the shop area, which meant that you were only really accessing the shop if you came to visit the site. But as a local, you wouldn't be able to come, for example. Or you could, but maybe not in such an open way. Paul Marden: Yeah, you wouldn't feel welcome. Arantxa Garcia: Exactly, exactly. You may not want to just because you didn't know, whereas now you can just come in and basically hang around and also browse the shop. Exactly. We took inspiration from life underground, from the mine itself. So before the building was white, the units were white, so it could be a shop anywhere. You know, it didn't really have a DNA, so to speak, or an identity that related it directly to the site. So when visiting down to the underground and King Call as well, the exhibition that we've got just up the hill, we took inspiration from basically sort of like the. The cladding that you've got on the walls. Cladding is not the right word. So if one of the miners hears me saying that, they'll be. Arantxa Garcia: That's not the word that we told you, but the idea is that all the materiality that we're using, it's really evocative of. Of the site and it's the materials that have been used underground. So even, like the safety lamps, they'll set authentic safety lamps. And the team on site, Dwayne Smith, has electrified them. So it means that now they work, obviously, as a normal light, but it's a safety. Paul Marden: But they are the original safety. Arantxa Garcia: They are the original safety. Paul Marden: Wowsers. And what about these styles? Arantxa Garcia: So, yes, I always like going for a hunt on the side. So basically the team took me to different rooms and we just found stuff, if you like. So they're like the pressure gauges, you know, we're gonna use them just to add, again, like, references to the site and the authenticity, of course. So you also find loads of tools that would have been used underground as well. Paul Marden: I would imagine that this has been a really enjoyable project for you. I can see it on your face, how much you've enjoyed it. Arantxa Garcia: It has. And I think for designers, sometimes there's projects that take a bit longer to emerge and you keep changing things because you just don't feel probably quite right. There's something. But with this one, it kind of. After the site visit, it was just. Paul Marden: I clicked immediately.Arantxa Garcia: It just clicked immediately. So we darkened the wall. So we've kind of given that sort of grey background just to kind of creating more of like a cosy and shrinking the space. Paul Marden: But you. It pops the orange. Arantxa Garcia: Exactly. And the orange is everywhere. So, like, we've also changed the lighting, so it's a lot warmer. So again, that hint of orange. Yeah, orange on the back, orange on the miners on here. And then it comes also from the products. So the identity is there, but without going fully corporate, if that makes sense. That's the colour that you remember, isn't it? You've just been on the ground. All our guides and miners wear the orange overalls and the sort of, like the blue jackets over it, whether it's a donkey jacket in the winter or then they wear the soft shells as well. So, yeah, it's all those details, like those hints to the experience that kind of are embedded in the design. And these are regional as well. The drums are regional, all the flatbeds. Arantxa Garcia:  So the team here took the metal sides off and then sort of like left the skeleton of the drum, varnished it. And then our shop fitters aren't here. They did all the sort of the cladding using reclaimed scaffolding boards. But the original Drums would have been made out of wood. Paul Marden: Beautiful. It's so tactile, isn't it? Arantxa Garcia:  It's tactile. Again, we're looking at the DNA all the time. And shops can be more than just shops. Shops can tell stories. You just connect with it in a very different way. And just having the time the team on site involved has been absolutely incredible. Like the sense of pride and belonging and provenance that this kind of has awakened, it's been great. It's your job done really as a designer. When you just feel like everyone owns it, that's your job, that's when you can walk away. Paul Marden: What an amazing testimonial for you and the work that everyone feels like that. Anya, lovely to meet you. Tell me, what was your involvement in the project? Anya Kirkby: So I mainly focused on product development. So we looked at where we could get inspiration from the site and how we could translate that really from the site experience into the shop experience as well. Paul Marden: Okay, so you're coming, you're experiencing what's going on and then looking to the outside world as to how you can source your products. Where do you go for the inspiration for the products? Anya Kirkby: Working with the team a lot. So Amy was a huge help on guiding us on what things would be very useful for visitors, what they really enjoyed when they were on site, what were their key take home messages that they experienced. And then working with Amy and Tracey as well to look at what products people like when they're in the shop anyway and how we can kind of marry those two up. Paul Marden: So what is it that people like when they come to Big Pit? Anya Kirkby: Well, unsurprisingly, the mine, they enjoy the mines, the mining experience. So that was just something that we already had in the shop. So we just expanded on that more if possible. But then we've also taken inspiration from signage. So they already had the original Big Pit signage and we looked at that and kind of again expanded on it. So then we've kind of expanded that to signage that you find in some of the other exhibits. So up in the showers, for example, in the canteen, signage, some of the original pieces from collections. We then translated that into products. So you'll see we've got the designs across mugs, original little metal signs, moved that across to prints, notebooks, postcards. Paul Marden: You've been developing a lot of the products yourself, so bringing that kind of the unifying feel to everything. Anya Kirkby: Yeah. So along with product development and making all the kind of the new things that we can have it's just bringing across the branding through the AC brand really strongly across everything. It's got such a strong message that we may as well have that on as many products as we possibly can do. Paul Marden: And how much of the stuff is actually locally sourced? Anya Kirkby: Oh, it's huge amounts. And the exciting thing is after speaking to Amy, the things that she needs to reorder are the local suppliers, which is so nice. So a lot of the confectionery that's locally sourced candles, soap, the coal figures, the wooden spoons, chocolate boxes, the biscuit boxes. So as much as possible. And then we've worked with local suppliers as well to do photography, to do some of the signage, to do the original signwriting in the shop as well. So beyond products, we've looked at the POS points like elements of the shop as well. So thankfully we've used as many local spires as we possibly can. Paul Marden: You've enjoyed this project, haven't you? Anya Kirkby: I absolutely loved it, yeah. It's fantastic to see it's absolutely amazing. Paul Marden: Yeah. Anya Kirkby: So yeah, it's really special. Paul Marden: And then from here you springboard on to the other seven sites. How do you, how do you come up with the ideas then? Anya Kirkby: Exactly the same process. So working with the teams to find out what it is that visitors absolutely love about their sites and bringing that into the shop experience. So again I get very lucky. I get to go around a lot museums and experience it. Paul Marden: It's a tough job, isn't it?Anya Kirkby: It's tricky. But basically finding out what they love and bringing that through the really things that visitors take home with them anyway and just making it into a product that they can actually physically take a piece of the museum home with them as well. Paul Marden: It's great because there are some pocket money items here because I take kids on school visits and it's a very expensive experience. You know, if they catch take a fiver with them, often they can't get anything with a fiver but they can walk in and they've got pencils, they've got rubbers and they'll walk out happy with those little bits. But at the same time you've got some beautiful stuff that the grown ups can come and pick up and really enjoy. Anya Kirkby: It's the same as any museum visitor. You kind of have to look at who's going to be visiting. It's all types of people that come and just gauging it from that as well. So having an offer for everyone that they can enjoy. Someone said to me once that children for the first time. It's often their first time having a transaction monetary wise. Is that a museum on a school trip? So it's just lovely to kind of have something for them to experience that as well. Paul Marden: Never thought of it like that. They're out on their own. They're not with mum and dad. So they've got the money themselves and they've got to make the decision. So we are at. I took some kids to the science museum last year. Anya Kirkby: Oh. Paul Marden: And the amount of time we took in the shop because of the indecision that they had. Anya Kirkby: It's the indecision decision and then the queue of all them having a five pound note and having all the change come back or not having quite enough. But I think it's such an important. If you can't do that in a museum, where can you do it? Paul Marden: Guy. Hi. Guy Veale: Hi. Paul Marden: I just wanted to talk to you a little bit about what was your part of the project? Guy Veale: I was sound designer for the soundscape which we can't hear when everyone's chatting. Paul Marden: I can hear some birds in the background. Is that. Guy Veale: Is that canaries? Living canaries. Not dead gas. Paul Marden:  Coal mine canary. Guy Veale: So I did a little bit of research sort of towards the end of the project after lots of stuff had been built in, when they decided that some low level sound would be a good part of the experience. And looking at the brief and the shape of the room, the acoustics, a lot of this new ducting that's gone in that was not then easy to put cables into. We had to go for a wireless solution. Paul Marden:  Okay. Guy Veale: As part of that I found a Swedish company that had a system that creates its own network which is like a weird dream because normally you've got to go the IT guys and then something goes wrong and there's some sort of address problems or. Bluetooth is not always reliable. This has been a revolution just in terms of. Guy Veale: Don't if you can see them. There's little. They look like light fixtures that are centrally over these panels. Paul Marden: Oh right. Guy Veale: And they're quite. Paul Marden: Oh. And so they're speaking speakers pointing down onto the panel to separate it. So what. What. The other kind of sound pictures that you're painting. We've got the canary. What else have you got? Guy Veale: So the whole idea is that you're trying to represent the industrial heritage of the site and have as many authentic sounds from the site as possible. Paul Marden: Right. Guy Veale: So we've reused some of the really high quality recordings that also feature at different parts of the site already. Paul Marden: Yep. Guy Veale: But then, also sourced about another 70 or 80 sound from the BBC archive. Paul Marden: Oh, wow. Guy Veale: Paid for. And so. But if you think about those sounds, they're quite punctuated and aggressive. You think of any industrial sound and like chipping away or different tipples working. You know, the idea is that you don't want to surprise someone that while they're shopping and leaning over next to a speaker and hearing. So it needed to be softened in some way. And you know, traditionally the way I've done work is music and sound design is using different textures and tonal design and like a drone, I suppose, is this as a sort of basis that can be moving and organic, not totally static? Paul Marden: Yeah. Guy Veale:  And the idea was to sort of try and include fragments of relevant songs using the male voice choir.Paul Marden:  Really.Guy Veale: And we tried several things and I looked at it and I realised that you might catch someone coming in for five minutes here and they catch a snippet and it's all well and good for them, but the staff and you've got to hear this eight hours a day, every day, you know, four weeks, a month, so forth. So even just one little identifiable recurring melody starts to get too much, even on quite a long five. Paul Marden: Oh, really? Guy Veale: And I found that it wasn't sustainable. So I, in the end, I ended up using the. Almost like the vocal warm ups and breaths of the choir artificially extended out so they're not breathing, just this constant low level, breathy sort of expulsion. I mean, if went quiet now, we'd hear it as the. As a backdrop and it's embedded with a few other little musical elements that just sort of try and soften and support. I think of it like the vowels of the track and then the consonants. Paul Marden: Or the industrial chipping noises and the harsher noises. Guy Veale: So they're harsher but they're there and they're a bit removed and reverberate and in the background. Paul Marden: But it's really interesting how you describe it in that kind of. Using the metaphor of the letters. Guy Veale: Yeah, that's what it felt like. Just trying to find something that was like a vocabulary of work that has to tick so many different boxes, including like a therapeutic retail experience. People leaving the site with a sense of well being. Also like summarising what they've been through, not sort of projecting them out the door with, you know, a completely new thing or somewhere that they haven't been through yet. So, you know, fair few things to try and fit in there and, you know, hopefully it works and we'll see how things are in a year's time. Paul Marden: Yeah. Cath, the last point I wanted touch on before we finish today is oh my God, how happy everybody was at that event yesterday. How positive the experience was for all of the team members. What was for you the big standout moment for the entire project? Catherine Pinkerton: I mean, there's so many, Paul. But I think for me it's an opportunity to see what can be achieved when people collaborate. And I think, you know, joining the museum three years ago is really collaborating with lots of different departments to achieve something as a team.Catherine Pinkerton: Teamwork is absolutely the key to kind of success and I think you can only achieve that by having that really product professional kind of embodiment with all of the collaborative teams to work together for the same goal. And I, I was really proud yesterday that it took a lot of work, but actually without a team of 40 people as well as the wider organisation, it would not have been, it was no mean feat, but it was certainly wasn't just down to one person saying this is my project because it was a team effort. Catherine Pinkerton: And I was so proud of everybody that was there to kind of thank them along the way to say, this is, we've done this and now onwards and upwards. Paul Marden: Yeah, absolutely. You should be so proud. It really was. Catherine Pinkerton: Thank you. Paul Marden:  It's a demonstration of what a museum gift shop experience can really be like when you work together like that, when you collaborate. So well done to all of you. It was such a lovely experience yesterday. Thank you for inviting me. Catherine Pinkerton: Thank you so much for coming, Paul. I appreciate it. Paul Marden: Before we go though, I always ask for a book recommendation from our guests. Now it would have bankrupted me to have asked everybody yesterday for book recommendations. So you have to take the responsibility of a recommendation on behalf of everybody. What have you got for me? Catherine Pinkerton: The secret for me is, you know, that that book seems to be. I always go back to that book very often and I think it's a key one for lots of areas. So that's definitely a takeaway for me. But the other one I'm reading at the moment called A Monk's Guide to Happiness. I'm not sure if you've had enough to read it. Yeah, it's a 21st century take on A Monk's Guide. It's written by Gelong Thubten and he had a very high powered job and he had a burnout and interestingly he changed his whole mindset in terms of what makes him happy and really making it quite basic. Right. Catherine Pinkerton: So it's a, it's a real eye opener in terms of just pulling things back sometimes, you know, at the end of the day, come on, let's just live life and be happy but, you know, not stress out about things. I'm quite easy to do that. So this is very much a. Just breathe, Kath, get through it. But it's a good one. If you want to just strip it back and just kind of understanding the basics of being happy, then, yeah, he's great. Paul Marden: Oh, Cath, that's a great recommendation. If you go over to Bluesky and repost the show message that Wenalyn put out and say, I want Kath's book, then the first person that does that will get a copy of the book sent to them. Kath, it was absolutely delightful. I enjoyed my day wandering around Big Pit yesterday no end. Given that half my family is from the valleys and most of them were miners, I feel like I should have done this a very long time ago. But it was lovely. And to enjoy the experience of the celebration that you had yesterday, it was a real privilege. So thank you. Catherine Pinkerton: Oh, huge privilege to have you there. Paul. Thank you so much. I'm really appreciative. Did you purchase? Paul Marden: I did purchase on my way out. Catherine Pinkerton: Yay. Great, great, great.Paul Marden: Deal. Catherine Pinkerton: Deal. Thank you so much. Paul Marden: So after my trip 90 metres down to the bottom of the mine shaft, where I of course couldn't take microphones, I'm now back up on the surface, microphones back in hand and enjoying myself, wandering around currently in the winding house, which is where all the machinery is for lifting the cages that 90 metres down to the bottom of the pit head. I've had an amazing day here at Big Pit. It's been so interesting to see this museum and to talk to many of the amazing staff that have taken part in this big project to redesign their gift shops. Highly recommend a day trip to Big Pit. Really has been very enjoyable, if for no other reason, to see that amazing new gift shop experience. Paul Marden: Now, as always, if you'd like a copy of Catherine's book, head over to Blue sky and repost the show notice that Wenalyn will post out and say, I want a copy of Catherine's book and the first person to do that will get that copy sent over to them. So all that remains for me to say is thank you to Catherine for inviting me here to Big Pit today. And I'll see you again soon. Take care. Bye Bye. Paul Marden: Thanks for listening to Skip the Queue. If you've enjoyed this podcast, please leave us a five star review. It really helps others to find us. Skip The Queue is brought to you by Rubber Cheese, a digital agency that builds remarkable systems and websites for attractions that helps them to increase their visitor numbers. You can find show notes and transcripts from this episode and more over on our website, skipthequeue fm.  The 2024 Visitor Attraction Website Survey is now LIVE! Dive into groundbreaking benchmarks for the industryGain a better understanding of how to achieve the highest conversion ratesExplore the "why" behind visitor attraction site performanceLearn the impact of website optimisation and visitor engagement on conversion ratesUncover key steps to enhance user experience for greater conversionsDownload the 2024 Rubber Cheese Visitor Attraction Website Survey Report

This 2-part podcast was inspired by a Solo Cleaning School Elite member, Dave Reeks. Dave started implementing the ISO Model in early 2022, operating The Finest Clean in South Wales, Australia. I am so proud of his diligence and commitment. Dave has grown from an Initializer to the Stabilizer phase of the ISO Model in 6 months. I recently did an Optimizer's Workshop with him to help him hit his next goal. He is a male solo cleaner like I was and growing quickly with almost 20 house cleaning customers in a short time. Dave recognized the need to keep his body operating at peak performance and wondered if I had any tips for other solo cleaners. Thank you Dave for this question! Yes! I do. I was a solo cleaner from age 28 to 44. There have been seasons of physical domination when I could stay up all night and clean and clean and clean. I have also struggled with fatigue, injury, and chronic disease. Regardless of the season, I had no choice but to keep going... and I did. In this initial episode, we will deconstruct the habits of multiple peak performers from professional sports to learn from them. Then in the second episode, I also will share several keys to solo longevity that I have learned along the way from my triumphs and struggles.  I believe this will help all cleaning companies as we all have people cleaning, whether it is us or a team we've hired.Disclaimer: I am not a medical doctor. I am sharing what I've personally done for cleaning longevity. See your doctor before making any major changes to your routine. Baseline your level of health now and set goals on where you'd like to go. Use this podcast as a guide.Let's start with an analogy that takes me down vehicle memory lane. The joke in high school was that Ford stood for "fix or repair daily" and "fails on race day". My friends with Hondas boasted on their longevity and reliability. Hondas were the gold standard. My cars from age 16 to now have been in this order: Honda, Ford, Ford, Mitsubishi, Honda, Honda, Honda, Honda, Ford, Honda, Ford. Isn't that funny. I've owned 6 Hondas and 4 Fords. I won't go over every detail on our cars as that is probably boring. I will just say this. All of my cars have been great. I have so many memories from each. But I do generally agree after owning 4 Fords and 8 Hondas (my wife owned 2 Honda Odysseys) that the Hondas are way more reliable and spend less time in the shop. Sure there were some duds. We had an Odyssey that lasted 2 years and needed a new engine at 150,000 miles. We own a Ford Fiesta with 100,000 miles and a Honda Pilot with 140,000 miles and both are running great. But there is not doubt that our Hondas have been cheaper to operate and lasted a lot longer as 5 of the 8 were over 200,000 miles when we got rid of them.Read the rest of this article at the Smart Cleaning School website

Jo mer dritt, dess bedre. Bittesmå og merkelige bilcrossbiler av heller laber kvalitet, det digger vi. Såpass at vi lager en egen spesial om det. Det bygges også mer moderne versjoner av små drittbiler, vi får besøk av Aleksander Beisland som bygger en "ny" Ford Fiesta - og vi besøker ett par gale bilcrossere med spesielle prosjekt i kategorien "liten drittbil". Denne Bilcrosspraten kan du også se på Bilcross.no. Støtte? Bilcross-no-vippsen er 54 02 81. Hosted on Acast. See acast.com/privacy for more information.

The boys are joined by six-time Olympic champion, television personality and knight of the realm, Sir Chris Hoy.In this fascinating chat, Chris shares his lifelong passion for automotive, which began with a Porsche 911 scalextric car and has taken him to the start grid at Le Mans, punctuated by memorable motoring experiences driving a Singer Turbo through Wales, a GT2 RS Clubsport race car around Spa…. and a Ford Fiesta in rallycross!Chris is also a trailblazer for raising awareness of prostate cancer, having been given a terminal diagnosis of the disease in 2023, and his heroic work here has undoubtedly saved the lives of others.Check your risk in 30 seconds on this website and Information on Chris' Tour De 4 charity bike ride can be found here.Find your dream Porsche on the 9WERKS Marketplace: 9werks.co.uk/marketplace Thanks to our friends heritagepartscentre.com for sponsoring this podcast, get up to 10% off your basket by entering the code ‘9WERKS10' at the checkout on heritagepartscentre.com‘9WERKS Radio' @9werks.radio is your dedicated Porsche and car podcast, taking you closer than ever to the world's finest sports cars and the culture and history behind them.The show is brought to you by 9werks.co.uk, the innovative online platform for Porsche enthusiasts. Hosted by Porsche Journalist Lee Sibley @9werks_lee, 911 owner and engineer Andy Brookes @993andy and obsessive Porsche enthusiast & magazine junkie Max Newman @maxripcor, with special input from friends and experts around the industry, including you, our valued listeners.If you enjoy the podcast and would like to support us by joining the 9WERKS Driven Not Hidden Collective you can do so by hitting the link below, your support would be greatly appreciated.Support the show

What's on the menu for “Let's All Eat Right” day THE INTERVIEW Dr. Columbus Batiste honed his skills as a cardiologist while working for the VA. He is working to reduce the number of deaths from heart disease, which surpassed 702,000 in 2022. In celebration of Heart Health Month, he joins the Tango Alpha Lima podcast to share how veterans can protect their hearts to live longer, healthier lives. SCUTTLEBUTT Army officers had to write haikus about Pacific theater of World War II during a leadership course Remebering Hal Sperlich, Navy Seabee and Engineering Pioneer of the Mustang and Minivan We were soldiers once...and dipped. Special Guest: Dr. Columbus D. Batiste.

Bildesignere nr. 11 - Tom TjaardaBilsnobberne Stefan Kaas og Adam Estrup sætter med denne 11. episode i Bilsnobbernes Automotive Encyklopædi luppen over Tom Tjaardas værker. I ved ham, man skal kunne tale med om ved middagsbordet. Ikke et ord om nepo-babyer, men Toms far var bildesigner og Tom voksede op i Detroit Motor City.Så det var ganske naturligt, at den unge Toms første job, umiddelbart efter arkitektstudiet på University of Michigan, blev hos italienske Ghia. I Torino. Han havde dog i al fairness lavet en skøn Shooting Brake som afgangsprojekt. Første dag på jobbet i Torino får han opgaven med at tegne en åben Innocenti 950 (der i modsætning til en del af hans især senere kreationer udmærker sig ved at blive sat i produktion). Innocentien indvarsler Toms gyldne tid – der må siges mest at være hans unge år - hvor han også får slået streger til blandt andre Fiat 124 Spider, Ferrari 330 GT og De Tomaso Pantera. Der altså også produceres.I den lidt mere ydmyge afdeling tilskrives han også linjerne på den første Ford Fiesta og interiøret til en Jeep Cherokee. Derfra bliver der relativ langt mellem snapsene.Hør dertil med om Toms smed de rigtige dele af sit hollandske navn væk, om universiteterne i USA virkelig havde dygtige (polske) modelbyggere i kælderen, og om vi kan komme gennem en hel episode af Bilsnobberne uden Stefans ellers altid elegante namedropping af designkoryfæer eller at Adam en passant får nævnt, at han altså engang har spist middag med Walther Röhrl.Disse og mange andre virkelig kloge ting får du med i dette afsnit af Bilsnobbernes auditive bilencyklopædi – podcastserien, der lærer dig at tale med når snakken omkring middagsbordet falder på, ja netop Tom Tjaarda og den slags (som den jo ofte gør, samtalen).Tak fordi I lytter med, liker, skriver, og abonnerer.

Sat, 21 Dec 2024 05:30:00 +0000 https://zwoaus11.podigee.io/328-neue-episode 1a422be98ad1ac616c81550d8b2b4dcc .. sein Nachfolger war ein Ford Fiesta ... Facebook Instagram [Youtube](https://www.youtube.com/channel/UCNbGiaA4k1Y4_-MmCkolf5 328 full .. sein Nachfolger war ein Ford Fiesta ... no Jens Seltrecht und Frank Otero Molanes

De cómo una broma malinterpretada puede traer útiles enseñanzas.Lee el artículo aquí: https://jugo.pe/un-ford-fiesta-blanco/Al suscribirte a Jugo recibes nuestro contenido diariamente. Tienes la oportunidad de ser juguero por un día. Pero, sobre todo, patrocinas que nuestro contenido llegue gratuitamente a personas que lo necesitan. Contamos con tu apoyo para no desenchufar la licuadora. Suscríbete aquí. Haz clic aquí para seguirnos en Twitter Haz clic aquí para seguirnos en Facebook Haz clic aquí para seguirnos en Instagram

Nils älskar körkänslan, Theo tycker att Ford Fiesta är bättre och Johan tycker om BMW men ändå inte. Dessutom har vi kört en fantastisk och opålitlig bil, BMW 116i i generation F20!

In Presumed Innocent, Harrison Ford plays Rusty Sabich, an attorney accused of the violent rape of his colleague Carolyn Polhemus...Happy Holidays! This 1990 film is a great re-watch for a deep dive on the greatness director Alan J. Pakula brings to the storytelling, and that's what Paul & Adam do with their special guest, actor Brendan Meyer. With a top-notch supporting cast that includes Brian Dennehy, Greta Scacchi, Paul Winfield, Bonnie Bedelia, and Raul Julia, and a crew that includes legendary DP Gordon Willis, there's a lot to discuss!  Like good movie talk? Please subscribe! Website: www.themovieguys.net The Ford Fiesta: https://apple.co/3s3Om9l The TMG Interview: https://apple.co/3c21SEI The Movie Showcast: https://apple.co/3eXSrrW Countdown: https://bit.ly/38XVDzS YouTube (The Movie Guys): https://www.youtube.com/TheMovieGuys YouTube (The Movie Guys LIVE): Youtube.com/user/TheMovieGuysLIVE Vimeo: https://vimeo.com/themovieguys   X: https://x.com/TheMovieGuys Facebook: https://www.facebook.com/TheMovieGuys Instagram: https://www.instagram.com/themovieguys/

Andrew from Hestermann Motorwerks joined us on this episode. He told us about his progression through the car world. Starting with the family Volvo to Ford Fiesta to Dodge Dart and the great memories that came with them. He is well known for VWs and building bug/ute kit, but he still has a Roadrunner on his car bucket list. Be sure to check out both of his YouTube Channels Hestermann Motorwerks and Hesty32, Facebook, and Instagram. Visit his website hestermannmotorwerks.com. You can contact him via email andrew@hestermannmotorwerks.com, or call/text 904-452-5100. Shout out to Smyth Performance, Inc. Check out their website, smythkitcars.com.Check out Radioman: Twenty-Five Years in the Marine Corps: From Desert Storm to Operation Iraqi Freedom by Andrew Hestermann and Robert Einaudi sold on Amazon.

Nils tror på Ford, Theo tror alltid på Ford och bilen vi kört är den bästa småbilen man kan köpa för 40k svenska kronor, Ford Fiesta av generation sex. Mer Ford till folket, helt enkelt!

People living on a road in Gillingham fear they won't be able to park near their homes after plans were put in for an HMO.Developers want to convert a property on Selbourne Road into a seven-bed facility, with work including a loft extension. Hear what some neighbours think and we've got a response from the company behind it.Also in today's podcast, a motorcycle thief who was arrested after being chased by police through Maidstone has been jailed.Hear the moment the 23-year-old was detained.A Kent family are calling for potentially live saving equipment to be available in schools and nurseries after their son had a severe allergic reaction.Regan Smith from Higham went into anaphylactic shock after mistakenly being fed wholemeal bread at nursery. Hear from his dad Ben.Davina McCall's revealed she has to have a brain operation after doctors discovered a benign tumour.In a video on Instagram, the TV presenter - who lives in Tunbridge Wells - says they found a colloid cyst, which needs to be removed.A courier driver in Gravesham has thanked his customers after they raised money to replace his stolen van.Paul McCarthy's Ford Fiesta was taken from outside his home two weeks ago - forcing him to rent another vehicle for £350 a week to make sure people in Istead Rise don't miss their deliveries.A pub landlord from Sheppey has become the RNLI's first female helm in more than a decade.Rachel Collier underwent a year of training and a practical exam before being appointed.Sam Lawrie has a roundup of everything going on in Kent this weekend.And in sport, we've been hearing how plans to build a new stadium for a former premiership rugby club in Kent will benefit the whole community.Wasps have secured land in Swanley, between Dartford and Sevenoaks for their new 28,000 seater stadium.

Galatians 2:1 Thanks to everyone who supports TMBH at patreon.com/thetmbhpodcast You're the reason we can all do this together! Discuss the episode here Music by Jeff Foote

On this episode, The Ford Fiesta dives deep into what some people consider the best of the Indy adventures - Indiana Jones and the Last Crusade. 1989's action classic features Harrison Ford's "Man in the Hat" returning with his father, played by Sean Connery. Mara Knopic joins the show to talk about Ford's return to a huge summer film after a string of movies working with prestige directors. Was this the greatest summer of blockbuster movies ever? Did the film do justice to Brody's legacy? How great is Ford doing his own stunts? These questions get answered and more, along with the usual comedy recap of the film. Like good movie talk? Please subscribe! Website: www.themovieguys.net The Ford Fiesta: https://apple.co/3s3Om9l The TMG Interview: https://apple.co/3c21SEI The Movie Showcast: https://apple.co/3eXSrrW Countdown: https://bit.ly/38XVDzS YouTube (The Movie Guys): https://www.youtube.com/TheMovieGuys YouTube (The Movie Guys LIVE): Youtube.com/user/TheMovieGuysLIVE Vimeo: https://vimeo.com/themovieguys   X: https://x.com/TheMovieGuys Facebook: https://www.facebook.com/TheMovieGuys Instagram: https://www.instagram.com/themovieguys/

Auch am Tag ihrer grandiosen Liveshow scheuen eure beiden Pflasterstein-Sammler weder Kosten noch Mühen und präsentieren euch eine taufrische Folge Gästekurve. Wobei…ihr habt die Show ja schon gesehen, wenn ihr das hier hört…Wahnsinn, alles sehr Matrix gerade! Jedenfalls werden ENDLICH die Bundesliga-Paten verteilt (❤️-lichen Dank an Kurvi Zwähn!), was dazu führt, dass wir alle jetzt noch mehr Spaß an der laufenden Buli-Saison haben dürfen. Ansonsten ist alles wie immer: der Kater von Eko Fresh wurde angeschossen, die Stuttgarter fanden Madrid zwar schön aber „au a bissle übatrieba teuer“, Jonas Hector fährt immer noch Ford Fiesta und der BVB schenkt Hummels nach Rom weg. Was soll man da noch sagen, außer: wir freuen uns auf heute Abend und haben Mitleid mit allen Menschen, die keine Karten für die Show ergattert haben. Tröstet euch, wir kommen bald wieder ❤️ Learn more about your ad choices. Visit podcastchoices.com/adchoices

You do not have the right to repair your own belongings because of intellectual property rights granted to corporations by Congress in 1998. In this episode, listen to the debate happening in Congress about if and how they should grant customers the right to repair and get a status update on the multiple efforts under way in the current Congress, including one with a good chance of becoming law. Please Support Congressional Dish – Quick Links Contribute monthly or a lump sum via Support Congressional Dish via (donations per episode) Send Zelle payments to: Donation@congressionaldish.com Send Venmo payments to: @Jennifer-Briney Send Cash App payments to: $CongressionalDish or Donation@congressionaldish.com Use your bank's online bill pay function to mail contributions to: Please make checks payable to Congressional Dish Thank you for supporting truly independent media! Background Sources Recommended Congressional Dish Episodes McDonald's Ice Cream Machines Andy Greenberg. December 14, 2023. Wired. Joseph Fawbush. March 29, 2022. FindLaw. John Deere Luke Hogg. January 8, 2024. Reason. Internet of Things Updates and Maintenance Márk Szabó. August 27, 2024. WeLiveSecurity. Massachusetts Auto Repair Law Massachusetts Office of the Attorney General. DoD's Revolving Door OpenSecrets. OpenSecrets. Karl Evers-Hillstrom and Reid Champlin. June 18, 2019. OpenSecrets. OpenSecrets. Salary.com. Military Right to Repair Issues Kyle Mizokami. February 11, 2020. Popular Mechanics. Max Finkel. February 8, 2020. Jalopnik. Elle Ekman. November 20, 2019. The New York Times. Lucas Kunce and Elle Ekman. September 15, 2019. Technological Protection Measures (TPMs) Jennifer Zerkee. November 8, 2023. Simon Fraser University. Cyber Risks Sam Curry et al. January 3, 2023. samcurry.net. Apple Lawsuit Brandon Vigliarolo. December 18, 2023. The Register. NDAA Sec. 828 Jason Koebler. August 28, 2024. 404 Media. AdvaMed et al. July 30, 2024. DocumentCloud via 404 Media. Laws Bills Sec. 828 : REQUIREMENT FOR CONTRACTORS TO PROVIDE REASONABLE ACCESS TO REPAIR MATERIALS. Fair Repair Act Audio Sources May 16, 2024 Senate Armed Services Committee Witnesses: Carlos Del Toro, Secretary of the Navy Clip Sen. Elizabeth Warren: So the Navy acquires everything from night vision goggles to aircraft carriers through contracts with big defense contractors, but the contractors often place restrictions on these deals that prevent service members from maintaining or repairing the equipment, or even let them write a training manual without going back through the contractor. Now the contractors say that since they own the intellectual property and the technical data underlying the equipment, only they have the right to repair that equipment. These right to repair restrictions usually translate into much higher costs for DOD, which has no choice but to shovel money out to big contractors whenever DOD needs to have something fixed. So take the Navy's littoral combat ship, General Dynamics and Lockheed Martin considered much of the data and equipment on the ship to be proprietary, so the Navy had to delay missions and spend millions of dollars on travel costs, just so that contractor affiliated repairmen could fly in, rather than doing this ourselves. Secretary Del Toro, when a sailor isn't allowed to repair part of their ship at sea, and a marine isn't allowed to access technical data to fix a generator on a base abroad. One solution is for the Navy to buy the intellectual property from the contractors. So can you say a little bit about what the benefits are of the Navy having technical rights for the equipment that it has purchased. Sec. Carlos Del Toro: The benefits are enormous, Senator, and we've actually had tremendous success, I'd say, in the last year and a half to two years, through the taxpayer advocacy program that we initiated when I came in. There have been three examples, one, gaining the intellectual property rights for the new ACV class of ships that will replace the AAVs. The F-35 negotiations really proved themselves out in a significant way as well, too. And lastly, the 20 F-18s that the Congress authorized in ‘22 and ‘23, we were able to make significant gains in terms of the government finally getting the intellectual property rights that were necessary for us to be able to properly sustain those moving forward. Sen. Elizabeth Warren: So I am very, very glad to hear this. I like the taxpayer advocacy project and how you're training contract officers to secure technical equipment that the Navy buys, but I think you should have the support of Congress on this. Senator Braun and I have introduced the Stop price gouging the military act to give DoD more tools to get cost and pricing data so that you will be in a better position to negotiate better deals with contractors. There's also more that we can do to ensure that the Navy and the rest of the services have the rights they need to bolster readiness. So let me ask you, Secretary Del Toro, would having a stronger focus on right to repair issues during the acquisition process, like prioritizing contract bids that give DoD fair access to repair materials, and ensuring that contract officers are looking into buying technical rights early on, would that help the Navy save costs and boost readiness at the same time? Sec. Carlos Del Toro: Very much. Senator, in fact, one of the things that we have prioritized since I came in as Secretary of the Navy, given my acquisition background, is actually those negotiations need to happen as early as possible before that we even as we develop the acquisition strategy for that contract to go out to bid, and by doing so, we will reap tremendous returns. July 18, 2023 House Judiciary Committee Witnesses: Aaron Perzanowski, Thomas W. Lacchia Professor of Law, University of Michigan Law School , Legal Fellow, Hudson Institute's Forum for Intellectual Property Kyle Wiens, Co-founder and CEO, iFixit Paul Roberts, Founder, SecuRepairs.org; Founder and Editor-in-Chief, the Security Ledger Scott Benavidez, Chairman, Automotive Service Association; Owner, Mr. B's Paint & Body Shop Clips 41:25 Scott Benavidez: My name is Scott Benavidez. I'm the Chairman of the Automotive Service Association's Board of Directors. I am also a second generation shop owner from Albuquerque, New Mexico, Mr. B's Paint and Body Shop. Scott Benavidez: We do have concerns when some insurers insist on repairs that are simply cheaper and quicker, without regard to quality and safety. Repairers understand better than anyone the threat of replacement crash parts or lesser quality. We can and should have a competitive marketplace that doesn't compromise quality or safety, deciding to only cover the cheapest option without understanding implications for quality leaves collision shops and their customers in a tough position. Very few consumers have the knowledge about these types of crash parts used on their vehicles as numerous crash parts in the marketplace, such as OEM (original equipment manufactured) parts, certified aftermarket parts, aftermarket parts, reconditioned crash parts, and recycled crash parts. Repairers can make recommendations, but their customers are unlikely to hear if the insurance won't cover them. 46:45 Paul Roberts: My name is Paul Roberts, and I'm the founder of Secure Repairs. We're an organization of more than 350 cyber security and information technology professionals who support the right to repair. 46:55 Paul Roberts: I'm speaking to you today on behalf of our members to make clear that the fair access to repair materials sought by right to repair laws does not increase cyber risk, and in fact, it can contribute to a healthier and more secure ecosystem of smart and connected devices. Paul Roberts: Proposed right to repair legislation considered by this Congress, such as the Repair Act, or last session, the Fair Repair Act, simply asks manufacturers that already provide repair information and tools to their authorized repair providers to also provide them at a fair and reasonable price to the owners of the devices and to third parties that they may wish to hire to do their work. 47:35 Paul Roberts: By definition, the information covered by right to repair laws is not sensitive or protected, as evidenced by the fact that the manufacturers already distribute it widely to hundreds, thousands, or even tens of thousands of workers for their authorized repair providers. This could be everyone from mechanics working at auto dealerships to the folks staffing the Geek Squad at Best Buy. 48:00 Paul Roberts: Also, we have yet to find any evidence that the types of information covered by right to repair laws like schematic diagrams, service manuals, diagnostic software and replacement parts act as a portal to cyber attacks. The vast majority of attacks on internet connected devices - from broadband routers to home appliances to automobiles - today exploit weaknesses in the embedded software produced and distributed by the manufacturers, or alternatively, weak device configurations so they're deployed on the internet in ways that make them vulnerable to attack. These security weaknesses are an epidemic. A recent study of the security of Internet of Things devices, by the company Phosphorus Labs, or a cybersecurity company, found that 68% of Internet of Things devices contained high risk or critical software vulnerabilities. As an example, I'd like to call attention to the work of a group of independent researchers recently led by Sam Curry, who published a report, and you can Google this, "Web Hackers vs. the Auto Industry" in January 2023. That group disclosed wide ranging and exploitable flaws in vehicle telematics systems from 16 different auto manufacturers. At a leading GPS supplier to major automakers, the researchers claimed to obtain full access to a company-wide administration panel that gave them the ability to send arbitrary commands to an estimated 15.5 million vehicles, including vehicles used by first responders, police, fire and so on. Hacks like this take place without any access to repair materials, nor is there any evidence that providing access to repair software will open the doors to new attacks. 50:05 Paul Roberts: For the last 25 years, Section 1201 of the Digital Millennium Copyright Act has given manufacturers an incentive to deploy software locks widely and to limit access to security researchers. That's kind of a model what we call in cybersecurity, security through obscurity. In other words, by keeping the workings of something secret, you're making it secure. But in fact, that doesn't work, because cyber criminals are very resourceful and they're very determined, and they don't really care what the law says. 50:35 Paul Roberts: Section 1201 has also enabled what one researcher has described as dark patterns in the design and manufacture of hardware that includes everything from locking out customers from access to administrative interfaces, administrative features of the products that they own, as well as practices like part pairing, which Kyle will talk to you more about, in which manufacturers couple replaceable components like screens and sensors and cameras to specific device hardware. Such schemes make manufacturers and their authorized repair providers gatekeepers for repairs, and effectively bar competition from the owners of the devices as well as independent repair providers. 54:45 Kyle Wiens: You think about what is local? What is American? Main Street you have a post office and a repair shop. And unfortunately, we've seen the whittling down of Main Street as the TV repair shops went away when the manufacturers cut off access to schematics, as the camera repair shops went away when Nikon and Canon decided to stop selling them parts. We've seen this systematically across the economy. In the enterprise space, you have Oracle and IBM saying that you can't get security updates to critical cyber infrastructure unless you buy a service contract with them, so they're tying long term service contracts with the security updates that are necessary to keep this infrastructure secure. 56:45 Kyle Wiens: Over the last decade plus, I've been working on Section 1201, trying to get exemptions for the ability to repair products. The challenge that we've had in the section 1201 process every triennial I go back and we ask for permission to be able to fix our own things is that the exemptions we've gotten really only apply to individual consumers. They aren't something that I could use to make a tool to provide to one of you to fix yourself. So in order for someone to take advantage of a 1201 exemption that we have, they have to be a cybersecurity researcher and able to whittle their own tools and use it themselves, and that just doesn't scale. 57:45 Devlin Hartline: My name is Devlin Hartline, and I'm a legal fellow at the Hudson Institute's forum for intellectual property. 57:50 Devlin Hartline: I'd like to start with a question posed by the title of this hearing, is there a right to repair? And the answer is clearly no. A right is a legally enforceable claim against another, but the courts have not recognized that manufacturers have the duty to help consumers make repairs. Instead, the courts have said that while we have the ability to repair our things, we also have the duty not to infringe the IP rights in the process. So it is in fact, the manufacturers who have the relevant rights, not consumers. 58:30 Devlin Hartline: Right to repair supporters want lawmakers to force manufacturers to make the tools, parts, and know-how needed to facilitate repairs available to consumers and independent repair shops. And the assumption here is that anything standing in the way of repair opportunities must necessarily harm the public good, but these tools, parts and know-how, are often protected by IP rights such as copyrights and design patents. And we protect copyrighted works and patented inventions because, as the Constitution recognizes, this promotes the public good. We reward creators and innovators as an incentive for them to bring these things to the marketplace and the public benefits from the introduction of new products and services that increase competition. Thus, the right to repair movement isn't based on a pre-existing right. It's instead asking lawmakers to create a new right at the expense of the existing rights of IP owners. 1:00:45 Devlin Hartline: IP owners are merely exercising their federally protected IP rights, and this is not actionable anti-competitive conduct. It is instead how the IP system is supposed to work. We grant IP owners exclusive rights so they can exclude others, and this, in turn, promotes the investments to create and to commercialize these creative innovations in the marketplace, and that promotes the public good. Aaron Perzanowski: My name is Aaron Perzanowski. I am a professor of law at the University of Michigan, and for the last 15 years, my academic research has focused on the intersection of personal and intellectual property rights in the digital economy. During that time, the right to repair has emerged as a central challenge to the notion that we as consumers control the devices that we buy. Instead consumers, farmers, small businesses, all find that manufacturers exert post-sale control over these devices, often in ways that frustrate repair. Aaron Perzanowski: Repair is as old as humanity. Our Paleolithic ancestors repaired hand axes and other primitive tools, and as our technologies have grown more complex, from the Bronze Age through the Renaissance, to the high tech devices that we all have in our pockets here today, repair has always kept pace. But today, manufacturers are employing a range of strategies that restrict repair, from their hardware and software design choices to clamp downs on secondary markets, and we also troublingly see attempts to leverage IP rights as tools to restrict repair. These efforts are a major departure from the historical treatment of repair under the law, the right to repair is not only consistent with nearly two centuries of IP law in the United States, it reflects half a millennium of common law property doctrine that rejects post-sale restrictions on personal property as early as the 15th century. English property law recognized that once a property owner sells an item, efforts to restrain how the new owner of that item can use it are inconsistent with the essential nature of private property and obnoxious to public policy. As the Supreme Court has repeatedly recognized, IP laws' respect for the property interests of purchasers of copyrighted and patented goods was profoundly shaped by this common law tradition. In 1850, the Supreme Court recognized that the repair of a patented machine reflected "no more than the exercise of that right of care, which everyone may use to give duration to that which he owns." A century later, the Court held that the repair of a convertible car roof was justified as an exercise of "the lawful right of the property owner to repair his property." And just a few years ago, the court reaffirmed the rejection of post-sale restrictions under patent law in Impression Products vs. Lexmark, a case about refurbishing printer ink cartridges. Copyright law, not surprisingly, has had fewer occasions to consider repair restrictions. But as early as 1901, the Seventh Circuit recognized "a right of repair or renewal under US copyright law." When a publisher sued to prevent a used book dealer from repairing and replacing damaged components of books, the court said that "the right of ownership in the book carries with it and includes the right to maintain the book as nearly as possible in its original condition." A century after that, Congress itself acknowledged repair as a right that owners enjoy, regardless of copyright restrictions, when it enacted section 117 C of the Copyright Act. That provision was designed to undo a Ninth Circuit decision that allowed copyright holders to prevent third party repairs of computers. Section 117 C explicitly permits owners of machines to make copies of computer programs in the course of maintenance or repair. And finally, the US Copyright Office over the last decade has repeatedly concluded that diagnosis, repair, and maintenance activities are non-infringing when it comes to vehicles, consumer devices, and medical equipment. So the right to repair is firmly rooted in basic principles of US IP law. Aaron Perzanowski: Section 1201 of the DMCA makes it practically impossible for consumers to exercise their lawful right to repair a wide range of devices, from tractors to home electronics, even though the copyright office says those activities are not infringing, and the weakening of standards for design patents allow firms to choke off the supply of replacement parts needed to repair vehicles, home appliances, and other devices. Aaron Perzanowski: One way to think about a right is as an affirmative power to force someone else to engage in some behavior, and in some cases, that is what we're talking about. We're talking about imposing, especially on the state level, regulations that impose requirements on manufacturers. I think that's true of the Repair Act on the federal level as well. But, I think part of what we also need to keep in mind is that sometimes what you need to effectuate a right is to eliminate barriers that stand in the way of that right. So we can think about this, I think, helpfully in the context of tools that enable people to engage in repair. The state level solution has been to require manufacturers to give their own tools to repair shops, sometimes compensated under fair and reasonable terms. The other solution would be to change section 1201 to say, let's allow independent repair shops to make their own tools. I think both of those solutions have some value to them. I also think it's really important to keep in mind that when we're talking about IP rights, there are always multiple sets of interests at stake, and one of the key balances that IP law has always tried to strike is the balance between the limited statutory exclusive rights that the Patent and Copyright Acts create and the personal property rights of consumers who own these devices. And so I think a balancing is absolutely necessary and appropriate. 1:15:20 Aaron Perzanowski: I think the best solution for Section 1201 is embodied in a piece of legislation that Representatives Jones and Spartz introduced in the last Congress, which would create a permanent exception to Section 1201 for repair that would apply not only to the act of circumvention, but would also apply to the creation and distribution of tools that are useful for repair purposes that does not open the door to broad, unrestrained, creation of circumvention tools, but tools that are that are targeted to the repair market. 1:16:40 Devlin Hartline: He cited a case about where you can repair a cover on a book. That's very different than recreating the book, every single word in it, right? So there's a difference between repairing something and then crossing the line into violating the exclusive rights of IP owners in the patented product or the copyrighted book. And so the things that repair supporters are asking for is that, if somebody has a design patent that covers an auto body part, well, they have the right to exclude other people from making that part, but repair supporters say they shouldn't have that exclusive right, because, you know, we could increase competition if we just took away their design patent and now other people could make that part, and so that's competition. But that's not the type of competition that IP law and competition law seek to support. That's like saying, if we just let the Pirate Bay copy and distribute all of the Disney blockbuster movies, then that's competition, and prices would go down. But that's not the way that we do it, right? So competition means other people come up with new products and new services, and so that's what we should be trying to support. 1:26:45 Rep. Jerrold Nadler (D-NY): Repair advocates argue that section 1201, prevents non-infringing circumvention of access controls for purposes. But Congress contemplated this use when it passed the DMCA in 1998, allowing for a triennial exemption process. Is the exemption process working as intended? And if not, are there actions Congress can take to expand exemptions or make them easier to acquire? Devlin Hartline: What's important about the triennial rulemaking is that the proponent of an exemption has to come forward with evidence and demonstrate that there's actually a problem and it relates to a certain class of works, and then they can get a temporary exemption for three years. And so it is true that the Librarian of Congress, the last few rulemakings, has said that because using a copyrighted work in a way for repair, maintenance, etc, is Fair Use that they grant these exemptions. But these exemptions are quite narrow. They do not allow the trafficking of the computer programs that can crack the TPMs. And so it's very narrowly done. And the concern is that if you were to create a permanent exemption that opens things all the way up with access controls, copy controls and trafficking thereof, is now you're getting to the point of why we even have these TPMs under 1201 in the first place, and that's because they guard against piracy. And so the concern is that you're opening the piracy floodgates. You make these devices less secure, and then content owners are going to be less likely to want to put their content on these devices. Rep. Ben Cline (R-VA): How does section 1201 of the DMCA impact the ability of consumers and independent repair shops to modify or repair devices that have proprietary software and data in the consumer electronics industry? Aaron Perzanowski: Thank you so much for the question. As we've been talking about the copyright office in 2015, 2018, 2021, and they're in the process for the current rulemaking, has determined that engaging in circumvention, the removal or bypassing of these digital locks for purposes of repair, is perfectly lawful behavior, but there is a major practical mismatch here between the legal rights that consumers enjoy under federal law today and their practical ability to exercise those rights. And that's because, as Devlin was just describing, the section 1201 rulemaking does not extend to the creation or distribution of tools, right? So I have the right under federal law, to remove the technological lock, say, on my video game console, if I want to swap out a broken disk drive. How do I do that? I'd like to think of myself as a pretty technologically sophisticated person. I don't have the first clue about how to do that. I need a person who can write that code, make that code available to consumers so that I can. All I'm trying to do is swap out a broken disk drive on my video game. But you would argue that code is proprietary, correct? So I'm talking here about a third party making their own code that is simply allowing me to engage in activity that the Copyright Office has repeatedly said is non-infringing. Rep. Ben Cline (R-VA): So you want to give them a map. Is that, essentially, what you're saying? Aaron Perzanowski: Absolutely, yes, I do. Rep. Ben Cline (R-VA): Do trade secrets play a role in the right to repair debate? Aaron Perzanowski: There are occasions where trade secrets are important. I don't think in the context that we're talking about here with section 1201, that we're typically running into trade secret issues. The state-level bills that have been introduced do typically address trade secrets and often have carve outs there. And I think that's something worth considering in this debate. But I think it's important to keep in mind that just because we have some hypothetical worry about some unknown bad actor taking a tool that I use to fix my video game console -- Rep. Ben Cline (R-VA): It's not unknown. The Chinese do it all the time. Aaron Perzanowski: I don't think the Chinese are particularly worried about whether or not I can fix my video game console, and in fact, I think that point is important, but the bad actors already have these tools. All we're trying to do is get very targeted tools in the hands of law abiding citizens who just want to repair the stuff they buy for their kids for Christmas, right? If the Chinese are going to hack the PlayStation, they've already done it. 1:32:25 Aaron Perzanowski: So the 1201 process is what established the legality of circumvention for repair purposes. But when Congress created that rulemaking authority, it only extends to the act of circumvention, the actual removal. Congress did not give the [Copyright] Office or the Librarian [of Congress] the authority to grant exemptions to the trafficking provisions, and that's where I think legislative intervention is really important. 1:39:00 Kyle Wiens: One of the challenges was section 1201. It doesn't just ban repair tools, it also bans the distribution of cybersecurity tools. And so we've seen security researchers....Apple sued a company that made a security research tool under 1201 and that tool has markedly made the world more secure. It's very popular amongst government security researchers. So I think that's kind of the sweet spot is, allow some third party inspection. It'll make the product better. 1:41:25 Kyle Wiens: These ice cream machines are made by Taylor, and there is an incredibly complex, baroque set of touchscreens you have to go through. And then there's a service password you have to be able to get past in order to access the settings that really allow you to do what you want. And so, in an ideal world, you'd have an entrepreneur who would come along and make a tool to make it easier for McDonald's, maybe they could have an app on their phone that they could use to configure and help them diagnose and repair the machine. Unfortunately, the company who made that tool is struggling legally because of all these challenges across the board. If we had innovation outside of the manufacturers and to be able to develop new tools for fixing ice cream machines or anything else, you have a whole flowering ecosystem of repair tools right now. It doesn't exist. The US is like this black hole where innovation is banned in software repair. There's all kinds of opportunities I could see, I had a farmer ask me for help fixing his John Deere tractor, and I had to say, I can't do that particular repair because it's illegal. I'd love to build a cool app for helping him diagnose and fix his tractor and get back back in the field faster. We don't have that marketplace right now. It's like farmers have been forced to, like, use cracked Ukrainian versions of John Deere diagnostic software, right? Rep. Russell Fry (R-SC): So it's not just ice cream machines. I led off with that, but it's farmers, it's farm equipment, it's iPhones, it's somebody's Xbox, right? I mean, these are all things.... in your experience, what are the challenges that these customers and stakeholders face when they're trying to repair their own devices? What are some things that they face? Kyle Wiens: It's absolutely infuriating. So my friend, farmer in San Luis Obispo, Dave grows all kinds of amazing products. He has a $300,000 John Deere tractor, came to me and said, Hey, there's a bad sensor. It's going to take a week to get that sensor sent out from Indiana, and I need to use the tractor in that time. Will you help me bypass the sensor? I could hypothetically modify the software in the tractor to do that. Practically, I didn't have the legal ability, and so he had to go and rent an expensive tractor for the week. This is impacting people's lives every single day. 1:43:50 Rep. Russell Fry (R-SC): So, to pivot a little bit, what role do you see from a federal side, from legislation, and what specific measures do you think might be included in such legislation? Kyle Wiens: So we've seen the solutions being approached from two angles. At the state level, you have states saying John Deere and other manufacturers, if you have a dealership that has fancy tools, sell those tools to consumers and to independent shops, allow that competition. At the federal level, what we can do is enable a competitive marketplace for those tools. So rather than compelling John Deere to sell the tool, we can say, hey, it's legal for someone, an entrepreneur, to make a competing tool. And you have this in the car market. You can take your car down the AutoZone, you can buy a scan tool, plug it into your car, and it'll decode some of the error messages. Those tools exist on the auto market because we have a standard diagnostic interface on cars that you can access without circumventing a TPM. We don't have that for any other products. So another farmer in my town, he showed me how if he has a transmission go out on a truck, he can fix that. But if he has a transmission go out on his John Deere tractor, he can't. He can physically install the transmission, but he can't program it to make it work. I'd love to be able to make a software tool to enable him to replace his transmission. Aaron Perzanowski: So I think if we see passage of the SMART Act, we can anticipate significant reductions in the expenses associated with auto collision repairs. Estimates are that design patents on collision parts are responsible for about $1.5 billion in additional expenditures. We see price premiums on OEM parts over third party parts often reaching into like the 40% range, right? So these are pretty significant cost savings associated with that. Part of this problem, I think, does relate back to the kind of unique structure of this market. Most consumers are not paying out of pocket for collision repairs. Those costs are being covered by their auto insurance provider, and so the consumer doesn't see that the - I'm pulling this from memory, so don't hold me to this figure - but the side view mirror of a Ford Fiesta costing $1,500, that's not something that the consumer is confronted with, right? So this goes back to the question of notice. Do consumers know when they buy that vehicle that the repairs are going to be that expensive? I think in most cases, they don't. And so I think the SMART Act is a very targeted solution to this problem. I do think it's important to note that the design patent issue for replacement parts is not limited to the automotive industry. I think it's the most, I think that's the area where the problem is most pressing. But home appliances, consumer electronics, we see companies getting design patents on replacement water filters for refrigerators so that they can charge three times as much when the little light comes on on your fridge to tell you that your water might not be as clean as you want it to be. So I think we have to think about that problem across a range of industries, but the automotive industry, I think, is absolutely the right place to start. Paul Roberts: I mean, one point I would just make is that with the Internet of Things, right, we are facing a crisis in the very near future as manufacturers of everything from home appliances to personal electronics to equipment, as those products age and those manufacturers walk away from their responsibility to maintain them. So we're no longer supporting the software. We're no longer issuing security updates. Who will step in to maintain those devices? Keep them secure, keep them operating right? The manufacturers walked away. Do we just get rid of them? No, because the equipment still works perfectly. We're going to need a market-based response to that. We're going to need small businesses to step up and say, hey, I'll keep that Samsung dishwasher working for another 20 years. That's a huge economic opportunity for this country, but we cannot do it in the existing system because of the types of restrictions that we're talking about. And so this is really about enabling a secure future in which, when you buy a dishwasher with a 20 year lifespan, or 25 year lifespan, it's going to last that 25 years, not the five to six years that the manufacturer has decided, you know, that's how long we want to support the software for. Paul Roberts: My understanding is the use of design patents has increased dramatically, even exponentially, in the last 10 to 15 years. If you go back to the 90s or 80s, you know, parts makers, automakers were not applying these types of patents to replaceable parts like bumpers and rear view mirrors. Somebody had a business decision that, if you can do so, then we can capture more of that aftermarket by outlawing identical aftermarket replacements that has a huge downstream impact on car owners and on insurers and on all of us. 2:10:15 Paul Roberts: Both of the things that we're really proposing or talking about here, which would be changes to Section 1201 of the DMCA as well as passage of robust right to repair laws, would empower a market-based response to keeping the internet of things working, secure and functioning. DMCA 1201 reforms by making it clear that you can circumvent software locks for the purpose of repair and maintenance and upkeep, right? So that would take the threat of the federal crime away from small business owners as well as security researchers who are interested in, you know, plumbing that software for purposes of maintenance, upkeep and repair. And on the right to repair by making the tools available to maintain and upkeep products - diagnostic software, schematic diagrams, service manuals - available. Once again, you'll be empowering small business owners to set up repair shops and say, I'm going to keep your smart appliance running for its full 25 or 30 year lifespan, and I'm going to support my family doing that locally, and not be basically choked out of business by a company that says, Well, you don't have the right to access this product. From a cybersecurity perspective, that is really important, because one thing we don't want is a population of millions or tens of millions of out of date, unsupported, unpatched, insecure internet connected home appliances, webcams, home routers out there available to nation state actors, cyber criminal groups, to compromise and use for their own purposes. And that's something we already see, particularly around broadband routers and other types of devices, and it's a real threat going forward that I think this type of these types of changes would support. Aaron Perzanowski In a lot of instances, this conversation, and we've touched on this earlier, focuses on cost savings, right? And cost savings are an important consideration, right? Farmers aren't thrilled that they have to pay a technician from the John Deere dealer to drive maybe hours to get to their farm and connect their laptop and, you know, download these payload files to enable their equipment to work. But in the agricultural space, the thing I hear most often in the conversations I have with farmers is and Kyle touched on this a bit earlier, is a real concern about the time sensitivity of their work. If your tractor is out of commission for a week or two in the wrong part of the season, that is going to have disastrous effects, right, not only on that farm's economic outlook, but collectively, it can have an impact like, not to be hyperbolic here, but on our national food supply, and so I think it's really important that farmers have flexibility in terms of where and how they execute repairs, so that they can get their equipment back up and running. If my laptop breaks and I can't get it fixed for a week or two, I'm annoyed there will be emails that go unanswered, but like the world will continue to spin. That is not the case in the agricultural space where we, I think, have to be much more concerned. Rep. Darrell Issa (R-CA): If I remove from my BMW, at least during certain models, I remove the radio, unplug it, and then plug it back in, simply because I was fiddling around with the dash, I now have to go back to the dealer to reinstall it. Similarly, the transmission example. I've got two John Deere tractors. One's got a busted engine, the other's got a busted transmission. Currently, they will prohibit you from moving the transmission from one to the other. From a standpoint of intellectual property, where, in God's green earth or the Constitution, are any of those designed to be rights that belong to the manufacturer, rather than rights that belong to the owners of those two John Deere tractors? Devlin Hartline: So those are a bunch of different situations, and so I think there would be underlying facts that differ with each right. So we started on the iPhone, and I was going to point out that iPhone will actually give you the tool to synchronize it. In those other situations, I don't know the business justification for it. How is that an IP problem? Right? So if that's locked up with the TPM, and you have to bypass the TPM, well then that's a violation of 1201, so that's how they can that's how they can lock -- Rep. Darrell Issa (R-CA): So what you're saying is that Congress has created impediments to the right to repair. Mr. Roberts, would you say that is correct? That, in fact, the right to repair, were Congress never to have done anything since, you know, George and Thomas were our presidents, so to speak, knowing those two presidents, we'd be able to do things we're not able to do because they're now prohibited by acts of Congress. Paul Roberts: Yes, and we certainly know going back to the 50s, 60s, 70s, there was a much more you know....First of all, companies would ship products with service and repair manuals with detailed schematic diagrams with the understanding that owners would want to replace and service them. And what I would say is, yes, absolutely. I doubt very much. And I know we had members who were here in 1998 authoring the DMCA. I think if you had said to them, in 25 years time, this law will be used to prevent somebody with a broken dishwasher from getting that serviced by their local repair shop or by for fixing it themselves, this law will prevent them from doing that, I doubt very much they would have said, yeah, that's pretty much what we want. Rep. Darrell Issa (R-CA): Well, I will tell you that the I was the chairman of what is now the Consumer Electronics Association in 1998 and we did predict a lot of these items were going to be expanded beyond the scope of the original. Paul Roberts: Right now this is not an urgent issue, because most of the cars out there are older vehicles. As we move forward, as telematic systems evolve, as automakers continue their trend of moving more and more information to telematic systems, this is going to become a bigger problem. I'll point out another problem, which is the Massachusetts law is contingent on data transfers of diagnostic and repair information via the OBD or onboard diagnostic two port under the dashboard. That's only there because of federal Clean Air law. Electronic vehicles don't have that port because they don't have emissions, and so in the very near future, as we shift to electronic vehicles, that data access port will no longer be there. It will all be telematics data, and so the utility of the Massachusetts law is going to decline over time, going forward. And again, I you know, when you start talking about right to repair, you become like this crazy person who talks about right to repair every time it comes up. But one thing I try and stress to people when I talk to them about auto repair is, if you live in Michigan or California and you have taken your vehicle to the local independent repair shop, you have only done that because the voters in Massachusetts passed a ballot measure over a decade ago and then updated it in November 2020. That is the very thin thread that our right to use independent auto repair hangs by in this country. That's not the way it's supposed to be. This is something that affects vehicle owners, hundreds of millions of them in all 50 states. And it's a type of thing that the federal government needs to address with federal legislation. It should not hang by this very thin thread. 2:30:20 Rep. Hank Johnson (D-GA): Are software updates new creations, and thus copyrightable? Devlin Hartline: Software updates, yeah, they're computer programs, and so Congress said explicitly in 1980, but it was understood before then, that computer programs are literary works and they're protected, just like any other copyrighted work. Rep. Hank Johnson (D-GA): Thank you, Professor Perzanowski, do you disagree? Aaron Perzanowski: I don't disagree at all that software updates are protectable subject matter under the Copyright Act. But what I think is important to keep in mind right is the Copyright Act and copyrights exclusive rights, and all of the exceptions and limitations to copyrights exclusive rights are created by Congress, and so if you think those rights are interfering with other important issues and concerns, then I think Congress clearly has the power to make changes to the copyright law in order to best serve what you ultimately determine to be in the public interest. 2:35:30 Aaron Perzanowski: Access to firmware and other code is really essential to the functioning and repair of lots of devices. I think there's some important differences between the standard essential patent context and kind of what we're talking about here in that in the standard essential patent context, we're relying on standard setting bodies to identify technologies and to require companies to license their patents under fair, reasonable and non-discriminatory terms. We don't quite have that infrastructure in place in the copyright context, but what we do have are compulsory licenses that exist within the Copyright Act already, one of which you were alluding to earlier, the mechanical license for musical works. We also have compulsory licenses for retransmissions of satellite and broadcast content that essentially say the copyright owner is entitled to compensation of some form, but they're not entitled to prevent people from using or accessing that underlying work, and I think that could be a useful framework here for getting owners of devices access to the firmware that they need. Music by Editing Production Assistance

The Ford Fiesta returns to finish covering Harrison Ford's very busy 1998 with the second film he released that year - Working Girl. Movie podcast guest all-star William Bibbiani returns to the show to talk about this critical and box office hit comedy which is just the kind of insightful social commentary-meets-laugh out loud moments you'd expect from director Mike Nichols. Paul & Adam throw in some great making-of stories and another sharp plot recap as Harrison Ford PHASE THREE rolls on! Like good movie talk? Please subscribe! Website: www.themovieguys.net The Ford Fiesta: https://apple.co/3s3Om9l The TMG Interview: https://apple.co/3c21SEI The Movie Showcast: https://apple.co/3eXSrrW Countdown: https://bit.ly/38XVDzS YouTube (The Movie Guys): https://www.youtube.com/TheMovieGuys YouTube (The Movie Guys LIVE): Youtube.com/user/TheMovieGuysLIVE Vimeo: https://vimeo.com/themovieguys   X: https://x.com/TheMovieGuys Facebook: https://www.facebook.com/TheMovieGuys Instagram: https://www.instagram.com/themovieguys/

Send us a Text Message.Is compliance annoying? Sometimes.Stressful? Maybe.Important? Definitely.In this enlightening episode, we sit down with Sherryl Nens, the VP of Sales at ComplyAuto, who brings a fresh perspective on compliance in the automotive industry. Sherryl shares her journey from her early days at Jiffy Lube to a remarkable 17-year career at Ford, culminating in her current role where she helps dealerships navigate complex compliance issues. Along the way, she weaves in fascinating anecdotes, from her family's RV adventures to her father's influence in sparking her automotive passion.Sherryl also delves into the intricacies of data privacy and cybersecurity, likening compliance to an unsung superhero like Green Lantern. She emphasizes the importance of protecting dealerships' valuable data and complying with regulations not just for legal reasons but to safeguard their businesses from potential threats. Timestamped Takeaways:0:00 Intro with Paul J Daly, Kyle Mountsier and Michael Cirillo04:39 Early Automotive Passion - Sherryl shares how her father nurtured her interest in cars from a young age, giving her an oil wrench for her 13th birthday.10:12 Ford Motor Company Journey - Sherryl's 17-year stint at Ford, including launching the Ford Fiesta and working under Alan Mulally.12:00 Compliance Passion - Transitioning to ComplyAuto, Sherryl explains her passion for simplifying complex compliance issues for dealerships.16:56 Data Privacy & Cybersecurity - The critical role of compliance in protecting dealerships' data from potential breaches and wiretapping claims.22:13 Consumer Awareness - Discussing the need for better consumer education on data privacy and the surprising trends in cookie consent behaviors.Sherryl Nens is Vice President of Sales at ComplyAuto⭐️ Love the podcast? Please leave us a review here — even one sentence helps! Consider including your LinkedIn or Instagram handle so we can thank you personally! We have a daily email! https://www.asotu.com ✉️ Sign up for our free and fun-to-read daily email for a quick shot of relevant news in automotive retail, media, and pop culture.

Sarah Ferguson shares her opinion on King Charles vs Prince Andrew Feud Sophie of Wessex aka Ford Fiesta spewing her foul bile once again... but as always no one cares. Fans believe Princess Eugenie gave a loving and subtle nod to Meghan, Duchess of Sussex. King Charles' hypocrisy gets called out. Contact Me:  Call:    (305) 699-5548 Email: HelloSharion@Gmail.com Creator Collab Sheet: https://forms.gle/WMhmSQy4vJfs95X39  Brand Collab Sheet: https://forms.gle/CuWmKLUrx86xwyNV6 Sources: 1. LBC | Sarah Ferguson Breaks Silence: https://www.lbc.co.uk/news/sarah-ferguson-breaks-silence-king-charles-prince-andrew-royal-lodge-feud/ 2. Sophie's Ridiculous Comments: https://www.express.co.uk/news/royal/1909180/prince-harry-meghan-markle-live-sussexes-shunned 3. Princess Eugenie Pays Homage to Meghan: https://www.yahoo.com/entertainment/eagle-eyed-fans-believe-royal-210819582.html 4. Tom Sykes | The King Says He Wants To See Prince Harry's Kids, So Why Kick Them Out: https://www.thedailybeast.com/if-king-charles-wants-to-see-harrys-kids-why-evict-them-from-frogmore-cottage

Domingo, 13 de enero de 1991. Como cada día de partido, miles de aficionados del RCD Espanyol pululan por el barrio de Sarrià. A la salida del estadio, algunos se quedan a tomar algo por los bares de alrededor. A esa misma hora de la tarde, a 800 kilómetros, el FC Barcelona concluye su visita al Carlos Tartiere de Oviedo. Es el momento para que cinco Boixos Nois abandonen un bar y se suban a un Ford Fiesta con sed de venganza. Esa tarde de invierno el fútbol español inscribirá su primera víctima mortal por hooliganismo. A falta de 15 meses para la inauguración de los Juegos Olímpicos, la capital catalana se convertirá en uno de los epicentros del movimiento ultra: pasiones futboleras e ideologías extremas irán germinando en los fondos de los estadios, dibujando una temible espiral de odio y violencia. Brazalete Negro, el true crime del fútbol. Aprovecha este capítulo para suscribirte al podcast de Panenka y Radio Primavera Sound: así no te perderás los próximos casos. Síguenos a través de nuestras redes sociales, y participa con tu opinión y propuestas. Newsletter: www.brazaletenegro.com Youtube: https://www.youtube.com/@brazaletenegro Twitter: https://twitter.com/brazaletenegro Instagram: https://instagram.com/brazaletenegropodcast Y, recuerda, Bill Shankly no tenía razón.

Domingo, 13 de enero de 1991. Como cada día de partido, miles de aficionados del RCD Espanyol pululan por el barrio de Sarrià. A la salida del estadio, algunos se quedan a tomar algo por los bares de alrededor. A esa misma hora de la tarde, a 800 kilómetros, el FC Barcelona concluye su visita al Carlos Tartiere de Oviedo. Es el momento para que cinco Boixos Nois abandonen un bar y se suban a un Ford Fiesta con sed de venganza. Esa tarde de invierno el fútbol español inscribirá su primera víctima mortal por hooliganismo. A falta de 15 meses para la inauguración de los Juegos Olímpicos, la capital catalana se convertirá en uno de los epicentros del movimiento ultra: pasiones futboleras e ideologías extremas irán germinando en los fondos de los estadios, dibujando una temible espiral de odio y violencia. Brazalete Negro, el true crime del fútbol. Aprovecha este capítulo para suscribirte al podcast de Panenka y Radio Primavera Sound: así no te perderás los próximos casos.  Síguenos a través de nuestras redes sociales, y participa con tu opinión y propuestas. Newsletter: www.brazaletenegro.com Youtube: https://www.youtube.com/@brazaletenegro  Twitter: https://twitter.com/brazaletenegro Instagram: https://instagram.com/brazaletenegropodcast Y, recuerda, Bill Shankly no tenía razón.

Cuando de una persona se dice que tiene “mucho carácter” en realidad lo que se quiere decir es que tiene “mal carácter” … hablando entre amigos… “mala leche”. He seleccionado los primeros coches con motor turbo y os puedo decir que todos, absolutamente todos, tienen “mucho carácter”… Ahora que parece que falta ideas y agallas es bueno recordar coches así… ¡Tenía ganas de hacer este vídeo! Os voy a contar muchas cosas que creo que no sabéis. La llegada masiva de la electrónica más diversos sistemas como los turbo de geometría variable, turbos más pequeños, poner más de uno “en cadena” o arrastrados por motores eléctricos par que no pierdan vueltas… mil y una ideas para conseguir que el turbo ni se note. Eso es ahora… pero antes no era así. He elegido 5 de los primeros coches con turbo y un bonus track. No he querido ir más lejos porque quiero tener tiempo de contar cosas de cada uno y porque no he querido rebasar la frontera de 1980. Porque, no sé si lo sabias, los primeros coches con motor turbo son de 1962… hace ya más de 60 años. Una técnica en pañales, unos bastidores no muy sofisticados, unos neumáticos muy lejos del nivel actual y la practica ausencia de ayudas electrónicas tanto para la gestión del motor como para ayudar al conductor consiguieron la tormenta perfecta. Y la aureola de que los “turbo” eran coches muy prestacionales, pero… “con mucho carácter”. No voy a hablaros de cómo funciona un turbo, porque ya hicimos un video así titulado al poco de comenzar el canal y que ya supera el millón de visitas en el que, entre otras cosas, comentamos como nació esta técnica en la aviación para suplir la falta de presión atmosférica a medida que los aviones ascendían. Si te interesa el tema hemos hecho muchos videos sobre la técnica del turbo, busca. Pero este va más de cómo eran y de cómo se conducían estos primeros turbo. Y vamos ya con esta relación… Chevrolet Corvair Monza Spyder Turbo (1962). Un nombre largo para un coche que lo tenía todo… para fracasar. Motor posterior refrigerado por aire, unas suspensiones no muy bien resueltas y un comportamiento difícil para cualquiera… y peligroso para los norteamericanos que será pioneros en el mundo del motor, pero no muy buenos conductores. ¿Podía ser peor? Si al Corvair, el modelo inspirador del libro del polémico Ralph Nader le añadimos un turbo… pues sí, podía ser peor. Es más: Mucho peor. Esos caballos de más en un coche considerado peligroso ya con la mitad de potencia… no fueron muy bienvenidos. Y, además, la fiabilidad no era su punto fuerte. Oldsmobile Turbo Rocket (1962). Ya sabéis mi debilidad por esta marca pionera en muchos sentidos… y uno de ellos en la utilización del turbo apenas unas pocas semanas después que Chevrolet, ambas marcas de GM. Pero esta vez, con menos éxito. Bueno, dejémonos de eufemismos: Este coche denominado cohete, acabó explotando y fue un fracaso. Hasta tal punto que muchos usuarios desmotaban el turbo y hacían al coche atmosférico, asumiendo la perdida de potencia. BMW 2002 Turbo (1973). El primer coche europeo con motor turbo… y el primero con verdadera “mala leche” … El BMW 2002 Tii con inyección mecánica, como el que yo tuve, era un cuatro cilindros de dos litros que ofrecía una buena potencia, 120 CV. Con el turbo la potencia aumentaba a 170 CV… ¡un 42 por ciento más! Porsche 911 Turbo (1975). Ya el 911 de 1975 era un coche endiabladamente difícil de conducir. Con menos de 1.200 kg declarados, un reparto de pesos catastrófico, unas suspensiones con barra de torsión que no eran ni mucho menos ejemplares y una distancia entre ejes corta de solo 2,27 metros, ¡menor que el primer Ford Fiesta! era solo aptos para expertos, verdaderos expertos. Y en Porsche pensaron, “¿Cómo hacemos para que este coche sea aún más difícil de conducir? ¿Y si le ponemos un turbo?” Dicho y hecho. El coche, en su tiempo, con 250 CV, era una bestia que aceleraba de 0 a 100 km/h en 5,2 segundos y superaba los 250 km/h. Saab 99 Turbo (1977). Siendo mucho menos conocido, este Saab hizo por la generalización del turbo más que los 4 anteriores coches juntos. Y es que este coche, como todos los Saab, por cierto, estaba muy bien hecho y muy bien parido. Y es que los “chicos” de Saab querían potenciar su coche para aspirar a categorías superiores, pero un V6 no les cabía y además era caro de diseñar. Y pensaron, “¿y si ponemos un turbo?”. Coche del día. Hablando de la tecnología turo y de pioneros, no puede faltar en este vídeo el Renault RS01, primer F1 con motor turbo. Si el Saab puede considerarse de alguna manera precursor del turbo en coches de calle digamos que “normales”, este Renault es el precursor del uso del turbo en competición en general y en la F1 en particular.

Cuando se habla de Renault 5 Turbo casi nadie piensa en el R5 Copa Turbo de 1982, ni siquiera en el conocido como “culo gordo”… la mayoría piensan en el Supercinco GT Turbo. De igual modo cuando nos referimos al Ford Fiesta XR2 casi todos piensan en las versiones posteriores, no en el primero, de 1982. Me gustan estos vídeos en los que prácticamente no necesitaría guion, porque es una historia que he vivido, más como lector y aficionado que como probador, pero es que son dos coches que conozco muy, pero que muy bien. Nos vamos a ir no a 1981 ni a 1982… sino a 1976, cuando nace el Renault 5 Copa atmosférico, sin turbo. Renault decide lanzar una versión aún más deportiva del R5 y encarga una nueva culata hemisférica a Gordini… Gracias a esa culata y a un leve aumento de cilindrada hasta los 1.397 cm3, este modelo ofrecía 93 CV que para un peso de poco más de 800 kg, cundían mucho. El turbo estaba de moda en general y Renault lanza, en 1982, el R5 Copa Turbo.Se bajo la comprensión a 8,6 a 1, el turbo soplaba a 0,45 bares y la potencia crecía de 93 a 110 CV… que son muchos. En la versión de venta al público se equipaba frenos de disco también detrás y llantas de aleación… y poco más. A principios de los años 80, Ford también aspiraba a seducir al público que quería un utilitario con ciertas dotes deportivas y en 1981 lanza el Fiesta Super Sport, llamado por alguno “zapatones”. Seamos sinceros: Ford estaba por encima de sus rivales en cuanto a acabados y calidad percibida y el Fiesta SS era llamativo y precioso. Pero no era más que un Fiesta 1.300 S con motor 1.3 de 66 CCV con una “ruedacas” -para la época- de 185/60 en llantas de 13x8 pulgadas. Pero en 1982, y viendo el éxito del Copa, Ford decide tomarse las cosas en serio. Ford, una marca más bien conservadora, en esos años no quería saber nada de turbo y lo que hace es montar el motor Kent, su motor de toda la vida y de confianza, en el vano motor del Fiesta. Era un motor de 1.6 litros y 83 CV a solo 5.500 vueltas. En cuanto a presentación, lo cierto es que en esos años Ford estaba por encima y las llantas de agujeros, la gama de colores y el diseño del interior, marcaban diferencias con el Renault. Seguro que estás pensando: “Sí, muy bonito, pero 83 CV contra 110 CV es mucha diferencia”. Pues sí... y no. Porque en el R5 turbo había que lidiar con la respuesta del turbo y llevar el motor alto de vueltas, mientras que en el Ford se disponía de muchos bajos y era un motor muy progresivo. Os doy datos: El R5 Copa Turbo ofrecía 110 CV a 6.000 rpm mientras que el Ford ofrecía su potencia 500 rpm más abajo. En el caso del par máximo el R5 superaba al Fiesta por 15 mkg a 12,8 mkg… pero el R5 lo daba a 4.000 rpm y el Fiesta a 2.800 rpm… ¡una gran diferencia! En conducción deportiva había otro aspecto de gran importancia: La motricidad en curva. No debemos olvidar que el R5 era en realidad un R4 con otra carrocería, con motor longitudinal y más estrecho de vías, frente al motor transversal del Fiesta. Las vías eran de 1,35 y 1,34 metros para el Fiesta y 1,29 y 1,27 metros para el R5, una diferencia notable. No es casual que el Fiesta tuviese sus mayores éxitos deportivos en Rallyes y el R5 en circuitos. En rallyes, donde hay que “improvisar” más y las curvas son más cerradas un motor progresivo, con bajos y una buena motricidad son claves. El R5 en circuito, a base de endurecer la suspensión y de ser cuidadoso con el acelerador podía compensar su falta de motricidad en las curvas más rápidas de un circuito y explotar su mayor potencia. And the winner is. Hoy lo tengo difícil para dar un ganador… así que voy a hacer trampas. Sí, porque con la cabeza, por muy poco margen, tengo que dar por ganador al Fiesta, sobre todo para el día a día, con un motor más agradable, sencillo, económico, mejor habitabilidad y buenos acabados. Pero mi ganador con el corazón, por muy poco margen, el R5 Copa Turbo, quizás porque era el coche al que aspiraba cuando corrí con mi R5 TS primero y con un Copa atmosférico después.

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! El domingo 10 de mayo de 1981, aparecieron en un barranco de Gérgal, Almería, tres cuerpos abrasados dentro de un vehículo Ford Fiesta. La Guardia Civil comunicó oficialmente que los tres hombres muertos eran los autores del atentado contra el General Valenzuela, que habían resultado muertos en un tiroteo al intentar huir de las fuerzas que trataban de detenerlos. Según este comunicado, los terroristas muertos eran: Mazusta, Bereciartúa y Goyenechea Fradúa. Sin embargo, los jóvenes Juan Mañas Morales, de veinticuatro años, Luis Montero García, de treinta y tres años y Luis Manuel Cobo Mier, de veintinueve años, todos ellos residentes en Santander y amigos que compartían el tiempo libre, habían desaparecido. ¿Qué había pasado? Contacto: eldiadeautos@gmail.com Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

El domingo 10 de mayo de 1981, aparecieron en un barranco de Gérgal, Almería, tres cuerpos abrasados dentro de un vehículo Ford Fiesta. La Guardia Civil comunicó oficialmente que los tres hombres muertos eran los autores del atentado contra el General Valenzuela, que habían resultado muertos en un tiroteo al intentar huir de las fuerzas que trataban de detenerlos. Según este comunicado, los terroristas muertos eran: Mazusta, Bereciartúa y Goyenechea Fradúa. Sin embargo, los jóvenes Juan Mañas Morales, de veinticuatro años, Luis Montero García, de treinta y tres años y Luis Manuel Cobo Mier, de veintinueve años, todos ellos residentes en Santander y amigos que compartían el tiempo libre, habían desaparecido. ¿Qué había pasado? Contacto: eldiadeautos@gmail.com Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

BMitch compares Brock Purdy to a good reliable car like a Ford Fiesta

Die Welt erwachte in einem Gewirr aus eiligen Schritten, gedämpften Gesprächen und dem fernen Brummen startender Flugzeuge. Durch die großen Fenster tauchte das Morgenlicht die Terminals in eine fahle Helligkeit, während die Anzeigetafeln unablässig neue Reiseziele verkündeten. Heute, das spürte ich deutlich, würde meine Reise mehr als nur ein Flug sein – es würde der Beginn eines Abenteuers sein, das lag in der Luft. Und es wurde Zeit, es wurde verdammt noch mal Zeit, es war ja schon fast zu spät. Da stand sie dann, wie verabredet, vorm Terminal. Eigentlich sah sie so aus, wie man sie kannte, aus dem Fernsehen und all den Konzertplakaten. Nur irgendwie kleiner. Sie dachte wohl dasselbe, so wie sie mich ansah. Dass ich kleiner aussah und vielleicht auch älter und naja, dicker sicherlich auch. Hatte ja auch ein bisschen zugelegt, war ja gerade Drehpause. Aber das würde schon klappen, es gab ja ein Arrangement. Das hatten unsere Agenturen so ausgetüftelt. Deutscher Schlagersuperstar und amerikanischer Oskarpreisträger. Wir würden beide davon profitieren. Wir sahen uns also an. Ewigkeit. Überraschung, Erwartung, Nervosität, Peinlichkeit. Von allem ein bisschen. „Kopfkino?“, frag ich sie. „Vielleicht.“ Sie lächelt. „Und Du? Torschlussplanik?“ Credits – alle BBC Sound Effects: • Sailing Vessel, Clipper: https://sound-effects.bbcrewind.co.uk/search?q=07000075 • Ford Fiesta. Interior, drive in town: https://sound-effects.bbcrewind.co.uk/search?q=07023104 • Quiet Harbour Background: https://sound-effects.bbcrewind.co.uk/search?q=07018070 • Australia - Surf - Bondi beach: https://sound-effects.bbcrewind.co.uk/search?q=07074001

Harrison Ford continues his run with prestigious filmmakers, following up two films with Peter Weir with the 1988 thriller Frantic, directed by Roman Polanski. Paul and Adam are all over it, discussing it to death with good friend and special guest Lon Harris. The plot, the suspense, the acting, the Paris location (required if you're in a Polanski film) - it all gets once-overed along with the usual Ford Fiesta segments. We are American and we are crazy! Like good movie talk? Please subscribe! Website: www.themovieguys.net The Ford Fiesta: https://apple.co/3s3Om9l The TMG Interview: https://apple.co/3c21SEI The Movie Showcast: https://apple.co/3eXSrrW Countdown to Five: https://bit.ly/38XVDzS YouTube (The Movie Guys): https://www.youtube.com/TheMovieGuys YouTube (The Movie Guys LIVE): Youtube.com/user/TheMovieGuysLIVE Vimeo: https://vimeo.com/themovieguys   Twitter: https://twitter.com/TheMovieGuys Facebook: https://www.facebook.com/TheMovieGuys Instagram: https://www.instagram.com/themovieguys/ Tumblr: https://themovieguys.tumblr.com/

Why does my 2002 Honda CR-V Squeak from the front? Why does my 2014 Toyota Corolla have bad engine performance? 2008 Chevy Impala has hard trans shift. Brian is the Hoodie winner. Why does my air bag light come on? Ford Fiesta 2019 repairable car. 2001 Buick Park Ave exploded and blew off intake manifold. How do I fix my 4-wheel drive 4x4 on a 1997 Ford Ranger? 2008 Chrysler Town and Country how hard is it to swap a steering angle sensor? #BestAutomotivePodcast2023

In this week's episode:Italian motorcycles worth as much as an apartment, old hatchbacks exploding in value, bike choices and Livewire's struggles.______________Please do leave a comment and share your thoughts. If you've got a story, insight or pictures to share, you can also email hi@tuesdayatdobbs.com Instagram: www.instagram.com/@tuesday_at_dobbs My other YouTube channel: @FreddieDobbs______________Time Stamps:0:00: Intro1:04: Used Car Prices Soaring3:27: LiveWire Sales Struggling6:00: Predicting the next classics is a game for fools… or is it? (Honda Africa Twin)8:40: Look at the Old Car Market instead (Peugeot 106, VW Golf, Ford Fiesta, Renault 5 GT Turbo11:42: The MV Agusta 750 S or the Honda CB750 (enough money to buy a house!)13:25: The Ducati Sport Classic 100016:02: The Ducati Monster 62017:14: The Ducati 91618:35: Two New Bikes and a £20k Budget23:33: A Do it All Modern Classic28:24: The Harley Davidson Springer30:26: The Mash Six hundred 65031:51: Bike of the Week: Ducati 916

Why does my 2002 Honda CR-V Squeak from the front? Why does my 2014 Toyota Corolla have bad engine performance? 2008 Chevy Impala has hard trans shift. Brian is the Hoodie winner. Why does my air bag light come on? Ford Fiesta 2019 repairable car. 2001 Buick Park Ave exploded and blew off intake manifold. How do I fix my 4-wheel drive 4x4 on a 1997 Ford Ranger? 2008 Chrysler Town and Country how hard is it to swap a steering angle sensor?

A teenager gets his arms ripped off What happens when you ignore red flags Audi TT vs Ford Fiesta vs Fox Bleeding like in the movies Con-artist spills the beans See omnystudio.com/listener for privacy information.

On episode 110 of Driven to Compete Carey met with Steve Kaster. Steve lives in Green Bay, about 1 hour and 15 minutes from Road America. He drives a Ford Fiesta. We talk about our favorite track, Road America. He started in ChumpCar and rented a Miata. Other than that, he had only done 1 track day before jumping into racing cars. He raced lots of things as a kid including BMX and Motocross but had to give up Motocross after some injuries. Then he tried out karts and was well on his way to racing cars next. Our sponsor for this episode is Chris Taylor Racing Chris Taylor Racing Services is a longtime provider of storage, transportation, and maintenance work on a variety of racecars in the Austin area. On the same site since 2003, located across the street from the world-famous Circuit of the Americas. Chris is a veteran of the motorsports industry, working on everything from B-Specs (TCB), Formula cars, Trans-Am cars, and a Championship winning SRO TC Americas crew chief for Skip Barber Racing Team. Our goal is to bring Professional level service and support to your club race or track day! Website: https://christaylorracing.com Email: christaylorracing@gmail.com Connect with Driven To Compete for sponsorship opportunities Website: www.DrivenToCompete.com Newsletter: https://manage.kmail-lists.com/subscriptions/subscribe?a=R9E7pX&g=VHesvQ YouTube: https://www.youtube.com/@driventocompete1 Email: info@driventocompete.com Phone: (512) 222-3402 --- Support this podcast: https://podcasters.spotify.com/pod/show/racingwire/support

Perhaps Harrison Ford's most complicated movie yet is The Mosquito Coast, adapted by Paul Schrader from the book by Paul Theroux. Ford re-teams with Witness director Peter Weir so there's much to discuss. Adam & Paul get into some hilariously dated Ford news and offer up a solid-yet-wacky recap of the movie, then bring in Friend-in-Movie-Talk Adam Collins to dive deep on the movie - and he is GAME for this. Tune in! We have everything we need! Like good movie talk? Please subscribe! Website: www.themovieguys.net The Ford Fiesta: https://apple.co/3s3Om9l The TMG Interview: https://apple.co/3c21SEI The Movie Showcast: https://apple.co/3eXSrrW Countdown to Nine: https://bit.ly/38XVDzS YouTube (The Movie Guys): https://www.youtube.com/TheMovieGuys YouTube (The Movie Guys LIVE): Youtube.com/user/TheMovieGuysLIVE Vimeo: https://vimeo.com/themovieguys   Twitter: https://twitter.com/TheMovieGuys Facebook: https://www.facebook.com/TheMovieGuys Instagram: https://www.instagram.com/themovieguys/ Tumblr: https://themovieguys.tumblr.com/

Today on the show I'll share a case study on a 2014 Ford Fiesta that engages and releases the starter when cranking, but will crank over if the starter relay is jumped. We made a wrong call on this one at first, but eventually get to the root of the problem.  Website- https://autodiagpodcast.com/Facebook Group- https://www.facebook.com/groups/223994012068320/Email- STmobilediag@gmail.comPlease make sure to check out our sponsors!SJ Auto Solutions- https://sjautosolutions.com/Automotive Seminars- https://automotiveseminars.com/Jarhead Diagnostics- https://www.jarheaddiag.com/ USE CODE- DIAGPODCAST FOR 10% OFFL1 Automotive Training- https://www.l1training.com/Autorescue tools- https://autorescuetools.com/ 

Hermione Granger's battered old Ford Fiesta is not built for snowstorms. It's a good thing there's a flannel-clad tractor driver to come to her rescue. Or is it? --- Send in a voice message: https://podcasters.spotify.com/pod/show/etl-echo/message

Hermione Granger's battered old Ford Fiesta is not built for snowstorms. It's a good thing there's a flannel-clad tractor driver to come to her rescue. Or is it? --- Send in a voice message: https://podcasters.spotify.com/pod/show/etl-echo/message

Hermione Granger's battered old Ford Fiesta is not built for snowstorms. It's a good thing there's a flannel-clad tractor driver to come to her rescue. Or is it? --- Send in a voice message: https://podcasters.spotify.com/pod/show/etl-echo/message

Hermione Granger's battered old Ford Fiesta is not built for snowstorms. It's a good thing there's a flannel-clad tractor driver to come to her rescue. Or is it? --- Send in a voice message: https://podcasters.spotify.com/pod/show/etl-echo/message

In this final episode we're in the UK – and the notorious case of Holly Wells and Jessica Chapman. The disappearance of two young girls had dominated the news headlines for days. Everyone clung on to hope they'd be found, but struggled to explain how they could simply have vanished. But while detectives quizzed the local community in the hope of finding answers – they didn't expect the smoking gun to emerge from some nettles, and a Ford Fiesta car. Learn more about your ad choices. Visit megaphone.fm/adchoices

Good morning, good afternoon, and good evening wherever you are in the world, welcome to EV News Daily, your trusted source of EV information. It's Thursday 13th July it's Martyn Lee here and I go through every EV story so you don't have to. MG EX4: A Nod to the Iconic Metro 6R4 Rally Car https://evne.ws/3DaxQLI Caterham's Project V: A New Electric Sports Coupe on the Horizon https://evne.ws/3PVUxek First Chevy Blazer EV Sets Sail for the US https://evne.ws/3JYomXT VanMoof's Financial Struggles: E-Bike Startup Files for Payment Deferment https://evne.ws/3XP16RI Kia's $200M Investment: Georgia Plant to Build EV9 SUV https://evne.ws/3pFnTTz Ford Fiesta's Potential Revival as an Electric Car https://evne.ws/3JWtkEs Texas Puts Brakes on EV Charging Funds Decision Amid Tesla Plug Controversy https://evne.ws/3O9dg4F Right-to-Charge Laws: A Game Changer for EV Owners in Apartments, Condos, and Rentals https://evne.ws/3JWCZuA Nio's ET5 and ES7 Shine in Euro NCAP Safety Tests https://evne.ws/3XUaEeq UK's New Legislation Aims for 99% Reliability in EV Charging Network https://evne.ws/3Onzdxf Tesla Alerts Model 3 Buyers: Federal Tax Credits May Shrink Next Year https://evne.ws/3JXO12C Tesla Eyes Wireless Charging with Wiferion Acquisition https://evne.ws/3pQZcU7 Audi in Advanced Talks to Acquire EV Platform from SAIC's IM Motors https://evne.ws/3JWA8lj China Paves the Way in Global Charging Infrastructure https://evne.ws/3OcsXYL BP Foresees No Role for Hydrogen in Future Cars https://evne.ws/3Oe3Wg3

In recent car news, the first 2023 Dodge Challenger SRT Demon 170 was auctioned at Barrett-Jackson for a charitable cause, raising $700,000. Actress Nicole Kidman acted as the auctioneer, and the winning bidder generously donated the car back to Barrett-Jackson for another auction. The Dodge Challenger SRT Demon 170 is a powerful vehicle with 1,025 horsepower and 945 lb.-ft. of torque. In another incident, an electric SUV in China, part of Geely's ride-hailing service, had its battery pack fall off while driving on a busy highway, raising concerns about the safety of EVs using swappable battery technology. The 2024 Ford Mustang configurator is now live, offering customization options for the EcoBoost, GT, and Dark Horse models with various trims and powertrain choices. Koenigsegg has unveiled the production version of the Gemera, offering customers the option to choose between a V8 engine hybrid or an Inline 3 engine. Alef Automotive has received FAA certification for its flying car prototype, known as the "Model A," which can both fly and travel on public roads. The Vermont DMV has closed a loophole that allowed out-of-state individuals to register cars in Vermont, aiming to prevent fraud and reckless activity. Lastly, the Ford Fiesta, the UK's best-selling car, will end its production after nearly 50 years, with the final model being manufactured in Cologne, Germany.   And we end on Round 7 of Bimmer Challenge at Streets of Willow which resulted in a little explosive drama!

The Ford Fiesta is stopping production and it's the end of and era. What was this icon like to drive and what is the future for the motoris? Mark and Pete have the answers.

Do women find men in expensive cars more attractive than men in less expensive cars? Some people believe that the answer to this question is so patently self-evident as to not require any thought. But my guest today conducted actual scientific research into this age-old stereotype. Rob Searle is a Welsh psychologist who co-authored a paper evaluating the status-enhancing effects of luxury vehicles on the attractiveness of both men and women to heterosexual members of the opposite sex. He asked participants to rate the attractiveness of an average looking man, first in a Bentley Continental GT, then in a much more modest Ford Fiesta. The findings were published in the British Journal of Psychology. And he discusses them in this episode of Crazy Money. The results build on the work of David Buss and others who found that perceived affluence does influence mating patterns.

Topics discussed on today's show: Heidi's Surgery, Radio Host Dies On Air, Babies Born in 89, National Beer Day, Who's Going To Hell?, Guess Me Panties, HR Restrictions For Halloween, Vote No On Halloween, Birthdays, History Quiz, The Trendmill, Little Johnny's Growing Pot, Movie Reviews, Movie Password, Celebrity News, Dad Jokes, Florida Or Anywhere Else, Karenfessions, Ford Fiesta, Florida Or Anywhere Else, and Apologies.