Podcast appearances and mentions of shelby cobra

Nos gustan los videos de técnica, historia, motorsport… pero hoy me siento “superficial” … voy a hablar de traseros. Pero no de traseros de personas, de cantantes, famosos, actrices, actores… no, sino de traseros o traseras de coches… y es que también los hay muy sugerentes… ¡Os propongo un reto! A los coches, como a la personas, su rasgo más característicos es la cara, el frontal… Lo no quiere decir que la parte posterior, en ocasiones, destaque e incluso llegue a ser el rasgo más característico…. He elegido 30 “traseros” o “traseras” que para mí son destacables. Y el reto es que votéis para elegir a los 3 mejores, ¿Aceptáis el reto? Ya os dicho que me siento algo “superficial” así que no me perderé datos, potencias, fechas… hoy solo hablamos de estética. Y así, sin más, vamos con ello: 1. Citroën Tipo C (1922) 2. Bugatti Type 41 “Royale” Coupé Napoleón (1927) 3. Tatra 87 (1936) 4. Citroën DS (1955) 5. Cadillac Eldorado Biarritz (1959) 6. Chevrolet Corvair (1959) 7. Saab 96 (1960) 8. Toyota Land Cruiser J40 (1960) 9. Jaguar E-Type (1961) 10. Shelby Cobra (1961) 11. Volvo P1800 (1961) 12. Aston Martin DB5 (1963) 12+1. Chevrolet Corvette Sting Ray (1964) 14. Messerschmitt KR175-200 (1964) 15. Alfa Romeo Giulia Súper (1965) 16. Alfa Romeo 1600 Spider Duetto (1966) 17. Jensen Interceptor (1966) 18. NSU Ro80 (1967) 19. Citroën SM (1970) 20. Plymouth Road Runner Superbird (1970) 21. De Tomaso Pantera (1971) 22. Porsche 911 Carrera RS 2.7 (1972) 23. AMC Pacer (1975) 24. Renault 5 Turbo (1980) 25. Alfa Romeo Giulietta (1981) 26. Ford Sierra Cosworth (1986) 27. Ford Escort Cosworth (1992) 28. Honda Civic Type R (1997) 29. TVR Sagaris (2004) 30. Mercedes-Benz AMG GT R (2020) Conclusión. Espero que hayáis disfrutado con este desfile de los mejores “traseros” o “traseras” de la historia. Sé que me he dejado muchos, me los podéis dejar en comentarios. Pero sobre todo espero vuestra votación para elegir a los 3 mejores traseros de la historia del automóvil.

An emerging trend in the car collector world features vehicles reimagined by builders who bring famous marques into the 21st century including Mustang, Camaro, Shelby Cobra, Porsche 911, Broncos, Toyota Land Cruisers and others. Instead of building them exactly like they were in the 60s and 70s, these classic beauties have been given entirely new underpinnings. The chassis, drivetrains, engines (gas or electric), brakes and interior features make them faster, safer and easier to drive than the originals. Mark Greene, Founder of the Cars Yeah podcast, visits to talk about why this movement is becoming popular.

Alex invites Randy and Beck to talk room temperature issues, debate pronunciation of co-opted brand names, give a sneak peek at upcoming BaT events, discuss complicated child transport scenarios, hit a collective mental block about French motorcycles, lament the spreading of sacred regional fast food chains, ponder the RUFiest RUF, court rage on Instagram, and rue over-racing street cars. They continue with stopping the scroll and nerding out about blimps, and cap it all off by teasing next week's very exciting podcast guest!Follow along! Links for the listings discussed in this episode:01:57 Podcast Episode 110, The One-Year Garage: 1999 BaT post05:19 Southern California BaT Meet-Up—March 29 with Malamut Auto Museum and Wob! BaT post05:56 mmalamut user page06:33 Wob user page10:38 k2motorcars user page11:26 The Quail MotoFest12:16 Motorcycles category page13:51 911r user page14:44 DENWERKS user page14:49 cascadia user page15:45 Local Partners page19:20 BaT Event Calendar19:59 Roush 427R-Powered 1940 Ford Coupe Hot Rod BaT listing21:39 French motorcycles on BaT search22:54 1952 Moto Narcisse Tandem Project BaT listing23:31  RUF RCT Evo-Specification 1991 Porsche 911 Carrera Coupe 5-Speed BaT listing27:36  1999 Subaru Impreza WRX STi Version VI Type RA Limited BaT listing29:43  2.7L-Powered 1974 Porsche 914 5-Speed Race Car w/Trailer BaT listing33:05  1961 Chrysler 300G Hardtop Coupe BaT listing34:04 1,300-Mile 1989 Porsche 911 Speedster BaT listing34:27 2023 Caterham Seven 360S SV BaT listing35:35 283 Fuelie–Powered 1957 Chevrolet 150 2-Door Sedan BaT listing36:50 1967 Ford GT40 G7A Mark IV Conversion BaT listing38:21 1972 Volvo 1800E 4-Speed BaT listing39:44 1979 Ferrari 308 GTS from Magnum P.I. BaT listing42:44 1963 Shelby Cobra 289 Mark I BaT listing43:55 Goodyear Blimp Ride Experience for Charity BaT listingGot suggestions for our next guest from the BaT community or One Year Garage episode? Let us know at podcast@bringatrailer.com!

This audio-only version has been optimized for those players that do not offer video capabilities. Amidst the noise and dust of a reroofing job at BaT HQ, Nicole Johnson and Mike Badami, the production partners responsible for Nicole Johnson's Detour on YouTube, talk with Alex about enthusiastic enthusiasts; questionable trips in Porsches; a preference for dumb cars; the perils of one's livelihood depending on the safety and reliability of old, modified, or even home-built vehicles; their mutual involvement with King of the Hammers; Nicole's trial-by-fire entrée into 2010s monster truck competition; big balls of dung; the trip to France that precipitated Detour; a Land Cruiser and curly hair; 2002s versus Cobras; counting on passion; and much more.Follow along! Links for the topics discussed in this episode:1:12 10 Questions with ABikePeddler BaT1:24 FRENCH FURY: Ferocious Mid-Engine 1983 Renault R5 Turbo 2 Homologated Rally Champ YouTube3:58 ICONIC OUTLAW: Magnus Walker's “277” Urban Outlaw Porsche 911 & The Unconventional Collection YouTube8:50 OVERLAND PORSCHE: Rally-Modded 320 HP 1987 Porsche 911 CarreraYouTube7:20 The Many Porsches of Magnus Walker BaT Podcast16:48 Ford Pinto Model Page BaT24:42 Supercharged LT1-Powered Widebody 1966 MGB Roadster 6-Speed BaT56:47 Four Wheeling in France | Chambon Sur Jeep 2011 YouTube57:40 Jessi Combs (RIP) Wikipedia1:05:17 MANOFIED BMW: 600 HP Oil-Less-Turbo 1974 BMW 2002 with Modern E36 M3 Powertrain YouTube1:07:34 ORIGINAL COBRAS Part 2: 1 of 5 FIA Original 1964 289 Shelby Cobra at Willow Springs YouTube1:08:41 ELECTRIC DEVIL: Mudslide-Surviving 1976 Porsche 911 Turned Tesla-Powered Ruffian Beast YouTube1:09:57 PESKY PINZGAUER: Cranky Vintage 4×4 Military Truck at Aaron Hagar's Rat Runners Garage YouTube1:25:40 710 Search Results for 1965 Mustang BaTGot suggestions for our next guest from the BaT community or One Year Garage episode? Let us know at podcast@bringatrailer.com!

Amidst the noise and dust of a reroofing job at BaT HQ, Nicole Johnson and Mike Badami, the (old married couple) (mother and daughter) (Statler and Waldorf) production partners responsible for Nicole Johnson's Detour on YouTube, talk with Alex about enthusiastic enthusiasts; questionable trips in Porsches; a preference for dumb cars; the perils of one's livelihood depending on the safety and reliability of old, modified, or even home-built vehicles; their mutual involvement with King of the Hammers; Nicole's trial-by-fire entrée into 2010s monster truck competition; big balls of dung; the trip to France that precipitated Detour; a Land Cruiser and curly hair; 2002s versus Cobras; counting on passion; and much more.Follow along! Links for the topics discussed in this episode:1:12 10 Questions with ABikePeddler BaT1:24 FRENCH FURY: Ferocious Mid-Engine 1983 Renault R5 Turbo 2 Homologated Rally Champ YouTube3:58 ICONIC OUTLAW: Magnus Walker's "277" Urban Outlaw Porsche 911 & The Unconventional CollectionYouTube8:50 OVERLAND PORSCHE: Rally-Modded 320 HP 1987 Porsche 911 Carrera YouTube7:20 The Many Porsches of Magnus Walker BaT Podcast16:48 Ford Pinto Model Page BaT24:42 Supercharged LT1-Powered Widebody 1966 MGB Roadster 6-Speed BaT56:47 Four Wheeling in France | Chambon Sur Jeep 2011 YouTube57:40 Jessi Combs (RIP) Wikipedia1:05:17 MANOFIED BMW: 600 HP Oil-Less-Turbo 1974 BMW 2002 with Modern E36 M3 Powertrain YouTube1:07:34 ORIGINAL COBRAS Part 2: 1 of 5 FIA Original 1964 289 Shelby Cobra at Willow Springs YouTube1:08:41 ELECTRIC DEVIL: Mudslide-Surviving 1976 Porsche 911 Turned Tesla-Powered Ruffian Beast YouTube1:09:57 PESKY PINZGAUER: Cranky Vintage 4x4 Military Truck at Aaron Hagar's Rat Runners Garage YouTube1:25:40 710 Search Results for 1965 Mustang BaTGot suggestions for our next guest from the BaT community or One Year Garage episode? Let us know at podcast@bringatrailer.com!

If you've ever seen a Shelby Cobra replica at a car show, there's a good chance it was built by Dave Smith and his crew. In this episode, the President and CEO of Factory Five Racing joins Larry Webster to share how he became the world's largest manufacturer of component car kits. Lest you think this one is all about fiberglass roadsters, you've got another thing coming. The team at Factory Five has a wide array of kits, from pre-war hot rods to off-road trucks. Join the Hagerty Drivers Club! https://www.hagerty.com/drivers-club/ About the pod: the Never Stop Driving podcast is available on Itunes, Spotify, and YouTube. Like this newsletter, it's free to everyone because one of Hagerty's goals is to spread car passion. On the show, we'll cover a wide range of automotive topics, including interviews with the people doing the most interesting work in the car world. I expect it to evolve over time so your feedback is welcome. Please give it a listen and help us spread the word with a positive rating and share it.

Shelby Cobrando, inspired by her father's passion for cars, honed her riding skills at local MX tracks, constantly pushing herself to improve. Her nickname, inspired by the iconic Shelby Cobra, reflects her deep love for motorsports. Now, she's competing in the WMX nationals, striving to become the best among the best.Explore how Shelby's father, a car enthusiast, built the machines that fueled her passion for racing.Nicknamed after the legendary Shelby Cobra, Shelby Cobrando's love for cars and motorsports was inevitable. In this episode, we dive into her journey from local tracks to the WMX nationals.Shelby shares her experience of breaking into the WMX nationals, detailing her growth as a racer and the challenges she faces on her quest to be the best in the sport.Balancing a full-time job as a CNA while racing in the WMX circuit is no easy feat. Shelby opens up about the physical and mental demands of her dual commitments.Join Shelby Cobrando as she shares her inspiring story of racing in the WMX. Don't forget to share this episode with your friends and family. Thank you for listening!

Diesmal geht es um Reinis Knochen, das Essen im Krankenhaus, Godzilla, Shogun, Le Mans 66, die Shelby Cobra, Unfälle bei Autorennen, Bratwurst und Baklava die Show und Horst Lichter. Tickets für die letzten beiden Livetermine findet ihr bei eventim. Du möchtest mehr über unsere Werbepartner erfahren? Hier findest du alle Infos & Rabatte: https://linktr.ee/AlliterationAmArsch

Hosts Victoria Guido and Will Larry are joined by Trent Walton, CEO of Luro. Trent shares his journey into the design world, from his early fascination with typography and logos to co-founding Paravel. This agency later evolved into creating Luro, a no-code solution for building design systems and tracking their adoption across products. Trent emphasizes the importance of understanding the materials one works with in design and development and stresses the need for a holistic approach to product building. This approach blurs the lines between disciplines, encouraging a generalist mindset over specialization. Luro, as a product, stemmed from the realization that existing design systems often fell short in adoption and application, leading to a search for a more integrated and comprehensive solution. Trent outlines the functionality and vision behind Luro, explaining how it serves not just designers and developers but entire organizations by fostering better collaboration, documentation, and understanding of design decisions. Luro aims to streamline the creation and maintenance of design systems, making them more accessible and manageable, even for teams facing resource constraints. By incorporating performance, accessibility metrics, and the ability to track component adoption and integration, Luro provides a platform for continuous improvement and alignment with organizational goals. Luro (https://luroapp.com/) Follow Luro on LinkedIn (https://www.linkedin.com/company/luroapp/), YouTube (https://www.youtube.com/channel/UCsS9BEmX1NPBXkbaLGcMZlw), Discord (https://discord.com/invite/aNEdjnR6A5), or Instagram (https://www.instagram.com/luroapp/). Follow Trent Walton on LinkedIn (https://www.linkedin.com/in/trent-walton/). Visit his website at trentwalton.com (https://trentwalton.com/). Follow thoughtbot on X (https://twitter.com/thoughtbot) or LinkedIn (https://www.linkedin.com/company/150727/). Become a Sponsor (https://thoughtbot.com/sponsorship) of Giant Robots! Transcript:  VICTORIA: This is the Giant Robots Smashing Into Other Giant Robots Podcast, where we explore the design, development, and business of great products. I'm your host, Victoria Guido. WILL: And I'm your other host, Will Larry. And with me today is Trent Walton, CEO of Luro. Luro is a no-code solution to build your design system and track adoption across your entire product. Trent, thank you for joining me. TRENT: Oh, thanks for having me. It's great to be here. WILL: Yeah, I can't wait to dive into Luro and get to know more about the product. But before we go into that, tell us a little bit about yourself. I know you're based out of Texas. TRENT: Yeah, I grew up, lived here my whole life. I'm in Austin with the other co-founders, Dave and Reagan. Been a designer probably all my life, always been interested in, like, typography and fonts. When I was little, I used to buy badges for cars from swap meets and take them home, not because I needed, like, I had a car I was building and had any interest in, like, sandblasting or building an engine. I just liked the typography, and the design of the icons, and the logos, and all that kind of thing. And so, now it's evolved into me just being, like, a type aficionado and a graphic design aficionado, and then that evolved into, especially when I discovered the web in the early 2000s, building and designing websites with Dave and Reagan, who I mentioned. And so, we had an agency called Paravel early on and had a lot of time putting into practice kind of that design and development and building for the web. VICTORIA: So, your first interest in design came from, is it a car engine? Is that what I heard? TRENT: Well, yeah, my father is a mechanical engineer, and so is my brother. And they work on cars, have classic, like, old Mustangs and Cobras and things that they build in their spare time. And I have no interest in that kind of work [laughs] but grew up in that environment. And, you know, pre-internet growing up in the '80s, one of the things that really got me was the aesthetic and the design around those kinds of muscle cars, so, like, old Shelby or Cobra or Mustang Ford ads, just, I really got into that. So, I'd buy, like, car manuals for a few bucks, or if there's a Mustang Cobra and there's a cool, like, chrome snake logo with a condensed uppercase typeface or some sort of lettering that says, you know, "Shelby Cobra." And that's when I realized [laughs] where my interests lie. You know, engines are cool. They sound cool. Fast cars are cool. But I was just totally, you know, enamored with the typography and the design aspect that surrounded those things, and then it just kind of evolved from there. Anything else I could get my hooks into, I picked up on. VICTORIA: I love that because when I talk to people about design, for folks who don't have a background in it, they kind of think, oh, design, that's logos. You know, I'm redesigning my house right now. My husband is like, "Oh, it's picking the tiles and the colors. We can do that." And I'm like, "No, like, design, there's a lot more to it. Design is everywhere." Like, you can find design inspiration from car manuals [laughs], it's so funny that you bought those, or from random logo design and actually, like, really good design. If it's something that's designed well, you probably don't even notice it. You just flow and use the space or use the app as you're intended to. TRENT: Yeah. And I also think that getting inspiration or starting ideas out from anywhere but the medium you're working in might be a nice little trick to bring some, like, naïve, fresh perspective to things. So, I try to go back to that stuff as much as possible. I have heaps of manuals I've bought off of eBay in recent years, yeah, things you wouldn't think you'd find on, like, you know, whatever, a graphic designer's bookcase, just anything to sort of break the monotony or break my own little lenses of what a website should look like, or what a logo or a brand should look like, how to step outside of that a little bit. But it's funny because it really does go back to that initial sense of wonder I experienced at those really just, you know, we're talking, like, in a gross, swampy field in Texas with, like, funnel cakes being served at every corner, like, not the most slick, rad graphic designy vibe, but that's where it all started for me. So, I go back there as often as I can [laughs]. VICTORIA: So, how do you talk to founders or people who are thinking about building products? How do you talk to them about design and give them a where to get started approach? TRENT: I don't know that I ever specifically talk about design or even maybe, like, engineering or about performance. I talk about all those things, accessibility, et cetera. I try to blur those lines as much as possible. It's maybe an idyllic thing that I've had for years. But going back to the agency days, I'll call them the agency days, but up until, like, you know, 2015, '16, Dave, Reagan, and I ran an agency called Paravel. And by nature, the three of us are some sort of a hybrid between a designer, maybe, like, a front-end developer. You know, Dave's more of an engineer now. But we've all been very careful to make sure that we're generalists, which I don't know that that, like, career-wise that, might pay off long term, but I cannot work on the web any other way or talk about the web any other way. I've always felt like, I mean, there was the old, which we don't have to get into, gosh, but the debate on should designers code? But I think the essence of that is really, like, should we be familiar with the materials we're working on? So, anytime I start to talk about designing for the web or designing a product, you want to make sure everyone has a clear understanding of the environment that they're working with. So, is it, you know, a website? And is performance important? And is our site that we're redesigning is it performant now? Is it fast or slow? Or am I a designer who only cares, and this is a thing that I have to fight inside of myself all the time? So, I'm not trash-talking anybody, but, like, do I want to load a bunch of fonts and cool images, and is that my KPI is how interesting and engaging the visuals are? Which is a great one to have, but it also, you know, while you're talking about design, you have to consider all of these other things that can define quality for an experience. Maybe those other things don't matter as much from one person to the next. But the more they are in front of me, the more they evolve the way I perceive what I work on. And so, I try to never really isolate any kind of aspect into maybe, like, a stage or a sprint that we're doing as a team. It's just sort of this holistic kind of hippie vibey way to look at sites, but I want to make sure that it's always, like, we're always starting from a very, very broad place that involves every aspect, and all team members and stuff like that. VICTORIA: Well, I love that because I try to think about that in the same way from the other end, like, on the operations perspective when you're talking about site performance. And, you know, like, is the site responding fast enough? And it comes back to the question of, like, well, what is the experience, expectations of the user? And what's important to get done on the site? [laughs] And having those conversations, like, early on and integrating all these different teams from the design and development and operation side to have that conversation so everyone knows what is the goal of the site and what is the important aspects of the user experience that the system needs to be able to support? So, I also like that you said that it's like, well, should you be familiar with the materials that you're using? [laughs] Thought that that was really cool. Like, I'm actually...my husband and I are renovating our home. And I'm talking about why we should invest in design [laughs], and part of it's because there's things to know about the materials. Like, if you're choosing a floor for your house, like, the designers will know, like, what's the durable ones? What's the ones that are going to fit your need, and your cost, and your budget? And so, like, they don't necessarily need to be a person who's going to lay the floors [laughs], but they need to know what to expect out of what you decide to use. TRENT: Yeah, it's, like, all of these constraints. And so, being familiar with the real-world implications of the decisions we make, you know, inform that. So, yeah, I mean, I think that's pretty similar, too. It's like, well, you need this floor because it's more durable in this climate or whatever, same thing for, you know, the websites that we build. It's all contingent upon the outcomes that, hopefully, we can mutually agree on. You know, there's kind of a general sense of, like, performance is important, and accessibility is paramount and extremely important. But then there's some nuance to that as you get into some smaller decisions. So, having these kinds of discussions early on and frequently and almost...the way I like to think about it is rather than, like, a check-in where we say, "Okay, this is it," but having a place where we can all look to check in and find information and share information that's maybe not so fast. One thing I like to think about is things get lost in chats and maybe even tickets, so as you're closing tickets and opening tickets. There's a bug. I solved it. It's gone. Can you send me this logo? Can we tweak this? These micro changes they open and close very, very quickly. And so, there's this firehose that happens. And so, I find that having a place separate from that for discussing these things and remembering these things, and referencing these things while we are in our code editors or inside of our Figma or any kind of design tool that we use to sort of cross-reference and simmer on things as we think about the decisions that we have to make, as opposed to just knocking them out super quick, always being mindful of those constraints. And again, yeah, the [chuckles] materials we're working with, whether it's just, you know, HTML, CSS, and JavaScript or whatever, but all of those things. It's good to be mindful of that. WILL: I know you said that you've been in design for a while, and so I love just picking the brain of someone who's been into it a while and see how far we've come from, especially just the 2000s. So, in your opinion, with design, how do you feel about where we've come since the beginning of tech to where we're at now and, also, I guess, where we're going with the design? TRENT: Yeah. So, I guess I can really just frame...this is going to help me remember just framing [laughs] where we were. I started off on Homestead, which is sort of like GeoCities. I was in college. I graduated, and I think it was 2001, maybe 2000, anyways. And it was mainly just taking images...I didn't even have Photoshop at this point. And you realize you could, like, tile a background for a build your own website. Homestead was one of those kinds of deals. And I thought that was very interesting. So, I had this cheap digital camera. It took a lot of cords to figure out how to, like, port that onto this old, crappy Hewlett Packard computer that was, like, a hand-me-down. Fast forward a couple of years, I had graduated, did not study design, so I'm all kind of self-taught or just taught by the web, the peers, the information that has been shared and been influenced by. But Dreamweaver was out, and Macromedia was huge, and I loved Fireworks. And so, Dave Rupert, I paid him $80 to teach me HTML [laughs], and so we've been together ever since. This is right out of college. And so, the tools that we used there were pretty rudimentary, but Fireworks was rad. Like, it was kind of web-based. It felt like it made more sense. I love Photoshop, and that's kind of, like, a primary graphic design tool that I still use to this day. But early on, it just felt like everything was so harshly limited. So, if you had any kind of idea that you wanted to execute that you could just draw on a piece of paper, mock it up in Photoshop, the amount of work that you had to do to get that to happen was either extremely high, or it was just impossible. And then, if it was impossible, I bet you can guess what we did. We went to Flash, and we made, like, a crappy video of a web page that was not accessible and really hard to use. I was heavy into Flash for, like, two or three years until kind of, as I had been warned by Dave that, you know, HTML and CSS are going to be the way the web works. But when I came back to that, there was this wonderful time where it felt like we were charting out every single...it was just new territory. It's like we had come to this other planet or this other world, and everything that needed to be done, we had to figure out how, like, getting web fonts onto pages, rounding borders. I mean, getting that done aside from slicing images in Fireworks felt like this new monumental discovery that changed the lives of many. Maybe it did, maybe it didn't, but in my world, it felt like that. And so, early on, you can look back on it and go, gosh, everything was a pain in the ass, like, living with all of these limitations. But for me, I do look back at it like that, but I also look back on it as this wonderful time where we were building the web that we're working on now. So, all these things that make designing easier and quicker come with some sort of a, you know, an evolution of your perception, and [inaudible 13:14] fond memories of work along the way. For me, it's sort of I've just always sort of been around working on the web and watching design evolve, and every little step maybe feels like a tiny one or a large one. But these days, it just seems like, oh, this is exactly how it should have [laughs] always been, like, convenient grids and convenient box shadow and all that kind of stuff. But yeah, it's been nice to sort of grow up only being a web designer. Like, I mean, I've done graphic design. I've done brochures and, print design, and logo design for sure. But, I have always been anchored to and centered around web design and thinking about things in the context of how they will be applied to the web first and foremost. MID-ROLL AD: Are you an entrepreneur or start-up founder looking to gain confidence in the way forward for your idea? At thoughtbot, we know you're tight on time and investment, which is why we've created targeted 1-hour remote workshops to help you develop a concrete plan for your product's next steps. Over four interactive sessions, we work with you on research, product design sprint, critical path, and presentation prep so that you and your team are better equipped with the skills and knowledge for success. Find out how we can help you move the needle at tbot.io/entrepreneurs. VICTORIA: So, what was the turning point for you that led you to found Luro? How did it all get started? TRENT: With Paravel, the agency days, we had a lot of fun. I think, for us, our big agency spike was when responsive web design came out. Ethan coined the term. There was a lot of people on the web, you know, a lot of agencies or a lot of teams, a lot of companies that needed to pivot into that. And so, we found this great working relationship with companies where we would come in and sort of had a little bit more practice just because we got in early learning kind of how to do that well, I think. And it was a sort of we're going to redesign a page, a homepage perhaps, or, like, a marketing page. You'll do that project; three to six months go by. And then the next thing turns into, well, we have this giant network of e-commerce stores. We have this giant network of pages with, like, download centers and support documents. And now, we need to make everything responsive, and it can be anything. We need to make everything accessible. We need to make everything performant. We need to update the brand on everything. And I don't think we're alone in this. I think this is the beginning of the greater design system discussion as it applies to the web. Obviously, design systems predate the web; design systems pre-date, like, 2012 or '13 or whenever we got into it. But projects started to migrate from, "Hey, can you design this really amazing, responsive marketing page," to "We have a system, and we need you to solve these problems." We love working on those problems. I still do to this day. But the reason why we switched from kind of being a, you know, individual contributor-type agency consultant type roles to building a SaaS product was because we were realizing that things got complicated...is a very, like, boring way to say it. But to get a little deeper, it was, we would see things not ship. So, like, our morale went down. The teams that we were working with morale kind of went down. And as I was digging into why things weren't shipping...and when I mean ship, I think, like, pages would ship, of course. Like, here's a page. It just needs to be built, somebody decided, or a new feature needs to be built. Of course, those went out. But the idea of, is our design system or the system that we're designing launched? Is it applied? Is it fully adopted? Is it partially adopted? It never felt like the amount of traction that we were promising or that we were being asked for. And I don't mean we, as in just the three of us, but the entire team or the entire organization who, in many cases, all were bought into the idea of design systems. So, what we found was, when things got real, and we had to give up things, and we had to work on things and prioritize things, it became much more difficult to work in that capacity, probably partially because of the cross-discipline nature of those things. So, as opposed to what I consider maybe a miserable way to work in many cases, is the classic; here's my Photoshop comp. And I have a red line document JPEG that I will give you, whatever engineer I'm working with, or it's myself, and I'm just giving myself a red line document, but you're just going through and trying to make those things match. And that is sort of not fun for the team because now we're just sort of chiseling each other and sort of, like, going through and critiquing our work over and over versus really kind of in the spirit of prototyping and inventing together. I find that products are diminished when you do that. So, as you try to get into this design system part, it requires a lot more insight into what everyone around us is doing, kind of, as I was saying at the beginning, how to have this cross-discipline view of what we are actually working on. And that view is what we thought, and we still believe in many cases, is absolutely missing. So, you can spin up a design system. And Luro is not the only design system tool. Of course, you can spin up your own. And what I mean by that is, like...I'm maybe going to answer, like, three questions in one. Maybe you haven't even asked them yet. But just to kind of frame this, if you ask anyone what a design system is, it might be a different answer. It might be these are my Figma components that I've created and I've shared out, and there's a public link. You know, an engineer might say, "Well, it's the GitHub repo of components that I'm actually using." So, the design is helpful as documentation. But the design system is the code, or the design system is the actual...or the actual components that are live that users see, which I would argue probably is the most accurate, just because we're talking about user experience impacting whatever business objectives we may have. So, those components need to make their way into live sites or products. So, finding out what that answer is, what's the source of truth? What is our design system? What are our components? What are our standards? You have to have multiple sources for that, just because there's multiple people with multiple opinions and multiple measures of success involved in those. And all of those opinions and measures of success, I would say, are valid. So, accounting for those and kind of crossing the streams, if you will, in one sort of central UI, we believed was crucial enough that we should jump out of the agency days and into a product-building scenario. VICTORIA: That's really interesting. So, you saw this pattern in the delivery of your work as an agency that made you want to build a solution to create better outcomes for a potentially exponential number of clients, right? [chuckles] TRENT: Yeah, hopefully. I think that working on how you work together as a team is vitally important, and if you can find the right environment, then the actual product will benefit. I mean, and I'm not even just thinking about these maybe soft things like, oh yeah, if engineers and designers can work together, the typography will be a little bit better, and the site will feel a little bit more cohesive, and it'll be maybe a little bit easier to digest. I believe that. But I also believe that there are people in organizations doing research, financial analysis, customer analysis, A/B testing, you know, all sorts of work that contributes to the decisions that we make about our sites and products that sort of just gets lost in the shuffle, in the firehose of the day to day. So, having something that takes not only a, I guess, what you could classify as the what for a design system, it could be the design of a component. Maybe it's actually even, too, as well, the code that makes up that component. But then there's this giant why. Why does the button look the way that it does? Why does a card have a border around it? Why? Why? Why? Why? Why? These things maybe they come up during meetings. Maybe there's something that, as a designer or an engineer, I found maybe on the company's shared OneDrive or somebody mentioned in passing. Those things are vitally important, and they need to be, again, back to the morale and perception evolving; they need to be accessible to everyone. But it's a needle-in-a haystack situation. It's funny. We would consult. And one of my favorite stories is we were building this prototype. We were hired to build a prototype for a startup in Austin. They were on a big, open floor-plan office with the glass meeting rooms. And we were showing off our prototype, and we just felt really clever and witty about the way we were going to solve this and the pages that we were going to build. And who is a friend now, a person named Angela walks by, and she's like, "What are you working on?" And we told her what it was. And she says, "Oh, wow, you know, six months before you started contracting with the startup, we did this all, and we've user-tested it. Everybody's been reorged, and nobody remembers. But I have this PowerPoint I can send you, and it will show you the results. Some of these things you're doing are probably going to be great. The other things you should absolutely not be repeating these mistakes." And I thought about how likely it was that she walked by and happened to see that through the window and happened to look on the sharp television on the wall. And it's probably not very likely, and as we become, you know, we're remote and working remote the likelihood of those things happening maybe goes down. The idea of building a product that increases the likelihood or almost makes it seamless that you can find information relevant to what you were working on, even if you're new to that project or you haven't worked on it for a long time, is very, very key. So, within Luro, you can build a design system. You can add your styles. You can add your components, configure your tokens, and do all that, but you can also integrate those things that I was mentioning: prototyping, research, and testing. We also do an accessibility and performance through Lighthouse and give you metrics there. All of those things are associated to the pages that your site is comprised of. They're associated to the components that you use to build everything. So, we're sort of crossing the streams here. So, if you're going into imagine a button component and you're like, okay, the border-radius is four pixels. The type size is 16 pixels, and here's how you code it. We're putting in an actual button. The class is dot btn. That's all great. It's helping us build the button. But if you are asked by leadership or anyone, "Why did you decide this?" Or "What is the impact of design?" Or "What is the impact of the product team on our bottom line? How are you moving the needle? How are you helping us as an organization achieve?" The answer isn't, "Well, we made the border four pixels just like the design [chuckles] said." That's great. Good job. But I think having all of this information associated with design and associated with engineering not only makes us more informed as contributors to teams but it helps us to articulate the value of what we do on the daily in a much more broad organizational sense. So, you can say, "Well, we user-tested this, and we realized that if we took out these form elements from a signup flow, we get more signups by having fewer steps. And so we removed a step. We user-tested it before and after, and signups went up 30%." That's a much cooler answer than, "Well, our design system helps us be consistent," even though we know that that is vitally important, and it makes our app or our site feel much more cohesive, and it contributes to that sign up metric or a sales metric just as much. But having this data and associating it with a component so it's not something that you have to sort of...I guess it almost sounds subjective if you bring it up and say, "Well, we're moving faster, and we're selling more stuff." That's not great. But if you can link and say, "Well, here's a PowerPoint before," or "Here's a summary of a user test before and after. Here's real numbers," it helps you to portray yourself as the designer or engineer or product team member who thinks very deeply about these things, and it helps you to accurately portray yourself in that way. So, I went on a real tangent, but actually just there, I think I just was describing sort of the nuts and bolts of why we built Luro to not only be a design system tool but, like, what we kind of also call a product development tool, a product development system. So, it's extending the idea of design systems to the practice of building a product with an entire organization. WILL: That's really, really cool, and you did a great job explaining it. I'm excited to see it and see where it's going. I felt like a lot of what you were saying was the why you're doing stuff, why you chose, you know, X, Y, Z. Is that where the analytics and the tracking portion of Luro comes into play? TRENT: Yeah. I think that one thing we heard a lot from agencies or even just teams within an organization that are working on design systems is back to that articulating the value of maybe a design system or articulating the value of the work that we do as designers or product builders and similar to we've done a user test and these are the results, and sales or signups, or whatever the case may be, have improved. I think one of the key metrics for a design system is, is the component adopted? There are other ones, and people will mention those, things like, is it helping a team be quicker? So, if there's a design system team, and then there's multiple product teams within an organization, and they all want to work together, and they want to be able to take the components that they need and build their ideas quicker, prototype quicker, that's a great metric as well. But one that we find vitally important is, are the components live to users? And so, being able to track that has a lot of value. One, obviously, is that communicating that to the greater organization, saying, "You know, we've spun up a design system team. The card component is on 49% of pages. The button is on 100% of pages." And then if you're trying to be more tactical about how to improve the product or even just track down, you know, which components or which pages or which experiences aren't, I guess, consistent with the design system, you can say, well, "There's 49%, and there's 51% of pages that may or may not have the card component." And so, you can go find outdated components if you're trying to phase new ones in, and all of those sorts of things as well. So, the metrics are sort of great from a thematic sense, saying, this is the value that our design system is, you know, affording us as a business and the users are experiencing while they're using our app or our site. But then, also, you can drill down into these metrics and see, okay, the button is appearing here. I can click into pages and see views where it's being used on the page level and see, is it being used properly? Those kinds of things. You can track legacy components as well, so, for example, if we've rebranded the site that we all work on together and our old button was, like, dot button and the new button is dot BTN or however we would want to class those things. And you can use classes. You can use data attributes, all those kinds of things. But I would say we can track legacy along that. So, if your goal is to completely adopt the new design system across the entire network and products within six months or whatever the case may be, you know, month over month, week over week, you can check our, you know, line graphs and see, hopefully, the legacy occurrences of that going down over time. So, if, like, the button is being used less and less and then the dot BTN is being used more and more, you can see those sort of swap places. And so, what we have found is talking about things in sort of an objective or fuzzy way, saying, well, we're trying to ship this, and we're doing these inventories, and we're going through all the pages. And we're clicking around trying to find old things, or we're redesigning pages. But it's very, very difficult. This is just an instant quantification of where our components are manifesting in the product. So, what we do is, with Luro, you can give us...whether it's behind an authentication layer or not, we crawl web pages, first and foremost. So, you can give us a site. And this is all optional. You can spin out a design system without this. But we crawl the site, and then we will go ahead and do performance and accessibility scores for there. So, that's one way to itemize work, where you can just say, well, as an agency, we're going to work with this company, and we want to show them, like, the starting point and expose weak points on where we might be paying a lot of attention to. In the design or engineering phase, we need to improve the speed here. We have accessibility violations we need to think about, all that kind of stuff. And then, once you crawl those, you can add your design system, and then you can cross-reference those, and I kind of mentioned that. You can use CSS classes to do that. And so, you'd enter in dot BTN for button. We've already crawled your pages. And so, we can tell you every time that that class appears inside of any page inside of the network. So, it's this very, like, two-minute way to get a wealth of information that's shared and communicated with...the entire organization will benefit. Like I said, like, leadership they can get a sense of how the design system is being used and adopted, but also, the active teams working on things so that they can go find outliers and work on replacing those. VICTORIA: It's been over a year in your journey with Luro. What challenges do you see on the horizon? TRENT: I still think it is an adoption challenge. I think that, you know, one thing that we found is that a lot of teams, and this is going back to our agency days, but I sort of sort of still see this happening now is that building the design system, you know, let me separate these two things. I think designing components and building the design system in the sense of picking styles, and choosing fonts, and iterating upon something like a search box or, a footer, or a modal that's a lot of work. That's just design and product design and product development in general. But the act of, you know, creating the design system, maybe it's the documentation site, or however, we're communicating these standards across the organization. That part, to me, it's always kind of taken too much time and effort. And to be really candid, the amount of budget that's being allocated for those tasks is less. So, we're having a lot of users who are saying, "Well, I wasn't in charge of a design system. We had a team for that. We don't anymore. And now I'm responsible for it," or "The team's been combined, and I'm working on, like, three things at once." And so, something that's very, very crucial to us at Luro is to help with the struggle of spinning up a design system. For us, I fully believe that there are design systems that can be fully custom available to the public and need to have, you know, every page and view needs to be unique unto itself. But for Luro, the starting place that we get you with, you know, you can link in your Storybook. You can link in Figma components. You can add components manually and all those sorts of things. Where we can get you in a few minutes is really close. And then, if you started to fold in, you know, the idea of performance, accessibility, and then all of the other insights that you can then integrate, so if you're doing A/B testing or user testing and doing research, and you want to make sure that that's all involved inside of your design system, then it becomes a really attractive option. So, I think that decreasing the time it takes to get started and to spin up a design system is the number one thing we see people struggling with and the number one thing we want to bring. I kind of like to compare it to services like Netlify. Like, I remember I used to have to set up servers to demo things for clients, and it would take an hour, and I don't know what I'm doing. And I would break stuff, and they would have to help me fix it. So, then I'm bothering him. And then, now I'm just, you know, will either link to a CodePen or drag and drop a deployed URL from something like Netlify. And it's this amazing, almost like it feels like deploying is just as difficult as, like, sketching something out on a napkin. We want spinning up a design system to kind of feel that way so it's not so precious. You're not worried about...it is just easy to get started. And so, we're kind of integrating all these other tools that you use to make that easier and quicker because if you do have other things that you're working on and you need to move beyond that so that you can focus on prototyping, or designing, and building the actual components, you can do that. And you have that option as opposed to having to be mired in some of these other details. VICTORIA: It seems like change management and integrating change into larger organizations is always the biggest challenge [laughs], even for great innovations. And I'm curious: what types of people or groups have you found are quick to adopt this new method and really the right group for you to center your message on? TRENT: Yeah, it is...I was joking, I think, maybe before the podcast started, but it's, like, very ambitious because it's easy, I think, to say, "This tool is for designers. And if you're a designer, you can integrate your Figma, and then you'll have your components published to your team so that they can use them." And that's absolutely true. Like, if you're a designer, Luro is for you. If you're an engineer and you have just received components, and you need a way to document that and show your coded version alongside the design version and be able to collaborate with people in that sense, it is absolutely for you as well. So, you can see how it's almost like you almost have to frame Luro for individuals across the organization. So, it's one of those deals where...and we've kind of experimented with this with the marketing. And the way we've discussed it, we talked to lots of, you know, leadership, heads of product, CMOs, even CTOs, things like that. And so, it's like, if you're trying to get your entire organization to work better, to ship, you know, more effectively, then Luro is the tool for that as well because we're getting into knowledge retention via uploading. Like, my favorite story there is if you're an A/B tester, probably, and this is what we've experienced, is you run these tests. A lot of time and effort goes into building the prototypes for the test, whether that's you or an engineering team that's doing those things. This is one of the things we used to do as an agency. We would be brought on to prototype something totally new. We would test that alongside the existing experience. And an A/B tester, we'd work with them, and they would create, like, a PowerPoint or something that would explain the pros and cons and what should happen next and summarize the test. And that would live on that person's hard drive, whether it's on their computer or, like, a Dropbox or a OneDrive account. And no one ever thought about it ever again. You would just move on to the next test. But the amount of money spent on us to build the prototype and the amount of money spent on the SaaS to spin up the, like, A/B testing environment and all of these things, and then the time spent on the A/B tester to analyze the results and generate a PowerPoint it's not nothing. And so, one of the things that we find pretty appealing for leadership within Luro is the idea of integrating all of these tools and all this work that you do in mapping them to components so that when you pull up, for example, a button component, you'll see all the user tests that have been added over any period of time. So, if you were a new hire and you're trying to onboard, you can go interview everybody in the organization and ask them about the history of a button or a card component or the history of a sign-up page. But then, also, in a self-service way, you can just click into Luro, click a button, click a card, click to the sign-up page, any of those things, and find all that stuff I was mentioning earlier, whether it's a test, or research, or prototyping, or any kind of documents that have been written. These aren't the arguments that Dave or I might have around the actual border-radius value. Those are small things that probably should be lost in the firehose. But if we have learned an outline button with a stroke is performing way better than a solid-filled button or vice versa, that's important information that doesn't need to disappear in six weeks. So, that's the other kind of metric there is explaining kind of the holistic version, telling the holistic story of Luro to those types. And so, yeah, navigating that and trying to get, like, buy-in on a broad level is kind of what we're working on these days now. WILL: Sweet. So, I actually really like how it's almost like version control. You can see the history of what you've been working on. And I really like that because so many times...you're correct. When I go to Figma or anything, I'm like, why are we doing it this way? Oh, we made these decisions. Maybe in comments, you can kind of do it, but I think maybe that's the only place you can see the version control. So, I like that feature. Like you said, you can see the history of why you did something like that. TRENT: Yeah. And think about that, so if I am a front-end engineer and I receive a design and everyone thinks that, why are we doing it this way? I would hate to code something...I can do it. It's my job. But if I don't understand why, my feeling about work and maybe the quality of my work goes down, you know what I mean? I guess what I'm trying to say is, like, feeling like you understand, and you're lockstep with the entire team, and you understand what the goal is...what are we trying to do? What are we trying to achieve? Like, what have we reviewed that has made us believe this? And if you don't have that information, or if I don't have that information, like, there's some traction within the team, whether it's actual momentum forward and the amount of tickets that are being closed, or just the spirit of what we're doing, that the product is going to be diminished. These are all these little things that add up, up, up, up, up over time. So, being able to show this information to be able to access this information kind of passively. So, for example, if you got VS Code open and Luro open and you can see here's the user test from six weeks ago that shows us why we went with option B, you'll say, "Okay, cool. Even better." You know, you can review those things way before you get things handed to you. You know, it's much more kind of this utopian vision of an open, collaborative deal. And the way I would say that is it's, you know, we all kind of hand things off. So, of course, like, there's some version, even if it's like a micro waterfall that happens on a daily basis. We're all doing that. Like, somebody needs to be done with something to hand it off to something else, so we're not all up in each other's space all the time. But one thing that we like about Luro, whether we use Teams, or Slack, or whatever, it's not a real-time thing where I have to say, "Stop, look what I'm doing [laughs]. Come over here and look because I need you to know this." You can get notifications from Luro, but it's not something that is a context-switching demand type of a situation. So, the idea is if you're like, I'm wondering what's going on. I know this is coming up. I'd like to review. Or I could let you know and tell you, and just on your own time, you can go see this. So, separate from, like, the firehose of tickets and chats, you can see the actual product evolving and some of these, like, key milestone decisions on your own time and review them. And if they've happened before you even started on the project, then you can do that as well. WILL: I think that's probably where the breakdown between developers and designers that collab that's where it probably breaks down, whenever you're trying to get your tickets out as a developer. And then there's a change while you're working on it, and it's a complicated change, but you're still responsible for trying to get that ticket out in time. So, I think, like, what you're saying, you can get it beforehand. So, it sounds like, to me, Luro would be a huge help because you have to have developers and designers working together; if you don't, you're just in trouble in general. But anything that can help the relationship between the two I think, is amazing, and that's what I'm hearing whenever you're talking about Luro. It helps. It benefits that relationship. TRENT: Yeah, that even makes me think a little bit about the ongoing collaboration aspect. So, it's like, if something is shipped...or maybe let's go the agency scenario here. You've launched a site. You've launched a product. How do we know how it's performing? Of course, you'll have everybody...they're going to have analytics, and we'll be talking about that. And are signups up or down? But Luro will run tests. It'll continue to run component analytics. So, you can sense whether, like, somebody is changing a component. Or, you know, is the fully adopted design system not being utilized or being utilized less or more over time? But then, also, we're running, again, performance and accessibility metrics. So, we've seen it where we've shipped a product for a client. You know, we've had Luro running. We've sort of used that as our hub to collaborate over time. And then we'll notice that there's a giant performance spike and that, like, the page speed has gone way down. And we itemize issues and can point you to exactly the page that it's happening on and give you some insight into that. Of course, you could go through after you've worked with the client and run Lighthouse on every single page in your own time for fun, but that's not reality or fun. So, you'll get this information. And so, you almost...before we were telling people who were using Luro, we were kind of using it ourselves just to help ourselves do a better job. About a month into a project, we were able to email a customer, a former client, and say, "Hey, site's looking great. Amazing to see this. There's a 3-megabyte, 50-pixel avatar. Someone uploaded a giant image. It displays as 50 pixels. But somebody must have uploaded the full one to your homepage, and your page speed score tanked." They're like, "Oh, wow, they must [laughs] be monitoring us and checking in on us every day." We love them dearly, but we were not doing that. We were using Luro off to the side. So, there is this other aspect of just sort of monitoring and making sure things stay, you know, as they were or better once we ship things and move forward to the next. VICTORIA: That's really interesting. And I'm excited to explore more on my own about Luro. As we're coming towards the end of our time today, I wanted to give you one last chance to shout out anything else that you would like to promote today. TRENT: Oh, that's it [laughs], luroapp.com, you know, that's the main thing. Check out component analytics. We have a YouTube channel, and I would say that's probably the easiest, a lot of effort, even though the videos maybe I'd give myself an A-minus or a solid A, not an A-plus on video production. I'm trying to get better. But explaining just, like, how to set things up. There's, like, a one-minute, like, what is all this? So, if you want to see all the things that I've been trying to describe, hopefully well on the podcast [chuckles], you can see that really well. So, I'd say Luro App and then the YouTube channel. We've got, like, five, six videos or so that really kind of help get you into maybe what your use case would be and to show you how easily things are set up. VICTORIA: Great. Thank you so much for joining us today, Trent, and for sharing about your story and about the product that you've been building. TRENT: Yeah. Thank you for having me. This has been great fun. VICTORIA: You can subscribe to the show and find notes along with a complete transcript for this episode at giantrobots.fm. If you have questions or comments, email us at hosts@giantrobots.fm. And you can find me on Twitter @victori_ousg. WILL: And you can find me on Twitter @will23larry. This podcast is brought to you by thoughtbot and produced and edited by Mandy Moore. Thanks for listening. See you next time. AD: Did you know thoughtbot has a referral program? If you introduce us to someone looking for a design or development partner, we will compensate you if they decide to work with us. More info on our website at: tbot.io/referral. Or you can email us at referrals@thoughtbot.com with any questions.

SummaryIn this episode, the hosts discuss their top five cars of all time. Each host shares their personal favorite cars, ranging from classic American muscle cars to iconic sports cars. They discuss the features and characteristics that make these cars special and why they would love to own them. The conversation also includes anecdotes from car rallies and experiences with different car models. Overall, the hosts showcase their passion for cars and the unique qualities that make each car on their list stand out. In this conversation, the hosts discuss their top dream cars. They cover a range of iconic vehicles, including classic American muscle cars like the Shelby Cobra, luxury supercars like the McLaren F1, and Japanese performance cars like the Lexus LFA. They also mention movie-inspired cars like the Porsche 964 Turbo from the movie Bad Boys and the Ford Mustang Shelby GT500 'Eleanor' from Gone in 60 Seconds. Other notable cars on their lists include the Aston Martin V12 Vanquish, Ferrari 250 GT California, Porsche 911 GT1, De Tomaso Pantera, Pagani Huayra, Unicat MD56C, Mazda RX-7 FD, Ferrari F40, Sherp ATV, and Porsche 911 GT3. The conversation covers Casey's Porsche 997 with a GT3 wing, favorite movie cars, and James' top car picks including the Porsche 911 3.2 Carrera G Body, Datsun 280Z, BMW E30 M3, Ferrari Testarossa, and an honorable mention for the BMW E9.TakeawaysThe hosts have a deep appreciation for a wide range of cars, from classic American muscle cars to iconic sports cars.Each host has their own personal preferences and reasons for choosing their top five cars.Car rallies and experiences with different car models have influenced the hosts' choices.The hosts' top five cars represent their passion for cars and the unique qualities that make each car special. Dream cars can vary widely, from classic American muscle cars to luxury supercars and Japanese performance cars.Movie-inspired cars often hold a special place in people's hearts, as they evoke nostalgia and a connection to beloved films.Iconic brands like Ferrari, Porsche, and Aston Martin are frequently mentioned as dream car choices.Off-road vehicles like the Sherp ATV and Unicat MD56C offer adventure and versatility for those who love off-roading.Dream cars can be a personal expression of style, performance, and individual taste. Casey's Porsche 997 with a GT3 wing is a standout feature.Favorite movie cars include the Porsche 911, Datsun 280Z, and BMW E30 M3.James' top car picks are the Porsche 911 3.2 Carrera G Body, Datsun 280Z, BMW E30 M3, and Ferrari Testarossa.The BMW E9 receives an honorable mention.

On this episode of Hagerty's No Reserve: a Mercedes wagon for Toyota Tercel money, an air cooled 911 for sub $40k (finally!) and a way to get the Shelby Cobra experience for a 10th of the price of the original. Plus some tips on how to protect yourself against a restoration rip-off. All of this and more, backed by the data from Hagerty's Valuation Tools, on this week's No Reserve. https://www.hagerty.com/valuation-tools About the podcast: No Reserve is hosted by Larry Webster, editor of Hagerty Media and Dave Kinney, publisher of the Hagerty price guide. Each week, Larry and Dave pick top highlights from all over the collector car marketplace and answer any questions one might have about the state of the market. Hagerty's No Reserve is brought to you by the Hagerty Podcast Network.

El Dodge Viper es un coche muy americano… y al mismo tiempo, muy diferente a los demás coches “Made in USA”. Tras el vídeo que hice titulado “¿Por qué los coches americanos son tan malos?” muchos me dijisteis que era evidente que no me gustaban los coches “yankis” … pues a lo mejor no todos, pero éste, desde luego, sí. Por cierto, ¡y no lleva motor de camión! Sino de Lamborghini… Recordemos que es esos momentos Lamborghini era propiedad de Chrysler y en el primer prototipo “serio”, el VM01, se instaló un motor V8 tipo 360 procedente la Lamborghini. Pero les pareció poco… Y nace el prototipo VM02. Con la ayuda de los ingenieros de Lamborghini, más acostumbrados a trabajar con bloques de aluminio, diseñaron un V10 de 8 litros, relativamente ligero, aunque pesase 300 kg. y que ofrecía 405 CV a sólo 4.600 rpm… Eso permitía una aceleración de 0 a 100 en 4,6 segundos. Ya tenemos motor, pero, ¿Cómo nace este “aparato”? Pues gracias a un suizo… porque el Sr. Lutz nace en 1932 en Suiza… tiene nacionalidad norteamericana y suiza. Y es uno de los pocos ejecutivos que ha trabajado en las “tres grandes” americanas, Ford, GM y Chrysler. Y era un enamorado de los coches deportivos y admirador de los Shelby Cobra. Siendo Lutz presidente del grupo Chrysler se juntó con el diseñador de la casa, Tom Gale y hablaron de cuánto les gustaban los coches clásicos americanos, y en concreto, como no, los Shelby Cobra… era 1988 y Bob Lutz dijo… “¿por qué no hacemos un coche deportivo moderno inspirado en los Cobra?”. Y un año después, en el Salón de Detroit de 1989, se presentaba un prototipo. Me encanta decir eso de “yo estuve allí” … pero es que estuve. Pero, resacas aparte, lo cierto es que el coche gusto… como se suele decir, tuvo éxito de “crítica y público”. Tanto fue así que Lutz dio luz verde al proyecto… poniendo a trabajar a 85 ingenieros en ese coche de forma inmediata. Y trabajaron firme porque en 1991 nada menos que el mismísimo Carrol Shelby condujo una unidad de pre-serie como Safety Car en las 500 Millas de Indianápolis… un año después comenzaba su fabricación. Esos 85 ingenieros hicieron lo que se les encargó: Un coche de carreras matriculable… y se pasaron. Realmente el primer Viper, el RT/10 no es que fuese incómodo, ¡era un potro de tortura! El chasis de tubos era muy rígido y ligero, sobre todo en términos de “coche americano”. Las suspensiones también eran duras como piedras, entre otras cosas porque la distancia al suelo era mínima… cualquier baden o “guardia tumbado” europeo, era una trampa para el Viper. Inicialmente, las puertas no contaban con cerradura. Para poder abrirlas, había que retirar unas ventanillas de vinilo que estaban fijadas con cremalleras para acceder al tirador interno de la puerta. Un verdadero lío. La habitabilidad era escasa… y el calor insoportable… ¡incluso en invierno! Y lo peor, es que la opción del A/A, a mi modo de ver imprescindible, se hizo esperar esta 1994. La dirección era muy directa y asistida… pero dura. El embrague era de corto recorrido y duro… el cambio de seis marchas, manual, era rápido y preciso… y duro. Las suspensiones tenían un diseño excelente… pero eran duras… realmente había que estar fuerte para llevar este primer Viper. ¿Una tortura? Sí, pero una maravillosa tortura. Incluso para su época, un peso de 1.500 kg no era tanto… hoy día es casi un “peso pluma”, pero os recuerdo que el motor tenía 406 CV y el par era de 630 Nm… con esos rodillos y sin electrónica, no era un coche para novatos… Mucho más refinada fue la versión GTS coupé que contaba un techo con “burbujas” pensado en llevar casco y un motor potenciado hasta los 450 CV. Según la marca, era otro coche, pues el 90 por ciento de los componentes eran distintos entre el GTS coupé y el RT/10 Cabrio. El equipamiento mejoraba exponencialmente, con cierre centralizado, elevalunas eléctricos, Radio-CD, airbags y unos nuevos asientos con los cinturones incorporados. Además, en este 1996 nace la versión GTS-R destinada a la competición, que entre otras cosas contaba con motor de 470 CV y un paquete aerodinámico, con un llamativo spoiler delantero y un gran alerón trasero. Para entonces Chrysler pertenecía al grupo FCA, “Fiat Chrysler Automóviles” cuyo CEO en ese año era Sergio Marchione. Para justificar la desaparición de este modelo dio dos argumentos: ”Su bajo nivel de ventas y la obligación de instalar airbags de cortina en todos los coches a partir de dicho año”. Coche del día. ¡Por qué conformarse con uno! ¡Ni con dos! ¡Vamos con tres! Os traigo esta joya que guardo como “oro en paño”. Una edición especial de la marca y de la serie “Historical Teams”, de la marca Fly Car Model. Son los tres Dodge Viper del Team Oreca que participaron en las 24 Horas de Le Mans de 1998… preciosos… ¿o no? Y además, van como tiros.

Episode 153: Our continued Grand conversation over cigars and Scotch whisky in Vail, this time with Mark Hyman of Hyman Ltd., Shelby Cobra 427 driver Heather Greene, Hagerty's David Swig, Rockmount Ranch Wear's Steve Weil, Ascent Drive Resort's Isaac Bouchard, 1937 Riley ace Richard Schneider and Devin SS pilot Rick Rome. The Colorado Grand: co1000.com Enter our code STEERING at checkout for 10% off at JackSloane.com. Check out RiNo Sign Works at rinosignworks.com and @rinosignworks. And, for badass Belgian brews, visit our Bruz Beers friends at bruzbeers.com

Cliff Barackman and James "Bobo" Fay catch up about possible activity on Cliff's property, new insights into the Freeman Video, the celebrity status of Bobo's trailer, and the Bobes gives us a new "Bobo's Story Time" detailing his adventures in a Shelby Cobra! The boys also discuss a few news items with 'squatchy relevance.Sign up for our weekly bonus podcast "Beyond Bigfoot & Beyond" here: https://www.patreon.com/bigfootandbeyondpodcastGet official "Bigfoot & Beyond with Cliff & Bobo" merchandise here: https://sasquatchprints.com/bigfoot-and-beyond-merch/This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5828320/advertisement

Zack tricks his dad into some tires; we discuss the biggest range of engines you can get in a single model of car; Matt's new building might have cooler cars than the old one; the Polaris slingshot is getting a second try; and we answer Patreon questions about:    Is it "cheap" or simple to manual swap a Ferrari?   Which of our automotive opinions has changed in the last five years   Why turning of TCS is a bad idea   From Miata to CX90   E36 vs new GR86   Our thoughts on the BMW Neue Klasse concept   Top 3 cat breeds   The best seats for under $100k   The Meyers Manx   And more! Recorded September 6, 2023 Watch the ISF Review: https://youtu.be/UcdBjS7GmMw?si=gvrdieQQG6rVVCDy Head to factormeals.com/tire50 and use code tire50 to get 50% off. Download the Gametime app, create an account, and use code SMOKINGTIRE for $20 off your first purchase. Terms apply. Go to PrizePicks.com/TIRE and use code TIRE for a first deposit match up to $100! Want your question answered? To listen to the episode the day it's recorded? Want to watch the live stream, get ad-free podcasts, or exclusive podcasts? Join our Patreon: https://www.patreon.com/thesmokingtirepodcast Tweet at us!https://www.Twitter.com/thesmokingtirehttps://www.Twitter.com/zackklapman Instagram:https://www.Instagram.com/thesmokingtirehttps://www.Instagram.com/therealzackklapman Click here for the most honest car reviews out there: https://www.youtube.com/thesmokingtire   

The Today in Manufacturing Podcast is brought to you by the editors of Manufacturing.net and Industrial Equipment News (IEN).This week's episode is sponsored by BigCommerce, which provides modern ecommerce technology that works with existing systems.Every week, we cover the five biggest stories in manufacturing, and the implications they have on the industry moving forward. This week: - Classic Recreations Unveils Carbon Fiber Shelby Cobra- Fatal Explosion in Ohio Foundry Linked to Safety Procedure Failures- American Industrial Icon U.S. Steel on Verge of Being Absorbed- Kimchi Factory Gets Green Light Despite Odor Concerns- Deere Picks New U.S. Battery HubIn Case You Missed It- Amazon Rolls out Generative AI for Product Reviews- GE Appliances Invests $34M to Expand U.S. Refrigerator Manufacturing- Largest Ever Investment in Carbon RemovalPlease make sure to like, subscribe and share the podcast. You could also help us out a lot by giving the podcast a positive review. Finally, to email the podcast, you can reach any of us at David, Jeff or Anna [at] ien.com, with “Email the Podcast” in the subject line.

The first test day for the Goodwood Revival has already taken place and there were some amazing cars being shaken down, including Saif Assam's glorious Shelby Cobra. We also talk to Rory Butcher about the differences between racing his Toyota in the BTCC and peddaling a 1960s short wheelbase Porsche around Goodwood. Artist Andrew Kitson has made a study of the history of Snetterton, the Norfolk circuit which started life as a USAF bomber base in WW2 and he tells us about the history of the place. Jim Roller and Paul Tarsey discuss the time they have spent together, with both of them in the UK for a rare opportunity to share some interesting motorsport experiences. They also investigate the happenings at Monterey Car Week and look at the Pebble Beach auctions.

Summer is time for road trips. And for the IMMP that starts with the odd, stylish 1976 action comedy THE GUMBALL RALLY.

One of the world's top dog agility competitors, Amber McCune shares insights into this popular sport and how to bring out the athlete in your dog on this special episode of the Oh Behave show hosted by Arden Moore. Amber's border collies, including Notch, Kaboom, Howie, Shelby Cobra and Typo, have racked up major agility wins. Amber is truly inspiring, so tune in now! EPISODE NOTES: Meet Amber McCune, a Legend in The Dog Agility Sport

"WHO'S NEXT?" how about WCW World Heavyweight Champion, BILL GOLDBERG . . . John and I find out why he became a WWE Superstar . . and what it was like growing up in Oklahoma. PLUS we GO INSIDE Bill's Brand New Garage where he owns 25 or so classic cars including a Shelby Cobra 427 and a Plymouth Barracuda It's a MUST SEE season finale. #camarocentral, #musclecarcentral #firebirdcentral #amsoil #syntheticadvantage #3LeftsDontMakeARight #billgoldberg #whosnext? #WWE #WWF #foose #buildersbrawl #magnaflow #classiccars #garageinsider #ironresurrection #GM #camaro #garageinsidertv #hollywood #velocity #motortrend #hotrodmagazine #gasmonkeygarage #goldbergsgarage #watchurdick

Tom Henson is the owner of T&T Services in Lapeer, Michigan along with his business partner and bowling partner, Tonya.  I found Tom and Tonya's ad on Craigslist and was immediately drawn to it because of the ad for wasp removal.  It was apparent that Tom was offering a suite of services that anyone in the world of farming would already have much of the equipment for, and I wanted to interview him to show other people what was possible. It turns out that Tom has a very interesting story beyond his business.  He retired from Ford Motor Company where he spent a large part of his career hand building engines for Shelby Cobra's.  He is also a professional bowler with an average of 232!  Tom has bowled in professional tournaments, is in four leagues and averages 50 games per week! I had a fascinating time learning about the Ford engines and the bowling.  Eventually we got into the business....

We're time traveling with this exciting episode discussing the best vehicles in history that need to be revived - and why Stephan is considering selling everything he owns for his #1 pick. Is Honda flatlining? Why now is the best time for vehicle brands to come out with their designs that really push the envelope. Today's "Safety Segment" is an "Anti-Safety Safety Segment" where the guys discuss a staggering +$1.65M Shelby Cobra car sale at Amelia Island. Today's average car price is way too high - and if you're paying 6 figures for a vehicle, you better make a statement! Steve-O drives a 2023 BEV Mercedes SUV with a 57" dash and takes us through his (unimpressive) experience - the real statement Mercedes is actually making. Listen + Subscribe to the Podcast: Spotify - @carsoncallpodcast Apple Podcast - @carsoncallpodcast Follow Us and let us know what you'd like to hear next! Instagram - @carsoncallpodcast Facebook - @carsoncallpodcast #ford #fordmustang #audi #shelbycobra #ameliaisland #honda #bev #mercedes #cartrends #automotivedaily #carpodcast #vehiclesafety

The year is 1988. Chrysler is getting pummeled by Ford and GM in sales, and the company's lineup of cars weren't inspiring consumer excitement. They needed a new, exciting car - and fast. Company VP Bob Lutz was driving to work in his 1985 Shelby Cobra when it hit him. The Cobra was exactly the kind of car Chrysler needed to add to its repertoire. So Bob put together a team, gave them a three-point directive, and the rest, as they say, is history. The result of Bob's efforts was the iconic Dodge Viper. How did Lamborghini help Chrysler build an engine for a corvette-killer? Does a car need windows to sell? And was the Dodge Viper almost the final nail in Chrysler's coffin? Today on Past Gas: the story of the development of the Dodge Viper. You asked for it -- and we listened. We're filming Past Gas again! Head to our Youtube channel and check us out in the stu!  https://www.youtube.com/c/donutpodcasts Get 10% off your first month at https://BetterHelp.com/pastgas More about Show: Follow Nolan on IG and Twitter @nolanjsykes.   Follow Joe on IG and Twitter @joegweber. Follow Donut @donutmedia, and subscribe to our Youtube and Facebook channels!   Don't forget to subscribe to the podcast for free wherever you're listening or using this link: http://bit.ly/PastGas. If you like the show, telling a friend about it would be helpful! You can text, email, Tweet, or send this link to a friend: http://bit.ly/PastGas. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Scott Teeters is an automotive artist and writer whose work includes a collection of muscle car art, hot rod nostalgia posters, exotic sports car lithographs, Shelby Mustang, Shelby Cobra artwork, and more. Scott helps manage the Lake Country Cruisers Cars Show in Lake Placid, Florida and is the webmaster for their events and the Communications Director.

Under the Hood gets into continuing used car problems, a crumbling EV world, Street Legal Drag Racing,  an R32EV, An Apology to John Cena, The Civic Type R is Having Problems. Then we'll get into a special story "The Legend of The Long Lost Shelby Cobra"

With a $368 billion price tag, a delivery timeline that stretches across decades and an ex-PM going feral about it, everyone is talking about Albo's  AUKUS announcement. So what are we getting for the price tag? Do we really need it? And what exactly is a Shelby Cobra? An issue so big that this is just the first part!See omnystudio.com/listener for privacy information.

Is the collector car bubble about to pop?  Or, will this year's incredible increases continue into 2023 and beyond?  Mercedes Gullwings, Ferrari 250s, Shelby Cobra and Lamborghini Muiras; these are the Blue Chip cars that are great indicators to the overall health of the collector car market.  Listen in as Greg Stanley reviews some of these cars that will be available at RM Sotheby's Arizona sale on 1/26/23.  You can register for this auction at: https://rmsothebys.com/en/home/lots/az23 Cars mentioned in this episode: 1965 Shelby 427 Competition Cobra 1971 Lamborghini Miura P400 SV by Bertone 1967 Chevrolet Corvette Sting Ray 427/435 Coupe 1969 Plymouth GTX Hemi Convertible 1967 Ferrari 275 GTB/4 by Scaglietti 1958 Mercedes-Benz 300 SL Roadster 1956 Porsche 356 A 1600 Super Speedster by Reutter 1953 Fiat 8V Coupe by Ghia 1931 Duesenberg Model J Convertible Sedan by LeBaron 1952 Pegaso Z-102 Berlinetta by ENASA 2005 Porsche Carrera GT 1999 Lamborghini Diablo VT Roadster 2012 Lexus LFA 1987 Porsche 959 Komfort Get your FREE collector car consultation appointment by clicking here: https://thecollectorcarpodcast.com/contact/ Do you enjoy this podcast and want more?  Then see more content on YouTube at The Collector Car Podcast YouTube Channel.  Greg shares Virtual Car Shows, Museum Tours and more every week. Please support our sponsors: RM Sotheby's, Advantage Lifts, Euro Classics and Pioneer Electronics. Follow The Collector Car Podcast: Website, Instagram, Facebook, YouTube or communicate with Greg directly via Email. Join RM Sotheby's Car Specialist Consultant Greg Stanley as he applies over 25 years of insight and analytical experience to the collector car market. Greg interviews the experts, reviews market trends and even has some fun. Podcasts are posted every Thursday and available on Apple Podcast, GooglePlay, Spotify and wherever podcasts are found. See more at www.TheCollectorCarPodcast.com or contact Greg directly at Greg@TheCollectorCarPodcast.com. Are you looking to consign at one of RM Sotheby's auctions? Email Greg at GStanley@RMSothebys.com. Greg uses Hagerty Valuation Guide for sourcing automotive insights, trends and data points.

Paul Cooke, Canadian motorsports hall of famer, gives a detailed history on Canada's most signifigant race team, Comstock racing. The team was a Ford factory supported through the 1960, racing Shelby Cobra's, GT40s and Mustangs. Paul was witness more Canadian motorsports history than almost anyone, The director of Karting for ASN FIA was the team manager for George Eaton's Can-Am team, and other's Formula Atlantic and Formula One Campaigns. Paul is the Clerk of the Course for Formula One in Montreal. Paul recounts the GT40 crash at the 12 hours of Sebring that lead to the missing GT40.

El concepto de coche deportivo es muy diferente a uno y otro lado del Atlántico. Sin duda para los norteamericanos los pequeños y ligeros deportivos europeos tienen su encanto. Pero para los europeos los grandes y brutales deportivos americanos nos seducen… he elegido los que son, para mí, los 10 mejores. Planeta deAgostini lanza un coleccionable del Ford Mustang Shelby GT500? Pocos coches hay tan icónicos como éste. Puedes acceder a toda la info en este link: https://bit.ly/ShelbyGarajeHermetico ¡Y no te olvides de poner en el código GARAJEHERMETICO! Se trata de una maqueta muy grande, en una escala inédita, 1/6, de casi 80 cm de largo y con sonido, luces, metálica, completamente detallada, con puertas y capos con mecanismos de apertura, con dirección y hasta ¡con mando a distancia! Los primeros 1.000 suscriptores tiene premio: Una miniatura en metal a escala 1/24, una escala que, gracias a su tamaño de 20 cm, permite muchos más detalles que las miniaturas de escalas más reducidas. Vas a disfrutar montando esta maqueta, viendo el resultado final, pero con la obra editorial que acompaña a la colección, que te va a contar toda la historia y características de este modelo único. Y si piensas que no eres precisamente un “manitas” estate tranquilo, con las instrucciones de montaje, detalladas con fotografías y paso a paso, no tendrás problemas… Los deportivos norteamericanos son distintos porque el automóvil allí se ve con otros ojos. Bueno, el automóvil y todo, porque la frase “más es mejor” o “más grande es mejor” se aplica a muchas cosas: edificios, hamburguesas, ciudades… y coches. ¡Pragmáticos! Los norteamericanos son, sobre todo, muy prácticos, directos y buscan soluciones sencillas. ¿Qué hace falta para que un coche acelere? El menor peso posible y el mayor número de caballos posible. Sin duda el peso importa, pero ¿Cómo quitas peso drásticamente a un coche americano? Es imposible por mucho que sustituyas elementos de la carrocería por aluminio y quites cosas. Entonces, utilicemos la otra vía: ¡Más potencia! Y esto es más sencillo. Pero, como os digo, los americanos son muy prácticos, ¿nos vamos a molestar en complicarnos y preparar un motor? ¿Para que? ¡Aumentamos la cilindrada todo lo que haga falta! 1. Ford Mustang Shelby (1969). Carrol Shelby era un genio y el primero que pensó en unir lo mejor de dos mundos: Poner un potente motor americano a un ligero deportivo. Una de sus creaciones más geniales fue esta que os traemos, el Ford Mustang Shelby 500 GT. 2. Chevrolet Corvette C3 (1968). Para mí el más auténtico es el primero, el C1 de 1953. El más original, sobre todo en su época fue el C2 o “Sting Ray” de 1963. Pero el más carismático, llamado por muchos el “Coca-Cola” por la forma de su carrocería, es el C3. 3. Chevrolet Camaro (1970). Si se habla de deportivos y de Chevrolet todo el mundo piensa en el Corvette...pero, ¡mirad este coche!, su frontal, su silueta… Hubo varias evoluciones, pero todas preciosas. 4. Dodge Charger (1966). Confieso que el que más me gusta es el primero, el auténtico, el original… y no, no me refiero al prototipo de Charger II de 1965, espectacular, sino al modelo de serie aparecido en 1966 con ese frontal tan peculiar sin faros. 5. Ford GT 40 (1965). En el vídeo que hicimos sobre la película “¡Contra lo imposible!” contamos la historia de como Henry Ford, cuando Enzo Ferrari le negó la posibilidad de comprar su marca, decidió hacer un coche para ganar Le Mans. Y nació en GT40. 6. Plymouth Road Runner (1971). Me gusta la primera versión de 1968 pero mucho más la segunda de 1971. Además de este coche me encanta el nombre, pues de niño los “dibujos animados” de “El Correcaminos” no me los perdía… 7. Pontiac Firebird Trans Am “El Bandido” (1977). No sé si recuerdas de la película “Los Caraduras”.. Otro coche del que me enamoré: Ese Trans Am, negro, con techo desmontable y un águila en el capó… ¡brutal! ¿Qué soy un hortera? 8. Dodge Viper (1991). Aunque es un modelo que se ha fabricado hasta hace relativamente poco, me gusta el primero, con el V10 de 7,9 litros y 400 CV que tuve oportunidad de probar. 9. Shelby Cobra (1963). Es un coche que demuestra que Carroll Shelby era un auténtico genio, que tiene lo mejor de los deportivos europeos y americanos, muy cotizado actualmente, especialmente para carreras de clásicos y que en su momento ofrecer, en modelo pensados para circuito, hasta 492 CV… con un peso que rondaba las tonelada y media… 10. Vector W8 (1990). Solo se fabricaron 19 unidades de este modelo tan especial, que pretendía volver a llevar a los deportivos americanos a las más altas cotas. Coche del día. Voy a elegir un coche que tengo yo y que he nombrado: El Corvette Greenwood pero no en la versión “Spirit of Le Mans” sino en la versión Riverside…

Greg Stanley dives deep in this episode and shares the values of many collector car options.  Manual verses automatic, alloy verses base and more.  A few of the cars mentioned on this episode are: 1966 Ferrari 275 GTB/4 Alloy 1954 Mercedes-Benz 300SL Aluminum Gullwing 1950 Jaguar XK 120 Alloy Roadster 1960 Ferrari 250 California SWB 1966 Ford Mustang GT Fastback 1993 Porsche 911 Carrera 2 Coupe 1957 Chevrolet Bel Air 2dr Convertible 2014 Cadillac CTS-V Wagon 1930 Duesenberg Model J LeBaron 4dr Dual Cowl Phaeton 2011 Corvette Z06 Carbon Edition 1970 Plymouth Cuda Convertible 1966 Shelby Cobra 427 Competition  2012 Lexus LFA Nurburgring  1967 Chevrolet Corvette Convertible L88  2014 Mercedes-Benz SLS AMG Black Series Do you enjoy this podcast but want more?  Then see more content on YouTube at The Collector Car Podcast YouTube Channel.  Greg shares Virtual Car Shows, Museum Tours and more every week. Please support our sponsors: RM Sotheby's, Advantage Lifts, Euro Classics and Pioneer Electronics. Follow The Collector Car Podcast: Website, Instagram, Facebook, YouTube or communicate with Greg directly via Email. Join RM Sotheby's Car Specialist Consultant Greg Stanley as he applies over 25 years of insight and analytical experience to the collector car market. Greg interviews the experts, reviews market trends and even has some fun. Podcasts are posted every Thursday and available on Apple Podcast, GooglePlay, Spotify and wherever podcasts are found. See more at www.TheCollectorCarPodcast.com or contact Greg directly at Greg@TheCollectorCarPodcast.com. Are you looking to consign at one of RM Sotheby's auctions? Email Greg at GStanley@RMSothebys.com. Greg uses Hagerty Valuation Guide for sourcing automotive insights, trends and data points.

Matt spent the weekend in the Aston Martin DBX 707 Edition and drove an electric Shelby Cobra. Zack had a ‘90s day and drove a crazy Frankenstein Eclipse GSX and a 400HP 240SX. And we answer questions about whether or not the newest car makes the best track car; is buying a German super sedan a good use of $40k; keep or upgrade: Mazda 2 commuter edition; $500 watches; and more!  Recorded September 12, 2022 Go to HelloFresh.com/smokingtire16 and use code smokingtire16 for 16 free meals across 7 boxes AND 3 free gifts! Use Off The Record! and ALWAYS fight your tickets! Enter code TST10 for a 10% discount on your first case on the Off The Record app, or go to http://www.offtherecord.com/TST Want your question answered? To listen to the episode the day it's recorded? Want to watch the live stream, get ad-free podcasts, or exclusive podcasts? Join our Patreon: https://www.patreon.com/thesmokingtirepodcastTweet at us! https://www.Twitter.com/thesmokingtirehttps://www.Twitter.com/zackklapmanInstagram: https://www.Instagram.com/thesmokingtirehttps://www.Instagram.com/therealzackklapmanClick here for the most honest car reviews out there: https://www.youtube.com/thesmokingtire Want shorter podcasts? Subscribe to our new CLIPS channel! https://www.youtube.com/channel/UCD4WGV-W5zD1MK4yHbNGwmw

Quizmasters Lee and Marc meet for a trivia quiz with topics including Botany, Logos, Astronomy, Cars, Movies, Periodic Table, Engineering, Symbols and more! Round One BOTANY - What type of plant will only bear fruit after digesting the corpse of a female wasp? LOGOS - What color is the 'l' in the Google logo? HOT ONES - The popular hot sauce challenge web series Hot Ones by Complex Networks is filmed in which U.S. state? ASTRONOMY - ‘Oceanus' and ‘Janus' were suggested names for what planet? CARS - What high-performance sports car by Dodge debuted in the 90's and was inspired by the Shelby Cobra in name and appearance? 2010's MOVIES - Slowmo is a drug that appears in what 2012 action adaptation of a comic book character? Round Two PERIODIC TABLE - Which common seven letter element has the atomic number 20? FIREARMS - Founded in the 16th Century, what Italian firearms manufacturer is the oldest active manufacturer of firearm components in the world? THE BIBLE - What is the fifth book of the New Testament? STRUCTURAL ENGINEERING - In structural engineering, what is the term for a structure's connection points or nodes? SYMBOLS - The international symbol of lb. for pound is an abbreviation for what latin word? NASA - What "lucky snack" is present at every mission event controlled from NASA's Jet Propulsion Laboratory (due to its presence at a successful landing of Ranger 7 on the moon)? Rate My Question JURASSIC PARK - The dilophosaurus is famously but inaccurately portrayed in Jurassic Park spitting venom. What does "dilophosaurus" mean in Greek? Final Questions 70's MOVIES - What 1979 comedy film sees its protagonist headed to Hollywood to become a star and features cameos by Milton Berle, Mel Brooks, Bob Hope, Elliott Gould, Carol Kane, Cloris Leachman, Steve Martin, Richard Pryor and Orson Welles, among others? CELEBRITY FAMILIES - What actor from Cheers is the maternal actor of Jason Sudeikis? HORROR MOVIES - In which Friday the 13th movie does Jason first don his iconic hockey mask? Upcoming LIVE Know Nonsense Trivia Challenges September 14th, 2022 - Know Nonsense Challenge - Point Ybel Brewing Co. - 7:30 pm EST September 15th, 2022 - Know Nonsense Trivia Challenge - Ollie's Pub Records and Beer - 7:30 pm EST September 17th, 2022 - UPSIDE DOWN TRIVIA: STRANGER THINGS PUB QUIZ - Ollie's Pub Records and Beer - 7:30 pm EST You can find out more information about that and all of our live events online at KnowNonsenseTrivia.com All of the Know Nonsense events are free to play and you can win prizes after every round. Thank you Thanks to our supporters on Patreon. Thank you, Quizdaddies – Gil, Tim, Tommy, Adam, Brandon, Blake Thank you, Team Captains – Kristin & Fletcher, Aaron, Matthew, David Holbrook, Mo, Lydia, Rick G, Skyler Thank you, Proverbial Lightkeepers – Elyse, Kaitlynn, Frank, Trent, Nina, Justin, Katie, Ryan, Robb, Captain Nick, Grant, Ian, Tim Gomez, Rachael, Moo, Rikki, Nabeel, Jon Lewis, Adam, Lisa, Spencer, Luc, Hank, Justin P., Cooper, Sarah, Karly, Lucas, Mike K., Cole, Adam Thank you, Rumplesnailtskins – Mike J., Mike C., Efren, Steven, Kenya, Dallas, Issa, Paige, Allison, Kevin & Sara, Alex, Loren, MJ, HBomb, Aaron, Laurel, FoxenV, Sarah, Edsicalz, Megan, brandon, Chris, Alec, Sai, Nathan, Tim, Andrea, Ian If you'd like to support the podcast and gain access to bonus content, please visit http://theknowno.com and click "Support."

Kevin and Willie welcome the “Father of the Ford GT” Chris Theodore for a special extended conversation chronicling his remarkable career in the automotive industry. The “engineer's engineer,” Theodore has been a driving force behind some of the greatest vehicles of the 20th Century and beyond. His historic collaborations with the late Carroll Shelby culminated in the 2004 Ford Shelby Cobra Concept car that gives his book – and this podcast – its subject. Learn more about your ad choices. Visit megaphone.fm/adchoices

Join us online for an incredible interview with a Shelby Cobra legend - Kei Iinuma and his wife Mickey have together put 300,000 miles of road trips and track days on two Shelby Cobras! Kei built the second one by himself - a genuine CSX continuation car - and has put over 150k miles on his home-built Shelby. The stories are unmatched and his passion is infectious.Please visit our sponsors:https://nathansdetailing.com/switchcast/ - for free leather conditioning with purchase of detail service or $100 off your purchase of an XPEL protection service.https://www.nuts4sticks.com/ - discount code "SWITCHCAST" for 10% discounthttps://www.switchcars.com/boxcast - Free livestream trialhttps://www.celebritymachines.com - discount code "SWITCHCAST" for 25.39% discounthttps://www.instagram.com/shulme123/ - Quality Custom Woodworkinghttps://www.switchcars.com

What I learned from reading Carroll Shelby: The Authorized Biography by Rinsey Mills. This was originally episode 99. I wanted to post the full episode on July 4th so we can learn from an American original.[3:27] I love everything about this person. I like the way he thought. I like the way he lived his life.[3:38] It is almost unbelievable all the different events that could happen in one human lifetime.[3:52] He lived to 89 years old and he used every single year that he was alive.[5:22] He could talk his way out of anything.[6:40] He knew what he wanted. He didn't want anybody else telling him what to do.[7:41] He had a love for anything that would go fast.[10:48] He didn't know what to do with his life.[15:54] Follow your natural drift. —Charlie Munger[17:00] I can't work for anybody.[18:42]  He has fun his entire life. As soon as they stop being fun he runs away.[22:20] A Man for All Markets: From Las Vegas to Wall Street, How I Beat the Dealer and the Market by Ed Thorp. (Founders #93 and #222) [24:17]  Money only solves money problems.[26:32] Scratching around doing insignificant races with inferior machinery wasn't an option in which he could see any future.[27:26] Whatever setbacks he encountered he was invariably able to bounce back through a combination of self-belief and an aptitude for making other people believe in him.[27:45] Enthusiasm and passion are universal attractive traits.[28:05] Go Like Hell: Ford, Ferrari, and Their Battle for Speed and Glory at Le Mans by A.J. Baime. (Founders #97) and Enzo Ferrari: Power, Politics, and the Making of an Automobile Empire by Luca Dal Monte. (Founders #98) [30:29] The Purple Cow by Seth Godin[32:22] Distant Force: A Memoir of the Teledyne Corporation and the Man Who Created It by Dr. George Roberts. (Founders #110)[32:38] Having extreme focus in the information age is a superpower.[36:13] Racing was a means to an end. He wanted to build his own car. That was his main goal.[42:34] He still didn't know quite how he was going to do it but if he was finally going to produce his own sports car.[53:48] All big things start small.[58:31] 12 months after Shelby was deeply depressed his life is completely different and the Shelby Cobra starts to take shape.[1:00:06] A summary of the early days of Shelby Automotive: Everything had to be done tomorrow and by the cheapest method possible.[1:01:12] It wasn't uncommon for them to work until two or three in the morning and be back down there at 7:30 the next morning.[1:02:22] There's just something special about a group of highly talented, smart people working together for a common goal.[1:03:48] Shelby hates company politics. That is why he wanted to run a smaller company.[1:17:30] My name is Carroll Shelby and performance is my business. —“I have listened to every episode released and look forward to every episode that comes out. The only criticism I would have is that after each podcast I usually want to buy the book because I am interested, so my poor wallet suffers. ”— GarethBe like Gareth. Buy a book: All the books featured on Founders Podcast

Can Harry's AC Cobra Kit Car convince Ori that kit cars aren't that bad?Check out our Instagram @mickandoriCheck out our YouTube channelSend us an email at mickandori@gmail.comCheck out the Mick and Ori website

How long does it take to restore a Shelby Cobra that's been dredged out of the Hudson River? Sam Prock, owner of the "River Snake" tells us his story.

¿Por qué el 911 lleva motor trasero? ¿Era la mejor solución en su momento? ¿Es la mejor solución ahora? ¿Por qué es el único deportivo con motor trasero? ¿Por qué Porsche no hace un 911 con motor central? Y lo más importante: Si Ferdinand Alexander “Butzi” Porsche hubiese partido de cero, ¿hubiese puesto el motor ahí? Seguimos con nuestros podcast de “historia ficción” y técnica. ¡Como Dios! Así nos sentimos en Garaje Hermético gracias a vosotros. ¿Por qué? Porque en el podcast de “Cuando lo Nazis descubrieron el 2CV” os preguntábamos si queríais más podcast así, de historia ficción, cambiando la historia verdadera y elucubrando, con criterio, acerca de cómo hubiesen cambiado las cosas. El 356, un Volkswagen deportivo. No es ningún secreto, por más que algún "porschista desinformado" se enfade, que el primer Porsche, el 356, era poco más que un Escarabajo convertido en deportivo. Un coche así, de 36 CV y menos de 600 kg era suficiente en 1948. Pero ya en 1963, 130 CV para más de 800 kg no eran unas buenas cifras para un deportivo. Deportivos años ’60. Si Butzi Porsche no hubiese partido del 356 y se hubiese inspirado en los deportivos de los años 60 sólo hubiese encontrado un coche con motor trasero: El Alpine A110 de 1961. ¿Por qué puso Jean Rédélé el motor ahí? Es que no lo puso… ¡ya estaba ahí! Pero salvo esta excepción entre los deportivos de los años 60 había dos grupos: Los de motor delantero que eran los de diseño más antiguo en su mayoría y los más modernos y sofisticados de motor central. Los deportivos de motor delantero, por citar unos pocos ejemplos eran el Jaguar E de 1961, el Ferrari GTO de 1962, el Shelby Cobra de 1962 o el Aston Martin DB5 de 1963, entre otros. Pero es que en 1966 llega un coche que lo cambia todo, que revoluciona el panorama de los deportivos y supe deportivos, que es el Lamborghini Miura aparecido en 1966, por supuesto con motor central como también lo llevaban en 1967 el Alfa Romeo 33 Stradale o el De Tomaso Mangusta. “Ferry”, “Butzi” y Erwin. Ferdinand Anton Ernst Porsche, conocido, y no me extraña, por Ferry, era hijo del fundador de la compañía y su presidente en esos años. En 1959 fue consciente de que el modelo único de Porsche se estaba quedando atrás frente a la competencia. El encargo fue sencillo: Un relevo para el 356. Una marca que, no nos engañemos, es muy conservadora, lógicamente partió de lo que mejor conocían: Los coches con motor trasero. Historia-Ficción. Estamos a finales de los ‘50 y primeros ’60, no existe la referencia de 356, los deportivos en ese momento son prácticamente todos de motor delantero y Porsche es una marca que en esos tiempos es muy pequeña y no toma riesgos… ¿cómo hubiese sido el 911? Personalmente yo lo tengo claro: Hubiese sido un coche con motor delantero como la gran mayoría. Así que nuestro querido Butzi hubiese diseñado un coche con motor delantero, a lo mejor bóxer, pensando en bajar el centro de gravedad, incluso refrigerado por aire, pues si el 911 con motor trasero era así, con más motivo si el motor hubiese estado delante y le llegase más aire. Y, además un motor bóxer permite un frontal muy afilado, de manera que ese hipotético 911 de motor delantero, estilísticamente podría no ser muy distinto del 911 real. Evolución-Ficción. En la realidad Porsche, a pesar de contar con el 911 con motor trasero, empleaba el motor central en el escaso Porsche-VW 914 y en sus coches de competición como en el precioso Porsche 906 o Carrera 6, el 908 o el mítico 917. Y luego acabo usando el motor central en un coche de calle cuando lanzo en 1996 el Boxster. Parece lógico pensar que Porsche hubiese trasladado el motor de delante al centro, como sin ir más lejos hizo Ferrari que primero en 1967 presentó el Dino con motor central y luego, en 1973, el Ferrari BB, sustituto del Daytona… de ambos tenéis vídeo en nuestro canal, por cierto. ¿Casi 60 años equivocados? ¿Cuántos deportivos actuales conoces con motor trasero? ¿Cuántos coches de competición? Pues ninguno. A Porsche cada vez le cuesta más mantener las distancias entre el 911 y su hermano pequeño el Boxster, Cayman o 718 y lo hace a base de precio y potencia, pues el 716 S ofrece 350 y el 911 Carrera 385 CV, además de mejor calzado y frenos. Conclusión. Reconozco que estos vídeos en los que “cambiamos” la historia y nos atrevemos a pontificar de lo que deben o deberían hacer las marcas son un atrevimiento. Pero lo hacemos por dos cosas: Una, porque es una forma distinta de afrontar temas de siempre y otra, porque contamos con vuestro apoyo… así que más que nunca, esperamos vuestra aprobación. Coche del día. Soñar es gratis. Así que voy a elegir como coche del día el coche que me gustaría para sustituir a mi Mazda MX5: Un Porsche 718 Boxster básico nuevo y con el equipamiento justo. Creo que con 300 CV me apañaría…

Matt Stone, freelance journalist, author, broadcaster, former Editor, Motor Trend Classic magazine. He has been a professional automotive journalist/photographer since 1990. Editorially, Stone was in charge of advance and strategic planning for the magazine, including story selection and editor assignments. He participated in all manner of Motor Trend activities, including road tests, special interest stories, industry news, and MT's world-recognized Car, Truck, and Sport/Utility of the Year programs. His specialties are history, design, and interview features. Stone contributed to MotorTrend.com, and his voice was often heard on the syndicatedMotor Trend Radio Network. Stone has a Bachelor's degree from Cal Poly Pomona, with a major in Business, and minors in Journalism and Marketing. He has authored and photographed more than a dozen automotive book titles with more in process, and for seven years was a member of SPEED/Fox Sports' Barrett-Jackson auctions television broadcast team. Matt enjoys anything with four wheels, though demonstrates a particular passion for sports, performance, and racing cars. Chief Class Judge at the Pebble Beach Concours d'Elegance, a judge at the Amelia Island Concours d'Elegance, and officiates at other shows and events. He serves his profession as a past Officer and Board of Director member, Keynote Address Committee Chairman, and past-President of the Motor Press Guild (MPG) trade association. A California native, Matt Stone currently resides in Glendale and still hopes to own a Ferrari Daytona, a Ford GT, and a Shelby Cobra 289. Well, someday, anyway… Learn more about our show sponsor, Arango Insurance Services for all your automotive-related insurance needs. From automotive businesses, your classic car, a collection of rare exotics, no matter what it is, if its got wheels we can insure it. www.arangoins.com

Join Car Specialist Greg Stanley to find out which cars changed the world and why from 1950 through 1969.  This is a series that will cover over 100 years of automotive history.  You can listen to the previous episode here: 175: 100 Cars That Changed The World (1880s - 1920s) 180: 100 Cars That Changed The World (1930s - 1940s) Cars mentioned in this episode: 1950 Nash Rambler 1951 Chrysler Hemi 1952 Bentley R-Type Continental 1953 Chevrolet Corvette 1954 Mercedes Benz 300SL 1955 Chevrolet V-8 1957 Chrysler 1958 Ford Thunderbird 1959 Austin Mini 1959 Lotus Elite 1960 Ferrari 250 GT SWB Spyder California 1961 Jaguar E-Type 1961 Lincoln Continental 1962 Shelby Cobra 1963 Aston Martin DB5 1963 Chevrolet Corvette 1963 Jeep Wagoneer 1964 Porsche 911 1964 Ford GT40 1964 Pontiac Tempest GTO 1965 Ford Mustang 1967 Lamborghini Muira 1968 BMW 2002 1968 Dodge Charger 1968 Ferrari 365 GTB/4 Daytona 1968 Plymouth Road Runner 1969 Jaguar XJ Please support our sponsors: RM Sotheby's, Hagerty, Metron Garage, Euro Classics and Pioneer Electronics. Follow The Collector Car Podcast: Website, Instagram, Facebook, YouTube or communicate with Greg directly via Email.  Support this channel by supporting us at Patreon. Join RM Sotheby's Car Specialist Consultant Greg Stanley as he applies over 25 years of insight and analytical experience to the collector car market. Greg interviews the experts, reviews market trends and even has some fun. Podcasts are posted every Thursday and available on Apple Podcast, GooglePlay, Spotify and wherever podcasts are found. See more at www.TheCollectorCarPodcast.com or contact Greg directly at Greg@TheCollectorCarPodcast.com. Are you looking to consign at one of RM Sotheby's auctions? Email Greg at GStanley@RMSothebys.com. Greg uses Hagerty Valuation Guide for sourcing automotive insights, trends and data points.

TIMELINE:Intro (:01)Coming Up in 2022 (1:32)CONTEST: Inspect Point's Ugly Sweaters & Ugly Deficiencies (1:40)Hello John and Drew Sets This Episode's Agenda (2:11)Meet WESCO (3:50)Born & Raised in Fire Protection (6:57)Family Portable Fire Extinguisher Biz Sold to Kidde (7:25)From a Parts Business to an Importing and Recycling Company (8:19)President of the FSSA & Involved in NAFED (9:32)Did Todd Stevens Cause COVID?  (10:40)What is AIM, What Are Clean Agents, and Where Are They Used? (11:56)Halon 1301 is a Depleting Ozone Agent (13:00)Treaty Banning Production of Ozone Depleting Agents (13:29)Recycled Halon (14:20)Replacing Halon (15:04)3M & NOVEC (5:31)Some Agents Aren't Ozone Depleting But Add to Climate Change (16:31)Phasing Out HFCs (17:00)American Innovation in Manufacturing and Competitiveness Act (AMAC)  (17:32)A Phasing Down  (18:00)There's Always Sand & Water (18:34)NOVEC vs. FM200 (18:49)Dupont Says... (19:03)AIM Is the Law (19:36)An 85% Decrease of HFCs Over 15 Years (20:23)HFC Allocation (21:24)Allocations Are Based on Global Warming Index (22:07)Fire Suppression Agents Have Some of the Highest Global Warming Percentages (23:17)Hard For Manufacturers to Know Cost and Availability of HFCs  (25:08)Recent Manufacturer Announcements: December 2021! (25:45)Sustainability For HFCs is a Huge Issue (27:00)If HFC System Goes Off, It Is Reportable (29:05)HFC is in Hospice (31:00)The Halon Country Club (32:02)Industries Have Their Allocations (34:00)Drew Uses Bear Spray? (34:42)Is the Special Hazard Industry Growing or Shrinking? (37:25)Hospice Theory (40:15)HCFC Was Controlled Before HFC Was (40:45)New Streaming Agent in Aviation (43:56)BTP in All-New Planes (45:00)Touching on Foam (45:30)Lithium-Ion Battery Fires (46:54)Nothing Puts Them Out: Get People Out & Let It Burn (48:50)Will You See John or Drew in a Tesla? (49:25)Quick Response Round (52:25)Cars: 60s Shelby Cobra or Late 60s Corvette? (52:40)Friends & Family: To Tesla or Not To Tesla? (53:15)Craziest Installation: Use or Location (54:25)Craziest Deficiency - Like Inspect Point's Contest! (55:40)Biggest Issues in Our Industry? (56:56)Promote and Help Tech Schools (59:10)Lithium-Ion Battery Fires (1:00:26)Fire Protection Manufacturers and R&D (1:01:15)Innovation is on the Software Side (1:03:17)North or South Jersey? (1:03:39)Where the Parkway Crosses the Turnpike (1:04:10)John Mackey & the Pizza Battle (1:05:20)Where Did You Live in NYC? (1:06:43)Wrap Up (1:07:40)Drew's Outro (1:08:20)

Kevin and Willie welcome the “Father of the Ford GT” Chris Theodore for a special extended conversation chronicling his remarkable career in the automotive industry. The “engineer's engineer,” Theodore has been a driving force behind some of the greatest vehicles of the 20th Century and beyond. His historic collaborations with the late Carroll Shelby culminated in the 2004 Ford Shelby Cobra Concept car that gives his book – and this podcast – its subject. Learn more about your ad choices. Visit megaphone.fm/adchoices

The classic Shelby Cobra is a legendary performance car, but does it work as an electric vehicle? Motor1.com Director of Video Clint Simone returns to the podcast to talk about his experience driving a Superformance Cobra EV prototype with a Tesla Model S powertrain, and how it compares to the company's gas-powered version. We also bid farewell to the Audi TT RS in America, and we compare several modern retro-themed vehicles with their classic counterparts.

Join Greg Stanley as he review the top 25 cars that sold at public auctions in 2021.  Cars reviewed on this episode: 1995 McLaren F1 1959 Ferrari 250 GT LWB California Spider Competizione 1962 Aston Martin DB4GT Zagato 1962 Ferrari 268 SP 1966 Ferrari 275 GTB Competizione 1955 Ferrari 250 GT Berlinetta Competizione 1972 Matra MS 670 2010 McLaren MP4-25A F1 Racer 1955 Jaguar D-Type 1958 Ferrari 250 GT LWB Berlinetta ‘Tour de France' 1965 Shelby Cobra 427 1929 Duesenberg Model J 'Disappearing Top' Torpedo 1929 Bugatti Type 35 B Grand Prix 1966 Shelby Cobra 427 Super Snake 1928 Mercedes Benz S-Type Supercharged Sports Tourer 1934 Bugatti Type 57 S 1958 Ferrari 250 GT Cab Series I 1934 Mercedes Benz 500k Spezial Roadster 1937 Bugatti Type 57 SC Tourer 1958 Ferrari 250 GT Cab Series I 1963 Shelby Cobra 289 Works 1930 Duesenberg Model J 'Disappearing Top' Convertible Coupe 1995 Ferrari F50 1953 Ferrari 166 MM Spider Series II 1959 Aston Martin DB4GT Lightweight Please support our sponsors: RM Sotheby's, Hagerty, Metron Garage, Euro Classics and Pioneer Electronics. Follow The Collector Car Podcast: Website, Instagram, Facebook, YouTube or communicate with Greg directly via Email.  Support this channel by supporting us at Patreon. Join RM Sotheby's Car Specialist Consultant Greg Stanley as he applies over 25 years of insight and analytical experience to the collector car market. Greg interviews the experts, reviews market trends and even has some fun. Podcasts are posted every Thursday and available on Apple Podcast, GooglePlay, Spotify and wherever podcasts are found. See more at www.TheCollectorCarPodcast.com or contact Greg directly at Greg@TheCollectorCarPodcast.com. Are you looking to consign at one of RM Sotheby's auctions? Email Greg at GStanley@RMSothebys.com. Greg uses Hagerty Valuation Guide for sourcing automotive insights, trends and data points.

As Managing Member of the Muscle Car and Corvette Nationals, Bob Ashton is a true auto enthusiast.  Which makes his job of picking only 10 cars for his "Ultimate Muscle Car Garage" a herculean task!  Tune in to find out what made the cut and listen out for the Hemi Hot Take that floored Greg.  Cars mentioned in this episode: 1970 Road Runner Convertible 1969 Mercury Cougar Eliminator 1967 Corvette 427CI/435HP Coupe 1971 Dodge Challenger R/T 1963 Dodge Polara 500 1963 Shelby Cobra 289 R&P 1969 American Motors AMX SS 1969 Plymouth Road Runner 1970 Pontiac GTO Judge Ram Air IV 1957 Chevrolet Corvette Fuelie Please support our sponsors: RM Sotheby's, Hagerty, Metron Garage, Euro Classics and Pioneer Electronics. Follow The Collector Car Podcast at Website, Instagram, Facebook, YouTube or communicate with Greg directly via Email.  Support this channel by supporting us at Patreon.  Subscribe to Greg's sporadic yet entertaining email list HERE. Join RM Sotheby's Car Specialist Consultant Greg Stanley as he applies over 25 years of insight and analytical experience to the collector car market. Greg interviews the experts, reviews market trends and even has some fun. Podcasts are posted every Thursday and available on Apple Podcast, GooglePlay, Spotify and wherever podcasts are found. See more at www.TheCollectorCarPodcast.com or contact Greg directly at Greg@TheCollectorCarPodcast.com. Are you looking to consign at one of RM Sotheby's auctions? Email Greg at GStanley@RMSothebys.com. Greg uses Hagerty Valuation Guide for sourcing automotive insights, trends and data points.

Hello again Fellow Racing Ears, In this episode, Rick and I started with a new Father / Son theme as it relates to automotive enthusiast heritage.  Today we chatted with Jim Perell.  He is Chief-Of-Concours for the San Francisco Region of the Sports Car Club of America.  We all discussed the car culture living in Southern California during the 50's and 60's.  We also discussed the upcoming Niello Concours at Serrano coming up on Sunday October 3 2021.  This year the event is going to showcase the Shelby Cobra.    Thanks for listening to The Racing Ear Podcast.  #theracingearpodcast#rickknoopracing#jimperell#sfrscca#ncselegance

Doug Campbell is in charge of Marketing, Public Relations, and Sales at Hillbank/Superformance in Irvine, California. There they build continuation sports cars including the Shelby Cobra, Daytona Coupe, Ford GT40, Caterham, and the Corvette Grand Sport.His career was as an engineer for Texas instruments, then at Ericsson, EF Johnson, and Itron transitioning from engineering to marketing and product development. After another 20 years at Southern California Edison, he retired but quickly realized he needed more in his life.A meeting with Lance Stander, the owner of Superformance lead to his current position with the company and now he's wrapping his passion for automobiles and performance with his new career. You'll often find him driving his 12-year-old Superformance Daytona Coupe in which he's logged over 50,000 miles in the car on the track, in tours, and traveling.   https://www.superformance.com  -  800 297-6253 Ed's Auto Garage is proudly powered by Newport Beach Insurance Center, please reach out for your Commercial Garage, Classic Auto, Personal or Commercial Insurance quotes, at Ed@NPBIC.com or info@NPBIC.com.  Ed is also a Partner at CaptaIMS.com, a no-nonsense insurance agency management system, built for agents by agents.

Lance Stander, CEO of Superformance, offers insight into the re-creation of one of the most famous muscle cars of the 1960s, the Shelby Cobra, made even more popular by the film "Ford v Ferrari." Stander discusses Superformance's role in the film, and how the builder stays true to the original while incorporating modern technology.

On this episode, I take you through the process of sampling Craig Parton's 7x14 maple Shelby edition snare. I recorded it with low, medium, and high tuning. Check it out on instagram: https://www.instagram.com/p/B8e3mJhnKic/ This snare is based on the 1960's Shelby Cobra by Ford. Amazing Snare.

[ep.144] Matt Damon and Christian Bale star in James Mangold’s new film Ford v Ferrari, the true story of the creation of the GT40 and the Shelby Cobra team at the 24 Hours of Le Mans in 1966. WBAM!E-mail us: weboughtamic@gmail.comFollow WBAM: Instagram, Facebook, and Twitter. (@weboughtamic)Subscribe on iTunes and leave us a review.Twitter: @caldernest // @HuntMobley // @DrewDietzenletterboxd: letterboxd.com/caldernest/ // letterboxd.com/hearshot/ // letterboxd.com/drewd/Drew’s Spotify // Ernest’s SpotifySpoilers start at 28:55 --- Send in a voice message: https://anchor.fm/weboughtamic/message Support this podcast: https://anchor.fm/weboughtamic/support