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          Jan 24, 2018
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            The Story of All American Racers and Its Eagles
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<p>In 1964, Goodyear Tire &amp; Rubber Company went to the Indianapolis 500 on race day and discovered that none of the race teams were using Goodyear tires—Firestone was dominant. So, the tire manufacturer approached Dan Gurney and Carroll Shelby and provided support for their new racing company based in Santa Ana, California. The two legends, who already had a racing relationship with each other, even incorporated Gurney's small shop in nearby Costa Mesa into it.</p>
<p> </p>
<p><span><img alt="Eagle-Weslake T1G" height="406" src="https://imgproxy.fourthwall.com/CCzJJVQgGZvk8wVvhyYQClZ87F9fmLjm7zral3QA2zA/w:890/el:0/q:90/sm:1/enc/MDk0YzUxMjhmNGRl/NWJlOJiAanA-Hy5E/XexBIGwNQexXzlVz/7cdLB8ascyupWEaf/jstbgn63xiFUJsib/dVtzTMZx31wBMyXc/Q8jnBXWvX01DJi90/2MRW_wyk8fwAR473/6nJd4RkQPBMOpBzD/n38CyJHZQ-dcbm5h/93LPBse2gog.webp" width="640" onerror="this.style.display='none'"></span></p>
<p><em>Eagle-Weslake T1G at the 2012 Goodwood Festival of Speed. Photo by <a href="https://creativecommons.org/licenses/by/2.0/legalcode" target="_blank" rel="noopener">Jake Archibald</a>.</em>  </p>
<p>While Gurney and Shelby needed a name for the startup, Victor Holt, then president of Goodyear, suggested one, and in 1965, All American Racers was born. AAR began building cars for both its team and customers. (AAR’s European subsidiary, Anglo American Racers, was the racing team that traveled with the cars to tracks and maintained them at its shop in Rye, England. All American Racers built all of the race cars that competed in Europe in the United States.)</p>
<p> </p>
<p>The first Eagle race car debuted at the 1966 Belgian Grand Prix at Circuit de Spa-Francorchamps with a 2.7-liter Coventry Climax four-cylinder engine. Though competitive, it was underpowered. While AAR’s new 12-cylinder Gurney-Weslake motor appeared at the Italian Grand Prix at Monza and the U.S. Grand Prix at Watkins Glen, some issues needed attention, and AAR ended up finishing the season with the Coventry Climax engine instead.</p>
<p> </p>
<p>The next year, Gurney got the pole position and won at Brands Hatch with the 12-cylinder engine. Later at the Dutch Grand Prix, the car gained the attention of everyone at the track. The “eagle beak” front end was perhaps the most defining feature of the beautiful car, and its light weight was the result of a magnesium chassis and a titanium exhaust. The 12-cylinder 3-liter engine came out of the Weslake Company shop in Rye and had four valves per cylinder and double overhead cams. AAR’s total budget for four of these engines, including the prototype, was approximately $600,000.</p>
<p> </p>
<p><span><img alt="Dan Gurney, 1967 Dutch Grand Prix" height="379" src="https://imgproxy.fourthwall.com/Li2Kml_I3oUbDXaw-89eR1IzAt5DO7NUMS70m__L8MY/w:890/el:0/q:90/sm:1/enc/ZTNlYjIzMDliZjFh/NDgxYw1kWCbcqshT/KE8aJ3969QdH1kgp/XnEtydIohwITwbKY/NGKPDzXt1tmUfBlB/EumiAnnPoHgnyB0B/9dbZFHWmKzIIoV7e/2nN_UeQ8SZ60YwAN/Y9aTJmLYfRia77Tm/Marz7PY15dqxxpz8/MLeyV3_B__4.webp" width="640" onerror="this.style.display='none'"></span></p>
<p><em>Dan Gurney in the pits at the 1967 Dutch Grand Prix in Zandvoort. Photo courtesy of AAR Archives.</em>  </p>
<p>Later that year, Gurney won the Formula 1 Belgian Grand Prix after starting second. Gurney’s Eagle race car hit 196 mph on the back straight, and he averaged 143 mph throughout the race. The event was the first and only time an American driver won an F1 grand prix in a vehicle they built. But the number 36 car’s last event was the Italian Grand Prix at Monza in 1968. Afterward, AAR’s shop in England closed its doors as the budget didn’t allow them to continue competing in F1. The team returned to the United States to concentrate on an IndyCar program. In 1968, Bobby Unser won the Indianapolis 500 and the USAC National Championship in a customer Eagle. In 1970, Gurney bought out Shelby after he retired from racing and became AAR’s chairman, CEO, and sole owner.</p>
<p> </p>
<p>AAR’s Eagle race cars became popular both in the States and in Europe, with drivers such as James Hunt, Denny Hulme, Swede Savage, and Al Unser sporting them on the track. Aside from the F1 and IndyCar series, AAR also fielded cars in numerous other series, including Formula A, Formula 5000, Atlantic Series, U.S. Sports Car, and IMSA. They built two Plymouth Barracudas for the 1970 Trans-Am series season and a Ford-powered Lola T70 for Can-Am.</p>
<p> </p>
<p><span><img alt="IMSA Toyota Eagle MkIII GTP" height="373" src="https://imgproxy.fourthwall.com/TSnLp0xcANanxzQy4q-8uMqojw3xtQy5BuvHcJu7puk/w:890/el:0/q:90/sm:1/enc/ZmNlNGQ2N2FjYTU4/OGZhNyIP4c3cTkSi/tC1RfqNVL8WalQzW/Inq66J2qkT6u5H7K/XkGbcIusIsO7H9zk/YlCz8QifISHXSEwS/-EyEuZ9TtiLoT7yv/bXWfgkTjSiJYThKk/q-zGdFEFkO9q1_Tr/oUziQNh-OgZ4BeTa/5V7OyVgGJnw.webp" width="640" onerror="this.style.display='none'"></span></p>
<p><em>IMSA Toyota Eagle MkIII GTP. Photo by <a href="https://creativecommons.org/licenses/by/2.0/legalcode" target="_blank" rel="noopener">Moto "Club4AG" Miwa</a>.</em>  </p>
<p>The company also started a relationship with Toyota in 1983, when the automaker began participating in larger racing series. They built Toyota Celicas for IMSA's GTU class, winning 10 races by 1985. Later, All American Racers built the GTP Toyota Eagle for the IMSA Sports Car Championship, which won 17 consecutive times between 1992 and 1993. Its turbocharged 2.1-liter inline-four put out 750 horsepower in 1992 and used the team's first carbon fiber monocoque. The carbon fiber pieces were vacuum sealed and cured in an oven powered by little torpedo heaters since AAR did not yet have an autoclave.</p>
<p> </p>
<p>In 1996, AAR rejoined the CART Series and later built Eagles for ChampCar. But hardship hit when the Toyota engines suffered in reliability and performance, and Toyota ended its 17-year relationship with AAR in 1999. The same year, Goodyear’s support didn’t work out, and the tire manufacturer withdrew from open wheel racing when it couldn’t keep up with Firestone’s development. AAR soon closed its doors on ChampCar due to a lack of funding. The company later fielded a single Atlantic Series car with Alex Gurney behind the wheel, but that effort ended after one season.</p>
<p> </p>
<p>More recently, AAR built the DeltaWing race car at its California shop. The AAR team and designer Ben Bowlby constructed the race car in a purpose-built engineering office and had to complete the car in 30 days. When the team shipped the car to Highcroft Racing in primer black (it was later painted red after being sent to Atlanta for a press event), Gurney said, “It evokes the image of Kelly Johnson’s Lockheed SR-71 spy plane with wheels.”</p>
<p> </p>
<p><span><img alt="Nissan DeltaWing 24 Hours of Le Mans" height="425" src="https://imgproxy.fourthwall.com/f01SEWAXPSS7wKW5v63qmb4QmwkgS_tqlwPHPa3yQgE/w:890/el:0/q:90/sm:1/enc/YWQ1N2VhYmY0MDQ3/ZDVkNUiwzR3aXWam/fwH6NVsgxanE6xXZ/kFKJUbL3lhpmWy4V/_9ancogjnzlQfxIQ/Mwr2dYZBC8wR4boE/ka_I_0Mc6jtrPwLx/egx8Wtf8ya7jPIgg/D0XKoK4yzL3wmWtO/4WbG0M-3BPXB6FsD/ikVaCg3T7iw.webp" width="640" onerror="this.style.display='none'"></span></p>
<p><em>Nissan DeltaWing at the 2012 24 Hours of Le Mans. Photo by David Merrett via <a href="https://creativecommons.org/licenses/by/2.0/deed.en" target="_blank" rel="noopener">Wikimedia Commons</a>.</em>  </p>
<p>The DeltaWing, which was originally designed as a successor to the then-outdated IndyCar, competed in the 2012 24 Hours of Le Mans for “Garage 56,” a space reserved for experimental vehicles. An LMP1 Toyota forced the DeltaWing off the track in the Porsche Curves six hours and 15 minutes into the event, and after attempting to repair the damage for 90 minutes, the team retired from the race.</p>
<p> </p>
<p>For the SpaceX Falcon 9 rocket’s first successful return to Earth in 2015, All American Racers manufactured the carbon fiber landing legs. The company also patented a moment canceling four-stroke engine, which had the crankshafts rotating in opposite directions to eliminate the unwanted rotating force that happens under cornering. It allowed for low vibration, low stress, trouble-free reliability and endurance, fuel efficiency, and good power delivery. The 1800-cc vertical-twin engine was scheduled to start up for the first time in late 2017.</p>
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          Jan 17, 2018
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            Product Review: My Dip Kit Hydro Dipping Kit
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<p class="has-small-font-size"><em>Note: This is a sponsored post, meaning that the products were provided to The Gearhead Girl at no charge in exchange for a review. All opinions are of my own. In addition, this post contains affiliate links, which means that at no additional cost to you, I will earn a commission on your purchase.</em></p>
<p> </p>
<p>Hydro dipping is a water transfer painting process that is used for anything from car parts to cellphone cases. It’s an easy way to get that carbon fiber or wood grain finish on that piece of interior trim or a set of wheels or any other three-dimensional surface. The process has been around for more than 30 years.</p>
<p><span><img alt="My Dip Kit" height="683" src="https://imgproxy.fourthwall.com/jzdTlCH_vCHONBCuGwU6rkYMa7u3-xPiC5wpiNpb1MU/w:890/el:0/q:90/sm:1/enc/MTM0OWExNGYyZjgy/YzY3YaeiJnyQZUfu/rliNXVp1we5UsrCk/9h2PeNldxvXr-3v5/vsnV1iUz_nhiZbRD/DCactHb3Pqak-Ed2/YXGJAg6iCUSfVE4M/GsLbxQoM-6QVBkzo/hJmXbWg4F6G7UgKH/COo3Z-wQz6EJJ4I2/74rRRKnUrr4.webp" width="1024" onerror="this.style.display='none'"></span></p>
<p>My Dip Kit was nice enough to send two of their hydro-dipping kits, which are perfect for the beginner or hobbyist. These kits start at $69 and are available through <a href="https://www.mydipkit.com" target="_blank" rel="noopener">the My Dip Kit website</a>. The kits they sent contain two of their popular carbon-fiber films: <a href="https://www.mydipkit.com/shop/black-clear-carbon-fiber-with-silver-base-coat/" target="_blank" rel="noopener">black and clear carbon fiber with silver base coat</a> and <a href="https://www.mydipkit.com/shop/true-weave-carbon-fiber-hydro-graphics-dipping-kit/" target="_blank" rel="noopener">true weave carbon fiber</a>.</p>
<p> </p>
<p>Both kits came with the high-gloss clear coat.</p>
<p> </p>
<p>Each kit includes one meter of hydrographic film, primer, a base coat, clear coat, activator spray, a scuff pad, respirator mask, a pair of gloves, protective sleeves, and of course instructions. I recommend reading the instructions thoroughly before starting as they detail some important information. It’s everything you need to begin hydro dipping, minus the container (make sure this is deep enough to hold water when your part is fully submerged), the warm water, and masking tape.</p>
<p> </p>
<p>For this review, I decided to try dipping <a href="https://amzn.to/2xrmgK1" target="_blank" rel="noopener">an E-ZPass holder</a> and a wheel center cap for <a href="https://the-gearhead-girl-shop.fourthwall.com/supporters/posts/204501" target="_blank" rel="noopener">a vintage Mini</a>.</p>
<p> </p>
<p>Note: You really want to do this in a well-ventilated area because of the aerosol sprays, especially the activator spray. Also, be sure to wear the included respirator mask when spraying anything.</p>
<p><a href="https://youtu.be/KOopCTHMiRc?si=DMz18VA5KVYSi-o4" target="_blank" rel="noopener"><strong>Watch the Video Here</strong></a></p>
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          Dec 29, 2017
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            La Signorina F1: The Story of Maria Teresa de Filippis
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<p>Eight years after the first Formula 1 World Championship in 1950, at a time when the race cars were capable of 175 mph, a courageous and fearless woman with a nickname of <em>la diavola</em> (she-devil) landed a position on the starting grid of the Belgian Grand Prix at the Circuit de Spa-Francorchamps. Though it was actually her second Formula 1 race, as her first was the non-championship event at the 1958 Gran Premio di Siracusa, where she finished fifth. She is one of only two women to have ever qualified for a position on an F1 starting grid.</p>
<p><span><img alt="Maria Teresa de Filippis" height="640" src="https://imgproxy.fourthwall.com/715TiVUhCmNsKJ-ngeJKyOTDhjYDhYi7Eqq2AYXcJEw/w:890/el:0/q:90/sm:1/enc/NTA0NGQ1YmJhOWM2/NjhhNNd6-Fs12Ivr/sYfub7bnKQSTsrI-/SN4Zb7Cg5E5ZSFY0/wJ5FTXfwg2X0RGCc/smMXdmY6XFTG-JgF/dI9L96r48gOAh8TN/6tkyNpbTAKJyvUqC/lCYv80nT58hHWk8-/8Lb7oDP_0J7bIk69/8f5XPOUp2pk.webp" width="462" onerror="this.style.display='none'"></span></p>
<p>  <em>Maria Teresa de Filippis. Photo courtesy of Maserati S.p.A.</em>  </p>
<p>That woman was Maria Teresa de Filippis. Born into a wealthy family on November 11, 1926, in Naples, Italy, she was the youngest of five kids. Her father, Conte de Filippis, ran many successful companies and was behind the electrification of large areas of rural southern Italy. Her family also owned the 16th century Palazzo Marigliano of Naples and the Palazzo Bianco near Caserta. De Filippis was an avid horsewoman as a teenager and also played tennis and skied.</p>
<p> </p>
<p>At the age of 22, in 1948, two of de Filippis’s brothers, Antonio and Giuseppe, made a bet that she couldn’t drive fast. So, she entered a hillclimb event in a Fiat 500. “I trained in Amalfi and won my first race, the Salerno-Cava dei Tirreni event,” she said. “I loved the speed, the thrill of it.” Not only did de Filippis win her class, but she finished second overall at the event.</p>
<p> </p>
<p>Both of her parents were supportive of her new adventures in motor racing, as she competed in various hillclimbs and endurance events. Her mother didn’t object as she was winning, and her father inspired her to succeed in whatever she chose to do.</p>
<p> </p>
<p>In 1949, de Filippis competed in the Stella Alpina Rally in Trento, Italy, in her own Urania-BMW sports car. The following year at the Giro di Sicilia, a 1080-km race, she was presented with flowers after crossing the finish line—but was then disqualified. The race organizers said she had been push-started at the beginning of the race when her mechanic had pushed her into position after she had stopped a few inches short of the starting line. De Filippis’s fellow competitors were not pleased with the decision. Legendary Italian racer Tazio Nuvolari protested: “You made a girl drive over one thousand kilometers on wet roads only to then disqualify her. This is crazy.”</p>
<p> </p>
<p>By 1954, de Filippis was winning races all across Italy. While racing her Urania-BMW Giaur and a Maserati brothers’ OSCA MT4, she finished second in the Italian Sports Car Championship. Maserati soon saw her worth and hired her onto Scuderia Centro Sud Maserati as a works driver. De Filippis didn’t want to drive for Ferrari and actually rejected an invitation to drive for them.</p>
<p> </p>
<p>While racing the OSCA, she met and fell in love with rival driver Luigi Musso, who raced for both Maserati and Ferrari in Formula 1 between 1953 and 1958. She and Musso traveled to races together, and Musso helped her perfect her driving technique. The couple would even place bets on who would finish higher in a race. At one point they were engaged, but they never married.</p>
<p> </p>
<p>In 1956, de Filippis finished second in a Maserati 200S in a support race for the Naples Grand Prix, a non-championship F1 race through the streets of the seafront district of Posillipo. She had started at the back of the field after she missed the practice session. Two years later, she began driving Juan Manuel Fangio’s 1957 championship car. The Maserati had to have special padding inside to help her reach the pedals, as she was five feet, two inches tall. Fangio told her, “You go too fast, you take too many risks.” At the Monaco Grand Prix, she failed to make the grid, claiming that the slow and twisting street circuit proved to be too much physical stress for her in the Maserati 250F. It was the same race as Graham Hill’s debut, and Bernie Ecclestone also failed to qualify in his Connaught.</p>
<p> </p>
<p><span><img alt="Maria Teresa de Filippis, 1958 Monaco Grand Prix" height="435" src="https://imgproxy.fourthwall.com/EhrzItUZLzX7klUaZxBY0waZOYEpvIw1CttvcuoASTY/w:890/el:0/q:90/sm:1/enc/MTA2N2VmOGE4OWM1/M2RkMTer1PX4Tr1z/x1EAgqQAMGf_cyRN/sWo6QJceHFkI44Kk/xBjAegaG_C-wvXBL/3ilWn61E0pGWPXO5/NblXVxe-lVdHrhEq/IjYKo91kDOUm9Jdb/u_anHFYspC6khphn/XoBzKrmpYPergYOc/RsDrEG1cq4M.webp" width="640" onerror="this.style.display='none'"></span></p>
<p><em>Maria Teresa de Filippis at the 1958 Monaco Grand Prix. Photo courtesy of Maserati S.p.A.</em>  </p>
<p>De Filippis competed in a total of five Formula 1 events in 1958 and 1959. Her best finish was 10th, after starting 19th, at her debut championship race at the 1958 Belgian Grand Prix at the Circuit de Spa-Francorchamps—two laps behind the winner. During the same year, she was banned from the French Grand Prix after a race director reportedly said, “The only helmet that a woman should use is the one at the hairdresser’s.” It was the only time de Filippis was ever prevented from racing. She retired early in the Portuguese and Italian grands prix.</p>
<p> </p>
<p>After the 1959 Belgian Grand Prix, de Filippis retired from motor racing. Her friend, Porsche team boss Jean Behra, had lost his drive after punching Ferrari team manager Romolo Tavoni at the French Grand Prix. De Filippis was supposed to drive the Behra’s car, a Behra-Porsche based on the RSK, at the AVUS speedway in Germany, but she allowed him to get behind the wheel instead. He died after going off the 40-degree banking at the northern end of the track. Behra was thrown out of his cockpit and hit a flagpole.</p>
<p> </p>
<p>“When I stopped racing, that was because Jean had died in a race where I was supposed to race, not him,” she said. “He went to the race without a drive, and I said: 'It's ridiculous that I should race in your car when you stay on the floor. You go and race it. It's your car.' I didn't even go to the race. Then, on the radio, I heard that he was dead. I decided, on the spot, to stop racing. Too many friends had gone.”</p>
<p> </p>
<p>After retiring, de Filippis met Theodor Huschek, an Australian textile chemist, while skiing in St. Anton, Austria. The two married in 1960 and had a daughter, and her marriage and family life took priority. The family resided in Austria, moved to Switzerland, and finally settled down in Italy.</p>
<p> </p>
<p>De Filippis stayed away from motorsport until 1979, when she joined the International Club of Former F1 Grand Prix Drivers. In 1997, she served as vice president of the group and became its honorary president just days before her 85th birthday. She would occasionally visit grand prix race paddocks around the world, and she was also a founder and the president of the Maserati Club.</p>
<p> </p>
<p>Maria Teresa de Filippis passed away on January 9, 2016, at the age of 89 years old in Scanzorosciate, Italy.</p>
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          Nov 27, 2017
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            Leena Gade: The First Lady of Le Mans
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<p>Leena Gade is known as the First Lady of Le Mans. Her spectacular resume includes being a three-time Le Mans–winning race engineer (and becoming the first female race engineer to win the 24 Hours of Le Mans in 2011) and a winner of various awards. In 2012, Gade won the FIA World Endurance Championship’s Man of the Year, <em>Top Gear</em>’s Man of the Year, and the C&amp;R Racing Woman in Technology awards.</p>
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<p>After being with Audi and its LMP1 team for years, she worked with Bentley Motorsport as the race engineering technical manager, overseeing its various GT3 teams. Gade went on to work at Schmidt Peterson Motorsports in IndyCar, becoming the series's first female lead race engineer. She now works for Multimatic as the race engineer for Mazda Team Joest's No. 77 Daytona Prototype International entry in the WeatherTech Sportscar Championship.</p>
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<p><span><img alt="Leena Gade" height="427" src="https://imgproxy.fourthwall.com/4nNhUnfnT7e2-Bs4dsQ5AGSdrmjUvdw5favDufssd3k/w:890/el:0/q:90/sm:1/enc/ZDc2N2U1MjcxYmNl/ZTU2Y-3gr97bULmv/5-RtY7snet1wm5rv/WZP4C0n5v57PKMxX/nE0enuzNKoxwL4d7/i2T1XxBoZxCX8xhN/RbW5ctgif-jgSzQa/O9rZeKr8WGG6-Mhg/mfGZG9tGVhDttwNV/hw9CDuZoW1b1PAFg/W0mkEQ9HmRY.webp" width="640" onerror="this.style.display='none'"></span></p>
<p><em>Photo courtesy of Leena Gade/Bentley Motorsport.</em>  </p>
<h2 class="wp-block-heading">TGG: What got you interested in cars, racing, and engineering?</h2>
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<p><strong>LG:</strong> My parents are from India, and I was born in the U.K. When I was nine years old, they wanted to go and relocate back to India, so we moved back. It was only two and a half years before we came back across the U.K. When we moved out there, India was a very, very different place than Britain. We had things like the water would be turned off in the morning and then the electricity would go off midday. I have two younger sisters, and we had to kind of keep ourselves entertained when we were at home.</p>
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<p>One thing my parents always insisted on was that we looked after our toys, or if we broke them, we repaired them. So we got interested in how things were put together, how they worked. After repairing toys that we broke, we would then take stuff apart in the house. It ranged from anything like the radio to the video to the stereo. I mean, we did the whole lot and just kind of got interested in how things were put together and why they were done that way. I think a bit of it was boredom because we didn’t have computers or anything at that time. That’s how I sort of got interested in the functionality of things.</p>
<p> </p>
<p>I have a sister three years younger than me called Teena. Both of us were always kind of of the same mind-set of wanting to pull things apart and put them together again. We were introduced to some friends of our family whose son was studying engineering, so we kind of wanted to know what engineering was about. He told us this is what I’m studying, it’s mechanical engineering, it’s to do with designing stuff but also how things work. You can use mechanical engineering to build planes, to build cars, the basics of engineering were for finding solutions to problems. We’re like, wow, this sounds quite interesting.</p>
<p> </p>
<p>My parents, at this point, were like: “Excellent! We’re going to have two engineers in the house. We don’t have to try too hard to get them to do something decent with their lives.” That’s basically how we got started. I would have been about 10 or 11, and my sister would’ve been seven or eight years old. That’s how old we were when we knew we were going to be engineers.</p>
<p> </p>
<p>Then we came back to the U.K. and moved into an area similar to where we had been before. My sister went back to her middle school that she’d left three years earlier, so she got to hang out with all of her friends again. And she’s a bit of a tomboy, so they were all watching Formula 1 at the time and kind of told her: “You need to watch this. There’s a British driver, his name is Nigel Mansell. There’s this fantastic Brazilian called Senna. There are other guys out there. It’s really, really cool. You should watch it. You’ll learn lots on the TV because they talk a lot about motorsport.” That is literally the story. There’s nothing else. With the power of the TV and with the power of my parents telling us to repair stuff, we just got hooked big time on Formula 1.</p>
<p> </p>
<p>It was during an era when the cars were pretty technical, pretty clever. But the drivers, it was all-out racing. There were some huge names: Prost, Piquet, Senna, Mansell, and then sort of later on, Schumacher, Hill, Villeneuve, all these guys. And with the commentary that they had, the two presenters were really good at explaining what went on with the cars, with the racing, with the teams, with the engineering. It was like, wow, this seems like something you could do as a career, which sort of led to a bit of disappointment with my parents. They were like: “Oh my God, they’re going into something that’s quite niche and very small. They’ll grow up out of it, they’ll grow up out of it.” We hit 18, we hit 20, we got to university. We’re doing degrees in aerospace engineering, like, “Yeah, yeah, we’re going to be in motorsport!” And our parents are like, “Oh, God.”</p>
<p> </p>
<p>That was literally it. I think at the time, again like I say, we had computers, but internet was nothing at the time. So we sort of just did a lot of our research using magazines and reading books or talking to people. We were so hooked that we were writing to teams asking for work experience from quite a young age and just trying to really get into the industry. Anything from polishing cars to trying to do data analysis, that’s what we offered to do, and we offered to do it for free.</p>
<p> </p>
<p>I didn’t get anything almost immediately. I ended up going to university and then going into the automotive industry before actually doing any work experience in motorsport. Whereas my sister, when she was about 14, did two weeks work experience at Williams. That was good for her, that was what she wanted to do for the rest of her life. And then she went off to do some data stuff while she was at uni. That’s pretty much how we got into it.</p>
<p> </p>
<h2 class="wp-block-heading">What were your favorite cars as a kid?</h2>
<p> </p>
<p>It started off with Formula 1, obviously. We were big fans of Williams and McLaren, not so much Ferrari. But that was sort of where we were with Formula 1. Then we started to get more into accessible racing, racing we could go and afford to see at race tracks. So we started watching British touring cars, which at the time was one of the most technical touring car series that was around. We started watching a lot of rallying because rally was huge at the time. It was the Toyota Celica, Lancia Delta Integrale, Subaru Impreza 555, Mitsubishi Lancer Evo, and stuff.</p>
<p> </p>
<p>And then we started to get into what was happening in the States with IndyCar. Now, we didn’t really ever get into NASCAR, but that’s because it was never shown on British TV. IndyCar had the advantage that Nigel Mansell went across from the U.K. to America. So that’s what made everyone in Britain kind of go: “Wow, what’s going on in IndyCar? Let’s watch that.”</p>
<p> </p>
<p>Funny enough, at this time, I didn’t really know anything about sports car racing, and I didn’t know anything about endurance racing. I just knew about sprint races. I was just so hooked. I was so enthusiastic to get into motorsport. I was working on everything from amateur club racing cars to Formula BMW, which was spec cars for kids between the ages of 15 and 18, and just really kind of getting more and more experience.</p>
<p> </p>
<p>I didn’t really have a favorite as such, but my ambition when I was quite young, and probably right up until I got into university and then I’d say for a good few years afterward, was Formula 1. All I wanted to do was work in Formula 1. But it wasn’t so easy to do, so slowly I kind of petered out a little bit, and I got less enthusiastic about wanting to go to F1 because I didn’t have the experience. Although, it’s a little bit about who you know. It’s so technical in F1 that to kind of just slot into a job, you have to really have applied for a specific position and then to have grown with that position. So it never really happened.</p>
<p> </p>
<p>And then, basically, sports cars happened, where my sister and I, almost completely by accident, just ended up with teams who were doing GT cars in the sports car series. And then in the distance were these prototype cars that were much faster and space-age-like. She did some before I did, actually.</p>
<p> </p>
<p>And then I just landed in with Audi, probably about three years after I started trying to get experience in motorsport. That’s when I landed a part-time position with Audi. And it was just through pure word of mouth. Someone spoke to someone, someone spoke to someone who said: “We know this girl, she’s doing all this data, she really wants to get further ahead. She wants to quit her full-time job in automotive and come across to motorsport. Is there anything you can help her out with?” “Yeah, yeah, we need an assistant. Do you think she can do it?” “Yeah, we think she’ll be OK.” And that was it.</p>
<p> </p>
<h2 class="wp-block-heading">Who were your influences in the motorsports world?</h2>
<p> </p>
<p>I was a huge Senna fan as a kid, and then it sort of followed being a Hill fan and Villeneuve, because they weren’t Michael Schumacher. And at the time, he was the guy that everyone wanted to support.</p>
<p> </p>
<p>But in terms of engineering, there were guys out there who were featured on the various different F1 programs. So Ross Brawn was one, and Adrian Newey was another. Then there were guys like Patrick Head and Sam Michael. They all sort of had a Williams bias because those were the guys who we followed. But we also had an eye on where everyone was going and where everyone was moving. So we knew of the names and stuff, but those were the guys who really stuck out because they had gone into Formula 1 as designers, as aerodynamicists, engineers. And in Patrick Head’s case, he had been involved in motorsport, especially in F1, for such a long time and had grown up during the phase when Formula 1 had radically developed.</p>
<p> </p>
<p>These are kind of the guys who we really looked up to, and we wanted to be them when we grew up. It’s really weird because when you meet them, you’re like, “I remember you from when I was a kid!” You’re a bit starstruck at first, and they’re looking at you thinking, “What is wrong with that person?”</p>
<p> </p>
<h2 class="wp-block-heading">How many different hats have you worn throughout your career? What did you do before becoming a race engineer at Audi?</h2>
<p> </p>
<p>Like I said, when I first left university, I didn’t go directly into motorsport. I went to go and work at Jaguar, and then I followed that with a short stint at MIRA Ltd. [a consultancy for the automotive industry based in the U.K.]. I was working in automotive, which was actually a really, really good thing for me because with my degree in aerospace, I had little knowledge of cars. I had this intention to become an aerodynamicist, and within a month or two of being at university, I realized that being in the wind tunnel was not going to be something I was good at. So I picked back up with the degree because it was a pretty intense course to get through, but I needed to know a lot more about cars and how they’re put together, and especially high-powered cars. So it was great going to Jaguar. I got to work in a department where it was full vehicle, learning everything from how the driveline and powertrain all worked together to how noise transmits into a car and how vibrations transmit into a car, chassis dynamics, vehicle dynamics, all sorts of stuff.</p>
<p> </p>
<p>But the desire to be in motorsport was so huge that I first started out working in a series called Formula Vee, which is like a club racing series. You know the original VW Beetles? Those cars are still produced in South America, especially in Brazil. And the old designs for all of the engines and the cars themselves are still in existence because they’re made over there for taxis in places like Mexico City. So you can buy the spares for the engines. I came across a company where the owner had 14 or 15 of these cars. He sometimes leased them out to customers, but he would also sell them to customers and maintain them. He had just one mechanic who looked after building up all the cars, setting them up, putting the engines and gearboxes in, and then running them at a race weekend.</p>
<p> </p>
<p>So I happened to meet him at a motor show and said: “Look, this is what I want to do. I want to get into motorsport, but I need experience. Can I help you?” And he was like: “Aha! Free labor! Of course you can help me.” So I started off by mechanicing for him. There were no data systems on these cars or anything. It was just purely about setting the car up and off it goes to the driver. It was just making sure that the car stayed working, but because there were 15 of these things, they needed a hand.</p>
<p> </p>
<p>I helped them out with that for a couple of years, and having gotten a good idea of how a race car is put together, additionally to road cars, what are the priorities, how do you set one up, I was then able to sort of keep asking around and writing to teams saying: “Look, I’m doing this as work experience, but I want to make my next step. My next step I want to make is data engineering. I want to be able to analyze data from cars, talk through it with an engineer, and talk through it with the driver.”</p>
<p> </p>
<p>So I ended up doing Formula BMW for a couple of seasons while doing the Formula Vee. Once you kind of get into a paddock where there are lots of motorsports teams, you just get to know people and you get to talk to them. Things were changing quite a lot in motorsport at the time. This was when A1GP started to come in. I got to know more and more people. I got to do some stuff in GT. I got to do some stuff with sports cars. And at the same time, I got to know a team that was running four teams in A1GP.</p>
<p> </p>
<p>My sister happened to be in the same paddock as me. She was working in touring cars at the time. But because people knew who we were, we were quite rare, especially because it’s not often you get very many women in engineering or even mechanicing in motorsport, but to get a pair of sisters who are into it and working in the same field. So everyone knew who we were. So, very slowly we got to know a few teams and basically said: “We want to do more. What can we offer your team?” “We need data analysts, can you do data for us?” “Yeah, we can.” So that’s how I ended up in A1GP.</p>
<p> </p>
<p>I did little bits and pieces here and there. I then went into working with a prototype team that was going to Le Mans in 2006. Again, through accident—someone who knew someone who knew someone and put my name for it. And that was the first time I went to Le Mans, with a privateer LMP1 team. It was the first year Audi had taken a diesel to Le Mans. I hadn’t really gotten an interest in Le Mans at the time until I went there. Which is strange to say, but I think it’s one of those things where you’re sort of introduced to Le Mans and then you get hooked. I kept looking down in the paddock and thinking: “Wow, that’s a really interesting team. They’ve got this huge organization.” And it was on this totally different scale to anything I’ve been involved in. I thought, “One day, I’d like to work for a team like that.”</p>
<p> </p>
<p>So I did Le Mans that year, in 2006, and a couple of races later where the same privateer team was running in the series in Europe, I happened to be talking to one of the mechanics. And I said: “You know, I need to make my next step. I’d like to go and work for a team where I can develop a car.” He knew some people who were developing a Jaguar GT3 car based on the XK8. And I was like: “I know everything about that Jaguar. I’ve worked on it as a road car, so I know what goes on underneath the skin.” And he asked if he could put my name for it, and I said, “Yeah, of course.”</p>
<p> </p>
<p>So he put my name for it and called me back a week later and said: “They want to see you. Can you come in in a week’s time?” I said, “That shouldn’t be a problem, I’ll come down from where I’m at.” And he said: “By the way, they’ve got another project they’re doing. The engineer who’s developing it, he works for a team out in the United States, and he needs an assistant. Would you be interested?” I said, “Well, if it’s relocating to the States, at the moment that’s not an option, but by all means you can put my name for that, too.” He said, “OK, I’ll let you know.” And then he sent me a text message saying, “Yeah, they’ll be more than happy to speak to you about that.”</p>
<p> </p>
<p>I went across to go see them, and at this point I had absolutely zero idea of what other projects they were running in the U.S. All I knew was that I was going to see them about helping them out with the design works for this Jaguar. So we talked and they showed me around the car, and then the same engineer, his name was Howden [Haynes], said: “Let’s have a chat about the stuff that’s going on in the States. Have you done Le Mans?” “Yes, I have.” “I see that on your CV. Do you know much about sports cars?” I said, “Well, what I’ve done is only a handful of races, but I really enjoyed it and I’d like to get more involved.” “Well, I need an assistant in the United States for the ALMS [American Le Mans Series].”</p>
<p> </p>
<p>And then he said the word “Audi,” and at this point it still didn’t click which car he was talking about. And I was like, “OK, they’re running an Audi in the States, it can be any kind of sports car.” “So, would you be interested? I need an assistant, someone to back me up. I’m the race engineer, but I need someone who looks at the data at the same time and is there to help me with the car and everything.” And I was like, “Wow, OK. Yeah, I’ll give it a go.” And then out came the data book and all this other stuff. And all of a sudden, on the front of this data book was a picture of the same Audi that I had seen about two months before racing around Le Mans that had won the race. And I was like: “Oh. That Audi.” I was a bit like, “Oh my goodness.”</p>
<p> </p>
<p>I actually didn’t know that they were racing in the States with the car because my exposure to Le Mans was only a couple of months before, it really wasn’t more than that. So, I was like: “Right, OK. I've got some work to do!” So I went home with all this information and was a bit sort of overloaded and was a bit like, “What have I gotten myself into?” And at the time, I was talking to him in September, the plan would have been to start working for them from February or March onwards in 2007. And that is exactly what happened.</p>
<p> </p>
<p>I was doing all of that work with them in the States in the American Le Mans series championship. But then I also had a couple of other projects I was doing still with A1GP and a bit of other single-seater racing and then some other FIA GT1 series. But that’s pretty much how I got into Audi and never really looked back.</p>
<p> </p>
<p><span><img alt="#2 Audi R18 TDI, 2011 24 Hours of Le Mans" height="299" src="https://imgproxy.fourthwall.com/N2CeEDq5usKuLRLsL1ULXh-E2Zb1l70NHT7YFjRFrOk/w:890/el:0/q:90/sm:1/enc/NDEzNmQwMWQyMmU0/YmI2ZhR1PKV1qyQu/G_ZCnLq3Q3TwwLCO/_Uh6bvAZ9ErUFdMb/I4aWXBkJXlxrnxXu/Y1Vo8uTwpzGXpHzC/gfJdINTI1F2hjMdK/Wg2ZFImjC1jGpJdv/FkZd4seercV3lDvC/MW0FlYN5xhW9unQq/5zZeNPACCTI.webp" width="640" onerror="this.style.display='none'"></span></p>
<p><em>The #2 Audi R18 TDI at the 2011 24 Hours of Le Mans. Photo by Alessandro Prada via <a href="https://creativecommons.org/licenses/by-sa/2.0/deed.en" target="_blank" rel="noopener">Wikimedia Commons</a>.</em>  </p>
<h2 class="wp-block-heading">What was it like working for the Audi LMP team and when you earned all of your Le Mans wins?</h2>
<p> </p>
<p>It was pretty incredible. I think you don’t realize at the time when you’re sort of massed into it that you’ve got the job that everyone wants to have. It’s pressurized, don’t get me wrong. There’s a lot of money riding on projects like this, and especially for companies like Audi and more recently Toyota, Porsche, and Peugeot. They invested a lot in those cars and in those teams to make the series successful and to be successful. The biggest race for everyone was always Le Mans.</p>
<p> </p>
<p>But when you’re there, you quite quickly find that if you’re not pulling your weight, it gets noticed. I was a contractor for a long time, so for me it was really a case of if I didn’t do my job, I’m going to be out the door. Whereas some of the regular Audi staff were there permanently, they didn’t quite have that same pressure because they were somewhat protected by the workers’ rights that they may have had with a big organization. If they wanted to talk about some racing, they could move directly into the automotive side, where it wasn’t an option for me.</p>
<p> </p>
<p>When I was given the opportunity, there was only one choice for me: I have to make it work, and I have to make it work really well. I was quite conscious when I first went in, more so than I did with any of the other jobs, that I was the only female there. I did think that perhaps there was going to be a bit of judgment about my performance because I was a woman. But actually there was nothing like that, or at least I never noticed anything or had any inkling that the guys ever thought that I was different because I was female. I was mainly kind of singled out for being different because I have a terrible sense of humor. I was very cheesy. I say what I think. I won’t be offensive about it, but I don’t hold back. So I think the Germans were a bit like, “Wow, this one is pretty direct.”</p>
<p> </p>
<p>But really in the end, it was all about a team and about making a team function as well as possible. Everyone came from different backgrounds. Drivers, mechanics, and engineers from France, Germany, Denmark, Italy, England, America, Brazil, Spain. We had drivers from all over the place. We had engineers from all over the world. And we had this bulk of a team which came from Germany, whose set language was usually German, but in front of everyone, they spoke English. I’m very privileged to say that I worked with a really great engineer, Howden. He taught me so much in such a short space of time. And we got on really well being on the same wavelength. He had ideas, and he would bounce ideas off of me or ask me questions, and I’d give back some feedback. But we had different ways of trying to improve our functioning as a little car crew. And that really set me up.</p>
<p> </p>
<p>So from 2007 to 2010, for the best part of three and a half years, we worked very closely together. We learned how to be a really strong unit, and we actually set the benchmarks for all of the other cars crews at Audi. They might not always have been performing at the same level that we were. I say it was because we were very open to ideas. I didn’t feel afraid to give mine. We functioned really well and Audi spotted that early on in that stage. If they wanted to make sure that their entire team raised its games even higher, they were going to have to separate us, which wasn’t good initially because they didn’t want to break up a really successful, winning crew. But they knew they had to spread this kind of knowledge to make it available to everybody.</p>
<p> </p>
<p>And when we did separate out as two separate engineers, we were actually sort of working against each other on sister cars. Things were a bit awkward. You’re in competition with the guy who taught you everything you know, and you have to raise your game even higher because you don’t have those same drivers and that same engineering squad behind you. You’re on your own. You need to make it work.</p>
<p> </p>
<p>So it was a huge learning curve, both personally, just my own personality and the way I was, the way I behaved and interacted with engineering. I was no longer a background engineer, I was now a lead senior engineer. People look up to you. They want you to be there to give them guidance, so you have to be able to make decisions and kind of move forward. It was massive.</p>
<p> </p>
<p>There were times, especially toward the end of my career with Audi where there were things I really didn’t enjoy because the cars got quite complicated, we ended up with a huge team. There were lots of politics between people, between departments. But in the end, I look back on my days at Audi, and probably including the last couple of years, and I’d say it was one of the most amazing experiences I’ve ever had. It’s taught me everything that I know and more. It’s set me up to a point that wherever I go next or whichever team I’m with, I can take those lessons and the habits that I learned, both good and bad, and try to make my own new race team or whatever and make it how I think it should be run. I’m so privileged to have worked for them, and I’m very grateful for everything they put into me. They didn’t have to give me the chance that they did. It worked out really well.</p>
<p> </p>
<h2 class="wp-block-heading">What made you decide to move to Bentley?</h2>
<p> </p>
<p>I basically had been at Audi for the better part of nine years. One thing I had become quite conscious of was it’s very easy to keep operating in the same way and to not really be pushing yourself because you get comfortable or because the team maybe stagnates a little bit. What I wanted was to be able to look out for myself to see was it time to move on from being a lead race engineer to doing something different, was it time to go to a different race series and see what other races were out there because Le Mans is one of those things that doesn’t last forever, which has been shown. Audi pulled out, subsequently Porsche was pulling out, so it’s really kind of in a bit of a state of flux.</p>
<p> </p>
<p>For me, it was a case of trying to get a different challenge together and taking on some different levels of responsibility. So I came to Bentley in a more technical role and in a more senior role. I was no longer looking after one race car, I was looking after a team. It wasn’t the Bentley Works team, it was a team that was semi-works, and they’re a very good team, ABT Sportsline. I know them from DTM, where they worked with Audi, so I knew the guys there and I knew what they were capable of doing. They were running a big project on behalf of Bentley at the Nordschleife for the 24-hour race at the Nürburgring in 2017. That was something that was a bit different for me and them. I was introducing them into the series but also working with them to build up their team. Effectively, because they’re racing Bentleys and representing Bentley as a brand, taking on that role technically but also with a mind-set as to how to represent an organization.</p>
<p> </p>
<p>So that’s sort of why I moved, to get kind of a different experience and see if there was another race series out that could spark some interest. It’s definitely very challenging in GT3. Technically, the cars are nothing like an LMP1 car, but they don’t need to be because the competition between the brands is adjusted by the performance in such a way that everyone’s competitive. So you have to think outside of the box. How do I make my product at this race, while I’ve been given less power, just as competitive as it was at the last race? What do I do with my drivers? How do I coach them? How do I deal with a team? Where are the team’s weaknesses? Where are their strengths? There’s a lot of stuff that still goes on there, but a lot of stuff in which you have to think in a very different way. It’s been an incredible learning experience. It really has.</p>
<p> </p>
<h2 class="wp-block-heading">What has been your favorite racing experience?</h2>
<p> </p>
<p>I think, and maybe because I’ve done it so many times, but when you are the slower car, you’re the underdog. And you win because you pull out a slightly different strategy or you keep your wits about you, you don’t panic and go off, and you do something quite unique compared to what everyone else does, or there are other teams out there that might be a little bit arrogant believing that they’re going to be the ones to set the mark to win. But you beat them hands down. That’s always a great experience to have. Not because you feel smart, but actually because you know you managed to pull an entire team together and they performed at their maximum level to get the maximum amount out of the package you have, because that’s what racing is about.</p>
<p> </p>
<p>The fastest car doesn’t always win. It’s the team and the package that brings it together and holds it together and doesn’t panic when everything is kind of flying around and going crazy. Those are the teams that do the best. And I think when you’re at that position that you can do that, that’s probably the most enjoyable experience you can have.</p>
<p> </p>
<p><span><img alt="Leena Gade" height="427" src="https://imgproxy.fourthwall.com/J5lPjzkVBF7mJBp9x-su7zYc4V9WI5A_8HMtvyVfVZk/w:890/el:0/q:90/sm:1/enc/NzZkY2Q5NWZiYmQ0/YTIzY5lH_OQ5Ctg9/mkAOFGc5OFpTJW7Q/ubwzl_sEB2aBW4FS/--HwtMRCQTkHUmXZ/eU2Tw0A1hTqgiPLj/eYJcDFkBqLkz-VE8/sphfGhLzQA1OyzC7/zqEUBHJ-1NLvsW9q/hGL-yIFYBOa-J5n4/W1tPXMFlqLc.webp" width="640" onerror="this.style.display='none'"></span></p>
<p><em>Photo courtesy of Leena Gade/Bentley Motorsport.</em>  </p>
<h2 class="wp-block-heading">Do you do anything else on the side, either in the automotive or motorsports worlds?</h2>
<p> </p>
<p>No. At Bentley, I’m just doing the GT3 side of things. Once you submit the base proposal of the car to the FIA for regulations purposes, you are locked into the concept and need to make it work and be competitive for the life of that race car. You can’t really change anything. You can adjust settings, but you can’t have a fundamentally different aerodynamic package from one year to the next. But what you look for is the small nuances of things that you can develop, whether it be better power delivery from the engine to the wheels, whether it’s different springs to give you a different platform setup, whether it’s trying to develop a different driving style with your drivers.</p>
<p> </p>
<p>You do all those kinds of things, and the small little bits from everything adds up. You’d be surprised to how much attention to detail you need to give to these cars to keep them competitive and always have an edge on everyone else. There are obviously other projects that go on in terms of developing what products come out in the future in terms of racing. So my time is pretty much taken up with just doing that.</p>
<p> </p>
<h2 class="wp-block-heading">Have you ever gotten behind the wheel and done any racing yourself?</h2>
<p> </p>
<p>It’s best that that doesn’t happen. My driving skills are pretty limited. I’m amazed I actually passed my motorbike stuff. It was never really something I wanted to do. I probably got that impression really quickly when I was about 17 years old. I sat in a twin-engine go-kart, when I happened to be talking to the team that was running a track where I wanted to get some mechanicing experience. They suggested I have a go around the track in the kart.</p>
<p> </p>
<p>Because I’m quite short and I’m quite small, I’m the perfect size to go in a go-kart. This thing was probably doing about 70-75 mph in a straight line on this track, and it scared the living daylights out of me. You have to have a certain level of ability to risk take and car control. I did two laps, and I came back and said: “You know what? It’s best that someone who wants to do that does that and that I stand in the background and I fix it.” It was not for me.</p>
<p> </p>
<p>It’s never been something that I’ve been that interested in. I don’t know if that’s a good or a bad thing. I think I don’t have the talent to drive a car like the racing drivers do. What I would love to do at some point, though, is sit in the passenger’s seat and do a lap of Le Mans with some of the guys who have won the race and have driven LMP1 cars. I think the car control that they exhibit is something that I could never even get close to and I wouldn’t want to even try. With those cars in particular, you have to drive them fast to get the downforce, to get you stability. Now, if you scare yourself by going too quick, even in a straight line, you’re never going to be able to drive it like they do. I wouldn’t even dream of taking over their jobs. They do that, I do my job. Let’s keep it that way.</p>
<p> </p>
<h2 class="wp-block-heading">Do you have a favorite automobile manufacturer?</h2>
<p> </p>
<p>I don’t, actually. I’m probably the least car-like person you’ll ever come across. Some of my colleagues at work have cars they work on at home, and it’s the very last thing I could dream of doing on my weekend. I’m just not into them at all like that.</p>
<p> </p>
<p>I like a lot of the different technical concepts that come out—the things with the hybrids and the electric cars. They’re all very interesting from an engineering point of view. But what’s my ultimate car, I’ve got zero idea. I think if I was tinkering with anything, it would probably be a motorbike I would tinker with. I wouldn’t tinker with a car.</p>
<p> </p>
<h2 class="wp-block-heading">So . . . if you could have any car ever made, what would it be?</h2>
<p> </p>
<p>There are some absolutely amazing cars that have set the standard for how the automotive industry evolved. Funny enough, actually a Model T. I’d love to drive a Model T. I don’t know what it would be like, but it was one of the first mass produced cars, and I think that’s an amazing feat in itself. All of the cars that were produced in the ’50s and the ’60s, the hot rod cars, things like the Chargers and the GT40, all of those kind of things, there’s something quite raw and basic about them, which makes them amazing pieces of machinery. They don’t have all the tricks in them, but I think you probably don’t need the tricks to appreciate their kind of driving style.</p>
<p> </p>
<p>I’d say probably the ultimate car that you always look at, which always gets people turning their heads, is probably a Ferrari. Every time you see it or hear it, the engine tune from a Ferrari isn’t maybe one of the most pleasant sounds of all time, but anytime you see them, you just think, “Wow, that’s a cool car.”</p>
<p> </p>
<p>Which car would I have? It’s gotta be a Dino. Ferrari Dino. I’d love to have one of those. I don’t have anywhere near the money to buy one, but it’d have to be that one.</p>
<p> </p>
<h2 class="wp-block-heading">Do you have any goals for the future?</h2>
<p> </p>
<p>I know that I want to be in motorsport for the long term, but never say never to changing industries. It’s something that gives me such a huge amount of satisfaction. I love being at the race track. I thought that I didn’t want to be at the race track, which is one of the reasons why I ended up thinking about going to Bentley and taking a step back. But actually, I just love being at the race track and doing stuff. I really enjoy the whole teamwork side of things.</p>
<p> </p>
<p>I’d say, if there’s anything I really want to do in terms of developing, I’d love to be involved in a project which starts out as a concept and then actually morphs into a race car and goes racing and developing that car and that team. That’s something I haven’t really actually done. With Audi, I just picked up what they had already got. And although I was involved in a lot of the development, especially when they went down the route of making the hybrid car, initially I wasn’t involved in the basic concept side.</p>
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          Nov 10, 2017
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            Product Review: Dr. ColorChip Squirt 'n Squeegee Kit
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<p></p>
<p class="has-small-font-size"><em>Note: This is a sponsored post, meaning that the products were provided to The Gearhead Girl at no charge in exchange for a review. All opinions are of my own.</em></p>
<p> </p>
<p>Imagine this: After driving your car down the interstate one day, you park in your driveway and realize that there are a few paint chips on the hood. Or maybe somehow you’ve managed to get a paint chip on a door handle. You hate the looks of it, so what do you do? Well, you get touch-up paint, of course.</p>
<p> </p>
<p>One of the automotive touch-up paint systems on the market is by Dr. ColorChip. The company’s touch-up paint is OEM factory color matched, and you can easily figure out which color you need by using the drop-down menus for the year, make, and model of your vehicle on their website. You can also put in your paint’s factory color code if you know it, which you can find on a sticker inside the driver’s door sill.</p>
<p><span><img alt="Dr. ColorChip Squirt ’n Squeegee Kit" height="682" src="https://imgproxy.fourthwall.com/wYdTWJ4ae3QVRgdFDjQiy_zOeWkT0B810njLe82OOfY/w:890/el:0/q:90/sm:1/enc/MTNmYWRkNWNkMWRk/Yjc5YlZeUykj2kVs/B8P8m83EwY0xmbLY/79_K3EP6m55rOmH_/9yrBmoPRRF_wgvq-/N5RVq_JGKHvq0bhG/TfA8GLFYB4ZFRe7I/zcHJH1Vl79RokNqy/qie9JXVpfG-m8uL4/buf473lIfu2bx4-K/l52ELAnry68.webp" width="1024" onerror="this.style.display='none'"></span></p>
<p>Dr. ColorChip was kind enough to send The Gearhead Girl its <a href="https://www.drcolorchip.com/store/squirt-n-squeegee-kit.php" target="_blank" rel="noopener">Squirt ’n Squeegee Kit ($64.95)</a>, which the company claims is its best-selling kit. This kit can treat hundreds of paint chips. Inside the box is a one ounce bottle of the OEM-matched paint with a flip-top lid, a four ounce bottle of the SealAct Blending Solution, a clear and flexible squeegee, a paint brush, two micro brushes, a wiping/blending cloth, a microfiber cloth, and a nitrile glove to help protect your hand. Also included, of course, are instructions and application tips.</p>
<p> </p>
<h2 class="wp-block-heading">Using the Kit</h2>
<p> </p>
<p>On my Dodge Avenger SXT, there are a few spots that need some touch-up, but for this review I’ve opted to just take care of a spot on the front passenger’s door handle. My car's paint color is Blaze Red Crystal Pearl, code PRH. Because I was just touching up this one spot, I didn’t really use the squeegee, though I can see where it would come in handy for heavily road-rashed areas.</p>
<p><span><img alt="Paint chip in door handle" height="1364" src="https://imgproxy.fourthwall.com/Li6a9jEpn_ydlA7sHeqYJBrQZugN_mmgiw4XngnHe-Q/w:890/el:0/q:90/sm:1/enc/Y2IwY2UyNGI2MDIy/Y2NkZmyB32KzYRb7/XR99Zd0cks3WMFbm/PXQfLDIG8gZSPnab/go7UeGu5L4TFHJMa/sX8g8ct1P64BynLN/_PXJlYIlRdztf9HZ/2Qj01CRzf1T-Z71X/JBiRfVI4sLnOwBEK/iwkf4Fq4kQTQxWl3/JfwGixPnx1s.webp" width="2048" onerror="this.style.display='none'"></span></p>
<p> </p>
<p>The first step is, of course, to make sure the area you’re touching up isn’t filthy. Then, after shaking up the touch-up paint bottle a bit, dab (or squirt) a little bit of the paint onto the area next to the paint chip and then immediately wipe the paint into the chip. This technique is supposed to help eliminate paint blobs. Even though you’re supposed to dab it on the area next to the chip, whenever I would go to smear the paint into the chip with my finger, the paint would just end up on my glove. I experienced this when I was trying out the squeegee, too. So I simply put the paint directly on the chip with one of the micro brushes.</p>
<p><span><img alt="Dr. ColorChip Squirt ’n Squeegee Kit touch-up paint" height="1364" src="https://imgproxy.fourthwall.com/c7Y7St0EGhl0VWrfk242AOUNbyn_kEtRNegXhbHtcuw/w:890/el:0/q:90/sm:1/enc/YjkwNDA2ZjlhM2I0/ZWIzMeFBZKgeQxTK/n0SuK1ZYRZA-N_Mb/EX54CC9pkv0TCJry/Qfql0U9o4tmXM1Jx/pNY0F4XnXxttG3Gc/bMtdADuvOJoRct3V/ITrJnC15r_ZZH6AI/_Cf44-X3_YWN8Se_/SFyjZj4wGDH658WQ/xQvd4fqg3BY.webp" width="2048" onerror="this.style.display='none'"></span></p>
<p>And then you wait a few minutes. I ended up waiting closer to 15 minutes before proceeding to the next step. The first couple of times I tried this, the touch-up paint just ended up being removed because it wasn’t dry enough. You can probably wait for up to an hour before using the blending solution.</p>
<p> </p>
<p>Next, shake up the Dr. ColorChip SealAct Blending Solution and squirt some of it onto the wiping/blending cloth. Gently wipe the surface; you don’t really want to use a ton of pressure as you may end up removing the paint you want to keep. Continue to blend and buff the area with the microfiber cloth.</p>
<p><span><img alt="Dr. ColorChip SealAct Blending Solution" height="1364" src="https://imgproxy.fourthwall.com/2dnVBTRJJfkZ1gxSEK-yu5s5h6ss-5jZw8zchzkdBnw/w:890/el:0/q:90/sm:1/enc/NmVlNmIyYTc0ODI1/ZTc4YqPiUJBrqvt6/KVQSjXObC-1J-ULh/JIfkNd74OFNHIlUP/8MqdF3Il_no9W6SY/LfQle-tJvZX3sEEc/lsftO6_riXdZrZey/6uCdu1UtPLgxgFxa/TMyIZwKw8y2QOYHr/P2JEcnPDJpnRNdXE/rtSaf2NEQ44.webp" width="2048" onerror="this.style.display='none'"></span></p>
<p> </p>
<h2 class="wp-block-heading">Thoughts</h2>
<p> </p>
<p>My first impressions? I like the Dr. ColorChip system, but it takes a little bit of patience. If you try to rush it, you’ll end up having to start over. It also may take a few attempts to build up deep chips—I had to do two coats for this one and may do another one later to complete it. And as you can see because of how I applied the paint, it ended up being a tiny bit "blobby," though this may be fixed once I do that final layer.</p>
<p><span><img alt="Dr. ColorChip finished product" height="1364" src="https://imgproxy.fourthwall.com/DjhJce1hMnQqafqQIXZbAJm8xdhrdH11H4GBbz3PajM/w:890/el:0/q:90/sm:1/enc/YjQzYWE2MDA0Yjc2/NDllMYrVFhgAuU2r/MmCeeFtCihjMJe1Z/pIHCBsTSjV-IsiHK/SQungIgbZFIU0itb/rnAeY1dTmH86MXAL/Vi6N2BzdmDEDbccL/zWIMEyMAL5MHeZkI/G_xTEeC3xsfpgp0I/Q038VdkQInd5CAIB/pPYBZq1E8Qk.webp" width="2048" onerror="this.style.display='none'"></span></p>
<p> </p>
<p>I also like how much of the paint and blending solution are included in the kit. A little of each goes a long way. You don’t need a ton of paint to fill in one chip, of course, and you don’t need to drench the blending cloth with the SealAct solution. The paint is also an exact match of the original color and doesn't require a clear coat.</p>
<p> </p>
<p>I'm guessing that it would have helped if it were warmer outside when I was trying out this kit (it was about 55 degrees with a setting sun). Also, it might have further worked more favorably if this were on a flatter surface, which may be why the paint didn't go into the chip properly during the "dab and smear" technique.</p>
<p> </p>
<p>I’ll definitely continue to use the kit for the rest of the chips on my car in the future, especially on flatter surfaces, such as the hood. If you wish to purchase a kit like this, you may do so on the <a href="https://www.drcolorchip.com" target="_blank" rel="noopener">Dr. ColorChip website</a>.</p>
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          Oct 3, 2017
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            The Rebelle Rally: the All-Female U.S. Off-Road Navigation Rally
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<p>Lake Tahoe to San Diego in seven days. About 1,250 miles. No GPS or cellphones; just maps, roadbooks, and a compass. Sixty teams of two for a total of 120 female competitors.</p>
<p> </p>
<p>That’s the Rebelle Rally.</p>
<p><span><img alt="Rebelle Rally" height="833" src="https://imgproxy.fourthwall.com/UZYMrOzh6fuZFnYnud04WF5QHP7xnZXBLnplu539Hvw/w:890/el:0/q:90/sm:1/enc/YzQyZmJlMjk1ZjE4/MDQ0NlaUGpB2H9O9/J4CHz1WvKivEBowu/ZefHkjWS_FSU2hFh/ecRG6vV3fJRppoC5/YU1XZBsFIKcZooB-/7gBdWl1ocuKzClaJ/ew4ibUyoYXs51Ebs/vC05Jk4ETM6FEi6Z/EcxSpEyejIKHaYRf/aFjWHVr0m6Q.webp" width="1250" onerror="this.style.display='none'"></span></p>
<p>  <em>Photo by Paolo Baraldi/courtesy of the Rebelle Rally.</em>  </p>
<p>Emily Miller, a Baja 1000 and Vegas to Reno Rally winner, was the first American to participate in the Rallye Aïcha des Gazelles, a competition similar to the Rebelle Rally in the Moroccan desert. She formed a U.S. team for the 2009 event and landed on the podium in 2011.</p>
<p> </p>
<p>But after several years, it proved to be very expensive and difficult to find sponsors for the overseas rally. Miller then decided to start the first all-woman rally in the United States. With three years of planning and combining her favorite features of rallies she previously participated in, tons of permits, and more than 60 staffers, the Rebelle Rally was born.</p>
<h2 class="wp-block-heading">What the Rebelle Rally Is About</h2>
<p> </p>
<p>The Rebelle Rally is an all-woman off-road navigation rally through Southern California and Nevada. It’s not a race for speed or the shortest distance, but rather a test of navigational skills using vehicles that can be daily drivers. It pushes the competitors’ mental, physical, and emotional capacities to the limit.</p>
<p> </p>
<p>Women of all ages, from teenagers to those more than 60 years old, and all backgrounds, from nurses to teachers, participate in the event. They may be seasoned racers or total first-timers. But they need to know basic navigation skills and how to change a tire. It’s a challenging and fun event, with the reward and feeling of accomplishment at the end.</p>
<p><span><img alt="Rebelle Rally" height="834" src="https://imgproxy.fourthwall.com/inZ9nrt_9QEZgD-vm9GnJdNFaJV8kZ4cJ5TCCSi3BmU/w:890/el:0/q:90/sm:1/enc/MGIwMzU4NDZkNjA5/ODllMmP8iPzmVrH8/1O6ziksXXiOi0w3w/O-16_bdLsI3yg_UK/3FvQMCy6TAp_d51H/pVbgHG03Rk55MyT1/f-chvdSSg9gHNCb-/Pwxqi154cZL88OfW/tGHZ6Tb_0gqkvv7I/Q_LPQjc7d_DGQ1J9/0oQNgzZgXGQ.webp" width="1250" onerror="this.style.display='none'"></span></p>
<p>  <em>Photo by Nicole Dreon/courtesy of the Rebelle Rally.</em>  </p>
<p>And while the exact route of the rally is confidential, it covers all sorts of terrain: sand dunes, dirt roads, double tracks, and trails. Each competition day lasts about eight to 11 hours, with at least 10 checkpoints each day. Teams cannot get outside help, but they can help out other teams during the competition. And if they call for aid, the team gets penalized. Each vehicle gets a tracker so that the teams can be found if they become lost during the rally, which has happened. There’s also only one fuel fill-up per day allowed, so fuel strategy becomes an important part of the competition.</p>
<h2 class="wp-block-heading">Participating</h2>
<p> </p>
<p>The entry fee is $6,000 per competitor, which includes an introductory online navigation course, hotel accommodations at the end in San Diego, and food and beverages on the seven competition days. It additionally includes the safety and rescue crews, a mechanic team that is shared among all competitors, and maps. The teams are able to raise funds on their own to help cover the entry fee and any upgrades. There are also vehicles that can be rented for the event from some automakers and main event sponsor, Hoehn Adventures.</p>
<p> </p>
<p>Two vehicle classes, all-wheel-drive crossovers and 4x4 SUVs and pickup trucks with transfer cases, make up the roster. All of the vehicles must be relatively stock and street legal in all 50 states. They aren’t full off-road racers or rock crawlers, but they may be modified with off-road tires, winches, and underbody protection.</p>
<h2 class="wp-block-heading">The Challenges</h2>
<p> </p>
<p>The event has two types of challenges: the daily map and compass challenges and three to five enduro challenges. The teams must be able to plot their course on the fly and cannot pre-navigate their route.</p>
<p> </p>
<p>At each map challenge, the teams must reach checkpoints in numerical order; they can't go back to a missed checkpoint if they've already reached the next one. The mandatory green checkpoints are marked on the map and with flags and are the easiest ones, while the blue (marked only with flags) and black ones (completely unmarked) are optional. The checkpoints have a 50-meter “target zone” that the teams have to be within before they can send in an electronic signal and acquire points.</p>
<p><span><img alt="Rebelle Rally" height="834" src="https://imgproxy.fourthwall.com/CChCi_j2sJpXOgxxgGZJ0PWfVL-B3sVl_bkh1yRgdds/w:890/el:0/q:90/sm:1/enc/Y2YyNWJkYTg0MDgz/ZjllMsIKC_1KVa2b/9w-uh7tkRY42IOzP/IMABlfSvr0B05QIR/oePg979pb1mugXxc/_eyNMrezePKjN1GJ/w-GDsGAetYocF6BQ/9WDfJOXrha6PUto1/Ben_8MfCh0iigw0a/OhsjhCHSB7_znAfy/oIN54Te-We0.webp" width="1250" onerror="this.style.display='none'"></span></p>
<p>  <em>Photo courtesy of the Rebelle Rally.</em>  </p>
<p>The enduro challenges cover a longer time period and involve a specific route with target average speeds for the route, and they require the supplied roadbook. Teams leave at regular intervals and reach time and location checks along the route. The goal is to hit the assigned target speeds, and teams earn points for being on time or on route at each check.</p>
<h2 class="wp-block-heading">The Checkered Flag</h2>
<p> </p>
<p>At the end of every day, the teams stop at the traveling base camp. There, they'll find a large, white tent that may be decorated to match the area they're in and the mechanics, along with hot showers and working toilets. The teams then set up tents for the night and dine on breakfast and dinner cooked in a food truck by Michelin-starred chef Drew Deckman.</p>
<p> </p>
<p>The competitors then dress up for the formal awards gala in San Diego at the end of the rally. Last year, the winners received free entry fees for this year’s event, and some sponsors gave away items such as compasses, watches, and gift bags.</p>
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            A Quick Seat Cushion Repair
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<p class="has-small-font-size"><em>Note: This post contains affiliate links, which means that at no additional cost to you, I will earn a commission on your purchase.</em></p>
<p> </p>
<p>The condition of the seats in our little <a href="https://the-gearhead-girl-shop.fourthwall.com/supporters/posts/204501" target="_blank" rel="noopener">yellow-and-black Austin Mini</a> wasn't the best. Both the driver's and passenger's seats are in need of replacement. The fabric covers have holes worn into them, exposing the disintegrating foam cushioning underneath. And while the driver's seat is still mostly intact, the passenger one is definitely in worse shape.</p>
<p> </p>
<p>Unlike the driver's seat, the passenger's seat isn't one-piece construction—the foam cushion that you sit on is separate from the back of the chair. This cushion was coming apart so badly that when the car hit a bump in the road, the passenger would hit the bar underneath them, almost squarely in the tailbone. And that area of the cushion had become so thin and wouldn't stay in place, needing readjustment every time before getting in. The straps below the cushion were also either broken or nonexistent.</p>
<p> </p>
<p>So we came up with this quick and easy solution for a seat cushion repair. It's not the prettiest, and, of course, it's not as ideal as just purchasing an entirely new seat, but it remedies the problem for the time being.</p>
<p> </p>
<h2 class="wp-block-heading">Building the New Cushion</h2>
<p> </p>
<p>The first step of the process was to remove the original seat cushion. You can see the condition the cushion was in, with pieces dangling off its edges. </p>
<p><span><img alt="Car seat cushion repair step 1" height="700" src="https://imgproxy.fourthwall.com/vVAyLHupUWCP9ODqVxhZwHIsNLn-TCE-_XldALAfIxQ/w:890/el:0/q:90/sm:1/enc/Zjg1YWU2NTlhYmJi/ZGRmNR-Llow9bcfx/UVNNQ6_xikSP2kIw/XwZp9SLSwZhYEcOq/opZkBMrQLBkyJFWB/jkVfirnfajpD3ORY/j1G4FN7SyGkZoYux/_LMlf93tc8MmzVEn/9tFL-jWuXl9kkNZ9/-dQp3Y4Z2x13pRMJ/Q70eGJwglbM.webp" width="1024" onerror="this.style.display='none'"></span></p>
<p>Next, we took a piece of high-density foam, typically used for household seat cushions, and cut it to the size we needed. We found ours, sized 17" x 15" x 2", at the local Joann fabric and craft store; however, you can purchase <a href="https://amzn.to/2MEkRoU" target="_blank" rel="noopener">one like this from Amazon</a>. We decided that the thicker part of the original cushion—the part that goes underneath your lower thigh/back of your knees—could be reused.</p>
<p> </p>
<p>We used the original cushion as a template and placed it on top of the new foam and traced its outline. Using an electric knife (think: Thanksgiving turkey carver), we cut out this piece, along with the end off original foam cushion.</p>
<p><span><img alt="Car seat cushion repair step 2" height="683" src="https://imgproxy.fourthwall.com/S1CmTDsbr_hU3JFDFArpi0-YcvpVien_x-tTnXKYXlA/w:890/el:0/q:90/sm:1/enc/ZmVmNDU1M2Q5NDdh/ODFkMkiwPV676tbp/TKXHuOevXv_EjgU2/S7Yzo6YdbHYjCfF0/npwNy5vI6B1xbb-c/iLvbs2dzGlfbSWxH/XeJVWUnSk5ZJRqid/gscxmNvaWCcTSCiW/xxyvJSDra8C5qWBc/z8Y9QKUjeLtwJAnT/YfyNCrfEKbQ.webp" width="1024" onerror="this.style.display='none'"></span></p>
<p>We then noticed that the cushion's height needed to be built up so that there wasn't a large step of foam between the two main pieces. Using some of the remaining new foam, we cut a couple of pieces to build up the incline. These pieces were then glued in place using <a href="https://amzn.to/2Ni4ALI" target="_blank" rel="noopener">E6000 glue</a>. After the glue had dried some, we glued the new foam piece to the original foam. E6000 takes a few hours to cure completely, so we let the whole assembly sit overnight. </p>
<p><span><img alt="Car seat cushion repair step 3" height="683" src="https://imgproxy.fourthwall.com/IBuUgUuOa0DRELr5zHtmHMXYRYQWUstzhDVyxtzJjF0/w:890/el:0/q:90/sm:1/enc/MDczNDg3ODliMjRl/NGI5ZvA64ADJYONE/9zDtsqnO2B4ADoyx/XJYF1Qdcg6va9amO/8eFO8NatZRRaN_Hj/6RdvCqKLNVIVRfyC/LbIht0FoNm26c_kT/zZ-yvfYnK15VKJWQ/h11X0DilHOILkyEV/5xK9Q863y7oqce53/vwNhOnOdKEA.webp" width="1024" onerror="this.style.display='none'"></span></p>
<p><span><img alt="Car seat cushion repair step 3" height="981" src="https://imgproxy.fourthwall.com/1IOkeD2yViRwNhjXVLLONQbwLAEnClhuCRKnVRNmweg/w:890/el:0/q:90/sm:1/enc/OTc1NTExZmVkZDZh/MDhmNrbvPltftUod/bd1OH95eroWZXeLA/-nF-Kk6HSy74f5G1/UWk6xtYtEzQpN7Kl/NGiJFlhROMgNOFtd/wHrryZz6AWm8Dve7/t7kqTTrD7C0TopCq/4GNnsuapKRCdhuF0/kUe_cjoW_9qFiIgg/zU3FuSarNDQ.webp" width="1024" onerror="this.style.display='none'"></span></p>
<p>In the meantime, we needed to create some new straps. While we were at Joann, we grabbed some 1-inch nylon webbing material, the kind that's used for belts. We cut the new strap material to size and hand-sewed it, folding the ends of the strap to hold the hooks in place. </p>
<p><span><img alt="Car seat cushion repair strap" height="318" src="https://imgproxy.fourthwall.com/9eLHb0EoBSWDenEby0n6_kWgL39fmhaRZ8gDm1Z5tU4/w:890/el:0/q:90/sm:1/enc/MzY4NDNkZWU4NDYz/YWU4Y3w2MksMEIX9/WupZzClCCTBBwZcP/JDDmyP9yEr0HCfxj/hsP5gRRtqUnQf2VG/Jh51Ayemn-ua9TK4/PAq83yVTYoxrBGJp/ag3y8acuwoceXVXT/-wOZGzVADTtOofn1/VTRW9J6T0WmGnfJ8/DqN_-sqlqEg.webp" width="1024" onerror="this.style.display='none'"></span></p>
<h2 class="wp-block-heading">The Finished Product</h2>
<p> </p>
<p>The final step to this seat cushion repair was the final fitting. When the glue had fully cured, we did some final trimming and then fitted the new cushion into the cover. It fit perfectly! But then we noticed something else: The cover wouldn't stay properly wrapped around the cushion. The fix? Velcro, <a href="https://amzn.to/2xgWfhe" target="_blank" rel="noopener">such as this super-sticky, no-sew type made for fabrics</a>. We attached the Velcro pieces to the back edge and the bottom side of the cushion. The straps underneath were reinstalled onto the seat frame, and we went out for a drive.</p>
<p><span><img alt="Car seat cushion repair Velcro strip" height="683" src="https://imgproxy.fourthwall.com/EeB_VEqNLZhem0of2k9rRpAIy40B_NJZa4YO8LdIZf4/w:890/el:0/q:90/sm:1/enc/M2Q3ZjM2YjljZjQ5/ZDQ2OURROOxrZHDv/VR3U_mWUIi6sGrlT/3d1H0MbtMLfR1tcv/Oe9MVeIzqiK1hNQS/-A4aMkaGaPSvPYCx/S-ShydWNxjapa7w6/NRfT8jnjwZBQyawA/K5Vnt_FbOnJfRHuF/7dkqUZsFYaKyY0rm/whHX7FqtJQQ.webp" width="1024" onerror="this.style.display='none'"></span></p>
<p>The repair might not be 100 percent perfect, but it sure works well and is much cheaper than buying a full replacement seat. </p>
<p><span><img alt="Finished product" height="683" src="https://imgproxy.fourthwall.com/vShCKz7GVnn0wjTHcm0nFtUjGb6L9T3ZjR1UY2FOqmk/w:890/el:0/q:90/sm:1/enc/NTk4Yzk4MzAzYTE0/ZDE0MRgpN1K1oYH1/_AoG_6mibofUiUat/jYjaQSWKl4I8eVd3/Po4xVmnH6buSbUbr/JpLLni57LzyCqZzI/BT0CQ4QgmwxToFjT/l9Ux6LCf4FEj2mvS/HMVuAYvcmu-mxfmn/rxyzBnuEgxC8vLEL/RX2EaB9GbPk.webp" width="1024" onerror="this.style.display='none'"></span></p>
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          Sep 15, 2017
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            Racing in the Shadows: The Story of the Shadow Racing Team
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<p></p>
<p>Founded in 1968 as Advanced Vehicle Systems, Don Nichols’ Shadow Racing team fielded innovative race cars in both the Can-Am and Formula 1 series. Shadow Racing was the first constructor to officially change nationalities. From 1973 to 1975, the team had an American license, and it had a British license from 1976 through 1980.</p>
<p><span><img alt="1974 Shadow Racing DN4" height="687" src="https://imgproxy.fourthwall.com/hc9gKUiKNv9aPVA1e60jBMk0tdEVte57cvy9cW5wB18/w:890/el:0/q:90/sm:1/enc/YjUwOTljMjJmMzVl/MzZiM5_5Rq5H6l6G/ln6CFpUf7skXP7KF/0GIQunG6YrtmEfHm/rAGyII179Moc8oSN/-LVWQ4C96X5Q6ug5/bs_lQb06pLIFYgJ9/HprSsTA-A-Me6MZi/CuSWhG3naYwXX0Fe/xH5c_G1G5bc-IOv7/veTJUK8DZcA.webp" width="1024" onerror="this.style.display='none'"></span></p>
<p>  <em>1974 DN4 at Watkins Glen. Photo by Christian Sinclair.</em>  </p>
<h2 class="wp-block-heading">The Can-Am Years</h2>
<p> </p>
<p>In 1970, Shadow Racing made its debut in the Can-Am series with its MkI race car and drivers George Follmer and Vic Elford. The MkI featured a Chevy big-block engine and low drag thanks to a minimal frontal area. Firestone manufactured tires for the team that were 30 percent smaller in diameter than what the competition was using at the time. The tires measured 17 inches in the front and 19 inches in the back. The car was fast, but it also wasn’t the most reliable. Because of the smaller wheels and tires, the team had to equip the car with smaller brake rotors, which didn’t offer great stopping force or heat dissipation. Since there wasn’t enough room within the body for it, the radiator was built into the rear wing. The car didn’t finish a race.</p>
<p> </p>
<p>The next season proved to be better. Jackie Oliver finished eighth in the Can-Am championship in the Peter Bryant–designed car, which was influenced by Bryant’s Autocoast Ti22 “titanium car.” During the season, Universal Oil Products signed on as a sponsor. The team used Goodyear tires that measured 18.8 inches in the front and 22.3 inches in the rear—still smaller than what the rest of the competition was using and about the same size as the then-current Formula 1 tires. The wedge-shaped MkII was always painted in black and white. However, the car only completed one race that season, at Edmonton.</p>
<p> </p>
<p>The low-profile tires were replaced with more-conventional rubber for the 1972 season, therefore resulting in a taller body for the MkIII. The team placed a wing between the front wheels and relocated the radiators to the sides of the car. They finished only one race during the season.<em></em>  </p>
<p>For the 1973 season, the Tony Southgate–designed DN2 debuted (Southgate had previously designed for BRM). With a “shovel nose” front end, the DN2 had a 1200-hp turbocharged engine, which proved to be unsuccessful and was raced only three times. The team then switched to a 735-hp naturally aspirated Chevy engine, but it proved not to be enough to defeat the dominant Porsches and didn’t handle well with its heavy chassis. Out of eight races, the Shadow team finished two races, at Edmonton and Laguna Seca.</p>
<p> </p>
<h3 class="wp-block-heading">Finally Some Success</h3>
<p> </p>
<p>The shortened 1974 season became the Can-Am series’ final season. Shadow Racing proved to be dominant, being the only team to field new cars (Lola, McLaren, and Porsche had all left the series). The DN4 was smaller and lighter than the DN2 to help comply with the series’ new fuel economy regulations; cars had to get at least three mpg. Both of the DN4s, with Oliver and Follmer driving, had 495-cubic-inch Chevy V-8s that produced 800 horsepower. The team finally won races—four total plus the championship.</p>
<h2 class="wp-block-heading">Entering Formula 1</h2>
<p> </p>
<p>In late 1972, Nichols announced that Shadow Racing would be entering Formula 1. The team’s first race was at the 1973 South African Grand Prix, with a Southgate-designed car and the DN1 chassis with a Cosworth powerplant. Shadow Racing had two cars available for Follmer and Oliver, along with a third for a private entry with Embassy Racing’s Graham Hill. The team got a sixth-place finish at its debut in South Africa. In ’74, Shadow hired Peter Revson and Jean-Pierre Jarier. Sadly, the DN3’s suspension failed during a pre-season practice session at Kyalami in South Africa, and Revson died from the resulting crash. Brian Redman took over Revson’s seat and soon passed it on to Tom Pryce.</p>
<p><span><img alt="Shadow Racing DN3, 1974 British Grand Prix at Brands Hatch" height="732" src="https://imgproxy.fourthwall.com/ASs9nLp9DUjcdkFUc6nSmObLGUgzKdO3PLTrm_dwvxU/w:890/el:0/q:90/sm:1/enc/MDc1MWNiMzdkZmIy/NmNmNLltDX3ZoKzy/f5p0UCA7aml3LKzK/ZEjhK1pyyr0id9El/LeZdeVTzVDL1bM_O/5Rfyy8FHqztjxiSz/UEmv6l3ANO-DZltp/0i8-b1vz_1-9sWvg/nZjRv4LhqjIGHWg5/nbGLCD5U-D9iSNw4/TmgwUKkPzCs.webp" width="1024" onerror="this.style.display='none'"></span></p>
<p>  <em>Jean-Pierre Jarier's DN3 at the 1974 British Grand Prix at Brands Hatch. Photo by John Pease.</em>  </p>
<p>Shadow Racing used the new DN5 for the 1975 season; the car's Ford Cosworth DFV engine put out about 490 horsepower. Pryce won the Race of Champions with the new car. Jarier piloted the car and got the pole position in the first two races of the season, but in both races, the car had mechanical failures. A Dodge-powered DN6 car also competed in five races during the season and once in 1976 at Mid-Ohio.<em></em>  </p>
<p>Later in 1975, Jarier started driving the DN7, which featured a Matra V-12 engine that produced about 550 horsepower. The DN7 was longer than the DN5 to accommodate the much larger engine. The team failed to get good results, and at the end of 1975, UOP withdrew its sponsorship support. They finished sixth in the constructors’ championship (the team finished eighth in three of their first four years in F1). Jarier left the team at the end of the 1976 season.</p>
<p> </p>
<p>At this point, Oliver had stopped driving for Shadow Racing. He went on to obtain more sponsorship and help design the DN8. Renzo Zorzi joined the team.</p>
<p> </p>
<h2 class="wp-block-heading">Tragedy</h2>
<p> </p>
<p>Unfortunately, during the 1977 South African Grand Prix at Kyalami, Pryce died in an accident that involved a 19-year-old corner marshal. Zorzi had stopped on the side of the main straight, and the marshal went to cross the track in case a fire emerged. The marshal was instantly killed when Pryce hit him, and the marshal's fire extinguisher hit Pryce in the head.</p>
<p> </p>
<p>After the accident, Alan Jones took over Pryce’s seat in the DN8 race car. Jones then claimed the team’s only victory that year at the Austrian Grand Prix at the Österreichring, now known as the Red Bull Ring. He also managed a third place finish before the end of the season. The team finished the season seventh in the constructors’ championship.</p>
<h2 class="wp-block-heading">The End of the Shadow Racing Team</h2>
<p> </p>
<p>The Shadow Racing team started to disintegrate after the 1977 Formula 1 season. Jones left for the Williams team at the end of the year. Most of the team, along with sponsor Franco Ambrosio, formed the Arrows team.</p>
<p> </p>
<p>Without much luck, Elio de Angelis, Clay Regazzoni, and Hans Stuck stayed to race for Shadow Racing. The trio managed to score only three points paying finishes during the team’s final three years. During the first seven races of the 1980 season, they had 13 DNQs. Nichols then sold the team to Teddy Yip’s Theodore Racing in 1980, but after the halfway point of the season, the team closed its doors.</p>
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          Sep 6, 2017
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            Peter Brock, the Legendary Designer of the Shelby Daytona Cobra Coupe
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<p>ith the experience of designing cars for General Motors and Shelby America and working with Japanese manufacturers, Peter Brock and his designs have become influential throughout the automotive industry. His résumé includes such greats as the Chevrolet Corvette Sting Ray, the Shelby Daytona Cobra coupe, the Triumph TR-250K, and the Shelby–De Tomaso P70 Can-Am car.</p>
<p><span><img alt="Shelby Daytona Cobra coupe" height="682" src="https://imgproxy.fourthwall.com/cqj6CPwm5Cf6Sc5ZQoBorzmzJI_YJKJhq0hlIiGxz58/w:890/el:0/q:90/sm:1/enc/Y2YzYmU3NWMzMWJh/YTI2N8nzn9agQuKg/7WWZ2seTWvHBUs70/SBb5J91tmkT6ySWe/izaOIZ7bJ0z1cF20/r1Lt_9n8kQNi6Edc/7y3vNFWX03Y7DuB_/fG7VurdGIkT4zOBD/1VjgDAaxjT_-VB3Z/Cs8zuwIDEZy0jVk8/YYhD0NjMW8I.webp" width="1024" onerror="this.style.display='none'"></span></p>
<p>  <em>Shelby Daytona Cobra coupe in 1965, designed by Peter Brock. Photo by Lothar Spurzem via <a href="https://creativecommons.org/licenses/by-sa/2.0/de/deed.en" target="_blank" rel="noopener">Wikimedia Commons</a>.</em>  </p>
<h2 class="wp-block-heading h3">TGG: What sparked your interest in automotive design? Who or what influenced you?</h2>
<p> </p>
<p><strong>PB:</strong> My main interest in cars started really early—I was like 12 years old. I had a next-door neighbor who had an MG, and he raced that car. That was the coolest thing I had ever seen. This was in 1949, so there were very few sports cars in the United States at that time. He had this little racing MG, so I used to go to the races with him. I found out that about a mile or two from where I was going to grammar school was the shop where all these little race cars were being worked on. The guys and mechanics who worked there also raced the cars on the weekend.</p>
<p> </p>
<p>So when I found out that, I convinced the owner that I should work for free there—you know, sweep or wipe down the tools and stuff. And after a while, they realized that I was pretty serious and wouldn't go away. I just hung around, and the most important man there was building a supercharged MG special in the shop. I could stand and watch him do this over a period of six months, so I saw him create the car. It was really a pretty amazing thing for a young kid to see that happen—the whole thing come together and form the aluminum body and build the engine and put the supercharger on and all of the trick stuff. That influence there really got me going with my interest in automobiles and my desire for the race car. I was pretty serious little kid, being involved in racing one way or another.</p>
<p> </p>
<p>But the one thing it really taught me about being around the shop and race cars was the reality of what it cost and what it would take to do that. So my fallback position was what do I do in school to back this up. And at first, I thought it was probably an engineering background, so that was sort of the way I geared my schooling after high school and stuff. But when I got into college, I realized college wasn't something you're going to get anything out of, that it's a whole screwed-up system that doesn't work. I had heard about this other school in the Los Angeles area called ArtCenter for designing cars.</p>
<p> </p>
<p>So I drove down there on Easter vacation and literally parked in the garage in the back and went in with a guy and hung out, sat in the classrooms, and looked at what was going on and what was there. That pretty much fully convinced me to get me involved in automotive design. I used to draw cars in study hall, just like every guy at that age, and put interest in cars. I mean, these were really, really beautiful renderings. So it combined what understanding I had with engineering with the real aesthetic end of it, which was what appealed to me. What I had learned hanging out in the shop and building race cars from an engineering standpoint was really the skill that had to be clothed in the aesthetic form.</p>
<p> </p>
<p>I was beginning to see a lot of these pretty exotic cars that were beginning to come into the United States at that time. For example, the Jaguar XK120 was introduced at that moment and just created an amazing impression on not only what I saw, but the whole American public. If you went over to the San Francisco auto show, there were 10 people around the car when it was first introduced. And the same thing happened with the Austin-Healey 100. I was introduced to all the beautiful little cars at that early age. And then I started really reading up on where all that stuff came from, and then going to the races at Pebble Beach, and going with all these guys who were racing. I began to expand pretty much where these things came from. And they were at the races, so I could see the exotics. Like Johnny von Neumann came in with the first 356 Porsches and later the 550 Spyders and all those kind of stuff. It was just a magical world of automotive design and engineering that kind of sparked me doing that.</p>
<p> </p>
<p><span><img alt="Chevrolet Corvette SS" height="793" src="https://imgproxy.fourthwall.com/5w3cSrv-DcRuZDZv7OU0w0pgfOD-P1QQQtLl8xj4c1I/w:890/el:0/q:90/sm:1/enc/ZmU2YmIwZmMwODQ3/ZTQ1NvV4eje901fd/DNgZnLEvNnT6kRG-/p21aAXHcT1uOQnSe/nO-5-ux5w91jf-Ld/vFsDDCa90Gl-SATI/L5mGmnTUYQQpg_FQ/ZMd2fIQFKpt7WBKf/z8V-DDtacKxm-xOx/jD13nlrv6ziST0pW/QqD1NdNjpWk.webp" width="1024" onerror="this.style.display='none'"></span></p>
<p><em>Zora Arkus-Duntov's Chevrolet Corvette SS. Photo by Drew Lindberg via <a href="https://creativecommons.org/licenses/by/3.0/deed.en" target="_blank" rel="noopener">Wikimedia Commons</a>.</em>  </p>
<h2 class="wp-block-heading">How did you start at GM Styling? What was it like working there with Bill Mitchell?</h2>
<p> </p>
<p>It was a matter of being in the right place at the right time because when I had gone to GM, I didn't have the money to finish ArtCenter College in design. I was only about halfway through my fifth semester there. During the first five semesters, I had gotten to know Chuck Jordan, who died recently. He eventually became the head of GM design. At that time he was the director for GM, and he used to come out to the school to look at the advanced students to see who he was going to hire to bring back to GM. I knew at that point going in that I wanted to work for GM because of what was going on and the programs for their overhead valve engines and some of their engineering.</p>
<p> </p>
<p>So I got to know him. And when I reached a point with my parents where they were not going to cover my school expenses anymore, I called Chuck on the phone and said, “Hey, I'm out of money, and I still want to come to GM." And he really saved my ass. He just said: “OK, I'll have an airplane ticket for you tomorrow morning. Come on back." So he hired me onto their design team. Getting me in there was a matter of timing. The thing is that—that was in late '56, early '57—there was a major shift in Detroit from the manufacturers at that point called the AMA ban—the Automobile Manufacturers Association—led by GM, who were going to get completely out of racing and all performance activity.</p>
<p> </p>
<p>At that point the Corvette program was being cut off, which was a major blow to me because that was one of the major reasons I'd gone to GM and shown some interest in design and building modern sports cars. And Harley Earl, who had started GM design in 1927, was the guy who came up with the whole idea and said, “Do the thing." But then there was really nobody in Detroit who knew anything about what a motorsports car was supposed to be. There was a lot of management there resistant toward it because Harley was trying to build this car out of fiberglass. Nobody back there knew anything about fiberglass. But he realized that he was a kind of a visionary, and that it might be a way that you could make limited production vehicles at a very low cost because the tooling wasn't expensive. That was what he had told me, was that he would hire these young engineers and designers with this little small program called the Corvette to work on the new materials, the new engineering stuff. But there was nobody there who really knew anything, and that's where Zora Arkus-Duntov came in. He'd seen the first Corvette at the New York auto show in 1953 and realized that there was a lot lacking there from an engineering standpoint.</p>
<p> </p>
<p>GM’s top engineer, who was English, a guy named Maurice Olley, hired Zora. He contacted Maurice Olley and said: "Hire me, I will come back and lead your sports car program. I've been working for Allard, I've been working for Porsche, I’ve done all kinds of things." And he talked his way in there as well. Zora became pretty much the head of the engineering program of Chevrolet on the Corvette. Mr. Earl at that time was retiring, and his handpicked replacement was a guy named Bill Mitchell. Bill Mitchell was probably one of the only reasons we still have Corvettes today. He loved automobiles, and he was not going to let that management destroy everything that had been built up. Mr. Earl was done with the Corvette, and Bill was going to continue the Corvette program.</p>
<p> </p>
<p>The problem was that he couldn't do it, and the obvious way was to bring the program into Chevrolet engineering and the Chevrolet studio upstairs. So in order to hide the program, he took it downstairs to where I was working as an intern at that time, where they put the young designers. They put them in there for a year or so to see what they really looked like in terms of what they could produce, what their qualities were mostly from an aesthetic standpoint of engineering, and their leadership, whether they were going to be a designer or a studio head. Bill had recently gone over to the Turin auto show in the summer of '57 and had seen a bunch of really little trick little streamliners that were being built there at that point. But they all had the sort of similar form with the beltline that went around the middle of the car.</p>
<p> </p>
<p>He brought back a whole series of photographs that he had shot over there and came down into the research studio where I was working. There were three of us intern designers down there. He kind of laid out the program that he wanted to do, and I think that he wanted to see if this young group of guys could do something different than what was being done upstairs in the conventional studio. Long story short is that he liked all the work that I had done. It was his direction of what we were going to do, and he came in and said: "You guys, we got a couple of weeks. I want to see what you can do." He put all this stuff up on the wall, came in, and picked my sketches off the wall and said, "OK, this is the direction we're going," and gave me the project to continue on.</p>
<p> </p>
<p>Then the challenge was to the rest of the guys to see if they could come up with something better. That was all of his thing, was to challenge everybody, pick something good out, and say, “OK, you've got to beat this.” So after a couple of weeks, we realized there was nothing there that was superior to that. We went ahead and went from a 1/4-scale model to building a full scale of the Corvette Sting Ray in clay. He'd come in every couple of days and say: "Do this, change this line. I like this, do this." He's really designing the car and explaining what he wanted, and I was the hands-on guy doing the car. That's the way we did it.</p>
<p><span><img alt="XP-87 Stingray" height="683" src="https://imgproxy.fourthwall.com/0ARlhQKDCEQG9s173hvKJjXrbjaAuLTgq9Mno0UhPwg/w:890/el:0/q:90/sm:1/enc/MjRhZTZkYTMwYjM0/NTc0ZfN3paUiLOSK/26PREWncf2T2ySnF/a4f6sY_25y-8EwuQ/d9hfnq1EjcKuoMiL/yOmVQYdD69z5uvlo/ghyGf9xbZlWcPRRs/yOx2e9I4IpGUe7Ht/hyDRGK0GuGOVF4dl/hlB00Jf7qVd-Qkmr/59f-Pqxy6o4.webp" width="1024" onerror="this.style.display='none'"></span></p>
<p>  <em>XP-87 Stingray. Photo by Steve Ginn.</em>  </p>
<p>The car was all designed primarily as a coupe the way we finally saw the thing appear in 1963, and at that point he came into the studio and said: "All right. I have bought Zora Arkus-Duntov's Corvette SS,” which is a program that Zora had started in '55 or '56. He had built this very beautiful little car called the Corvette SS, built on a Mercedes 300SL's spaceframe, and then he had come in from management saying there would be no more racing. So essentially that car was supposed to have been crushed and all of that stuff destroyed. But Mitchell managed to squeak one of the chassis out. Zora gave the SS to the Indianapolis museum. They had saved it.</p>
<p> </p>
<p>He came back and came to the studio and said, "OK, we're going to not going to build a coupe, we're going to build a roadster." We cut the roof off that thing. He said, “You know it's beautiful, but I'm going to pay for this myself, and we're going to run the car as my private automobile.” But by then management had discovered what we were doing, and they told him strictly that if he wanted to continue, he could do it on his own, but he could not put the Corvette name on it and he could not identify it with Chevrolet. So that's where he came up with the Sting Ray name. We put that name on the car, and then we built that car up to full scale.</p>
<p> </p>
<p>At that point I ended up transferring over for Mr. Earl to work on another project, and the Sting Ray went into a secret studio that Bill Mitchell had built with the false front so management wouldn't know what was going on behind it. Larry Shinoda and a guy named Tony Lapine took over the project, and they pretty much designed the actual production 1963 version from the XP-87, of which I had done the prototype. As that thing was finished up, Tony was promoted and sent over to do another special project, an Opel in Germany. Then Porsche went and picked him out of Opel and made him head of Porsche design. So Tony never really got a lot of credit for doing the production Sting Ray because he left the program. I had left the program. So Larry Shinoda was left there, and he was pretty much the guy who got most of the credit for doing the production version of the Sting Ray.</p>
<p> </p>
<h2 class="wp-block-heading">Were there any influences to the Corvette Sting Ray's design?</h2>
<p> </p>
<p>What was really interesting working at General Motors design was that they had just finished the GM Tech Center campus at that point, and it was this beautiful Eero Saarinen design area in Warren, Michigan, where I went to work. Not everything had been organized or completed, so they had a room there that was going to be the GM library that had not yet been organized and such. I used to spend my lunch hours down there going through anything that I could find that I was interested in—the history of automobile design and engineering and what had been done in Europe. They subscribed to most of the European automobile magazines. There wasn't much in the United States at that time except <em>Road &amp; Track</em>—that was the key magazine here at that time. But there were a lot of pretty good European things that were in there. Going through all that I happened to find a small group of papers that were done on mimeograph. All written in German was a white paper that had been done in the late '30s that Dr. [Wunibald] Kamm's studio in Germany on the automotive aerodynamics of the prototype cars they had done for Wanderer and another company called Audi.</p>
<p>Dr. Kamm and a young guy who was working for him named Reinhard von Koenig-Fachsenfeld had really revolutionized the idea on aerodynamics von Koenig-Fachsenfeld had discovered while being a champion motorcycle racer. He was an aristocrat, very wealthy young guy, but he raced motorcycles in 1924 and became the champion in Germany. He did it by understanding aerodynamics because it flows things to shoot out the racing bike, and the air is flowing over you. You get to understand what's creating drag and what's creating the speed.</p>
<p> </p>
<p>He had eventually gone to work for Paul Jaray, who was the recognized father of streamline design. He had developed that whole process just after World War I. He'd gone to work for the zeppelin factory and figured out how to make zeppelins the best shape so that the air flowed over with the least amount of drag. He applied that in a patent that he applied for in 1933 to automotive design with his streamlining back. It was not a very practical way to work because it had the length to frontal area ratio of the zeppelin. Otherwise, automobiles would have been 50 feet long, which was impractical. His idea was to streamline a tail that went to a point in the back, and that design influenced automobile design all over Europe and in America for years and years up into the '40s.</p>
<p> </p>
<p>Von Koenig-Fachsenfeld, in the late '30s, realized that was not the ideal shape, and he and Dr. Kamm figured out that what really worked was to keep the roofline as flat as possible so that the air would stay attached. And it didn't go down to a point, but it would go back to an angle that would reach a theoretical point some 10 feet behind that car. Since that was impractical they would take it back to just behind the rear wheels and cut it off directly. That became known as the Kamm tail. It was actually Reinhard von Koenig-Fachsenfeld who figured that out.</p>
<p> </p>
<p>The German media, when they learned about what he was doing, realized von Koenig-Fachsenfeld was too long a name, and they called it the K-line tail. They really thought that was supposed to be Kamm, but it was really von Koenig-Fachsenfeld.</p>
<p> </p>
<p>I read all this stuff that I found in the library at GM and took it to Mr. Mitchell and explained that I thought this was a really valid direction we should be looking at for the Sting Ray. He looked at it and said: "Kid, that's gotta be the ugliest looking shit I've ever seen in my life. Get back and do what you've been doing."</p>
<p> </p>
<p>So I kind of put that away, and when I left GM to go back to California to build my race car and turned 21, I took that information with me. I was working in Hollywood for a guy named Max Balchowsky, who was a top builder of California racing specials at that time. It was the only really successful American special that was running against wealthy owners and guys who were running Maseratis and Ferraris. He was kind of the local blue collar hero. Working for Max was another great influence in my life, another matter of great timing.</p>
<p> </p>
<p>That was where I met Carroll Shelby because he just won Le Mans in 1959 driving for Aston Martin. Carroll was having trouble with his heart and was going to retire and asked if he could drive Max's old yellow car the last few races of the '59–'60 season there. We kinda made friends and hung out together. He told me about this plan he had of building a new sports car and that he also wanted a race driver. Long story short, I ended up running his race driver school for him, and that's when I started working for Shelby. At that point, he got the distributorship for Goodyear racing tires. I ran that program for him. There was only his girlfriend, the secretary, and myself. The four of us basically started Shelby American.</p>
<p> </p>
<h2 class="wp-block-heading">When you worked with Shelby, what inspired the Daytona Cobra coupes?</h2>
<p> </p>
<p>He found out that Ford was coming out with the new lightweight engine that would compete with Chevrolet V-8, and also that AC Cars was losing the Bristol engine and manufacturing source that they had, and talked his way in. Ford had given him a couple engines and enough money to travel to England to talk to AC. The guys at AC kind of saw that he had the Ford Motor Company behind him, and they said why not the chassis with that engine? So they gave him a chassis. He didn't have any money, and he got the engines for free from Ford and the chassis for free from AC. Then he talked to a guy in Pennsylvania who had a big car dealership and then became the first distributor for the cars that eventually became the Cobra roadsters. The first was built back east. We built another one in California at the same time, which he gave to the editor of <em>Sports Car International</em>, who wrote a big glowing piece on the car.</p>
<p> </p>
<p>At the same time, we took that car to the New York auto show. The Ford dealers were starved for sports cars because by then the Chevrolet Corvette was really creating a lot of interest with the American public. They suddenly had a chance at a competitor for the Corvette. He got enough orders at the New York auto show to be in production on Shelby American, so he ordered the first batch of cars from AC in England and they were shipped over. He got Ford to find the motors to put in those cars, and that's the way Shelby American started.</p>
<p> </p>
<p>I was his primary test driver at that time, and I was working out at the racetrack at the school and did a lot of the development on the car. At that point, when we had first started running the car, everybody wanted to drive the car. We had Dan Gurney, we had Ken Miles, we had Dave MacDonald, we had Bob Holbert on the East Coast. All the top guys in the country wanted to drive for him. We ended up winning the United States Road Racing championship in 1963.</p>
<p><span><img alt="Shelby Daytona Cobra coupe" height="683" src="https://imgproxy.fourthwall.com/YSHTDhGYhfnQF7JD7YxcZmYgNGOSGu1X983Z9wikYH4/w:890/el:0/q:90/sm:1/enc/MjQ2YmViMDdhOTMw/NDUwNxvfV0-nnyDk/vkhGn5WSHWYSZABZ/mBEjpI5MK3ahNC_R/VbJygE2wwjlu-wXa/AcLxNJmSJuPLLwEW/rj-SE3ORAdd8dFzV/fVqKnF7hVvCtosf3/nZuUNjJmYzE_Sfa4/hoXjQsHg97r4ysGp/p2IM7_JpSJw.webp" width="1024" onerror="this.style.display='none'"></span></p>
<p>  <em>Shelby Daytona Cobra coupe in 1965. Photo by Lothar Spurzem via <a href="https://creativecommons.org/licenses/by-sa/2.0/de/deed.en" target="_blank" rel="noopener">Wikimedia Commons</a>.</em>  </p>
<p>At that point, Carroll realized that he had a chance to move farther than he had and decided in 1964 that we would go to Europe and we would compete against Ferrari. He had been sort of insulted by Ferrari earlier in his career when he wanted to drive for him. Ferrari said, "Well it would be an honor for him to drive, but I won't pay you any money." So Carroll said, "Well, fine, thanks a lot, but see you later." He went to work for Aston Martin. That's when he won Le Mans. So he wanted to go back and kind of really show up Ferrari. The problem was that the Cobra roadsters only had a top speed of about 165 mph.</p>
<p> </p>
<p>At that point the Ferrari 250GTO had just been introduced at the Paris auto show, and it had a top speed of 185. We knew right off that unless we made a major change or got a lot more horsepower or did something, the car would not be competitive. This is when I came back out with the idea of von Koenig-Fachsenfeld's chopped-off tail car and said: "Under the rules we can change the body completely, but we can't change the chassis. But if you'll allow me to design a car for you, I think I can get you some free horsepower at the top end." And I had not told Carroll that I had worked for GM design. I only told him that I wanted to be a race driver and that that was what I was going to school for. So he was rather dubious because he didn't know I was a designer. Since it didn't cost anything to draw the thing up, he said: "Well, yeah. Go ahead."</p>
<p> </p>
<p>I drew it up and said, "This is a strange-looking car with a chopped-off tail and everything, but if you'll believe what I'm telling you, I think we can be fast enough." So he got pretty excited at the time. Then he said, "I need you to present it to all the rest of the guys in the shop and to our chief engineer Phil Remington," who was probably the best fabricator and race car builder in the world at that time. We had a really top group of guys. We had just won the United States Road Racing championship with the roadster. So I made this presentation to everybody in the shop, and their reaction was, “It's got to be the biggest hunk of shit we've ever seen.” Same thing. Nobody wanted anything to do with it.</p>
<p> </p>
<p>Luckily Ken Miles, our chief designer, convinced Carroll there was some merit to what we were doing. He understood automotive design and history. He knew what the Germans were doing when he raced in Europe before he came to California. He convinced Carroll to let me continue with it. So Ken and myself and a young kid from New Zealand built the first Daytona off in the corner in the shop. And nobody else wanted to be involved in it because they thought it was really going to be a loser. But as we started to put it together, a couple guys came over and said, “You know, that's not looking too bad.” And they began to help us design a little bit.</p>
<p> </p>
<p>We got the car built, and the first thing we did was take it out to Riverside. I mean right out of the box it was 3 1/2 seconds a lap faster. Miles had driven it for 15 laps, went right back to the phone, and told Carroll the car was capable of beating any Ferrari he had driven. By the time we got back to the shop, the whole center of the shop had been cleared out. Carroll had told everybody: "I don't care what you say or what you thought about it before, finish this car up. We're going to go to Daytona with it." And that's what we did with it. From that point on, the car was very, very successful, and we ended up building six of them. And we won the world championship with it.</p>
<p> </p>
<h2 class="wp-block-heading">How much of the Daytona Cobra coupe's design was for function and how much of it was for form?</h2>
<p> </p>
<p>It was all designed for function, but the aesthetic part of it came into taking a very strange-looking shape, which was this kind of big humpback thing with a chopped-off back end, and trying to make some success with that. By using a lot of glass in the thing, instead of looking large and heavy, which it could've been if I'd used a conventional small window in the back, it actually came out to be a pretty interesting-looking car. It is now considered an icon of design and one of the greatest designs that's ever been.</p>
<p> </p>
<p>If you look at a Toyota Prius today, it's a Daytona all over. They're all smoothed-up in the front, chopped off in the back. So all modern cars are designed like the Daytona. And it all came from von Koenig-Fachsenfeld in 1933. All I did was took what everybody thought was pretty ugly and figured out a way to make it look fairly pretty. And as soon as it became successful it was now considered aesthetic success. The rest is history so to speak.</p>
<p> </p>
<h2 class="wp-block-heading">You started Brock Racing Enterprises in 1965. What was it like working with Hino and Datsun? Was it any different than working with GM and Shelby?</h2>
<p> </p>
<p>Considerably different.</p>
<p> </p>
<p>Here's the interesting thing that most people don't understand with the Cobra program. When we were putting that together, Ford Motor Company also had an interest in going into Europe and expanding their sales area there. And Henry Ford II knew at that time that the easiest way to do that would be to buy an existing company, put the Ford name on it, and race those cars in Europe as Fords. He essentially had made some questions with his minions into buying Ferrari.</p>
<p> </p>
<p>Ferrari had initially said yes, they'd sell him the entire Ferrari operation for $12 million. So those cars would become Fords, and they would be released in Europe. What Ferrari was really wanting to do was get Gianni Agnelli and Fiat to come behind because he didn't want to sell it to the Americans. But he resolved that that was going to happen. And when Agnelli realized the thing might go to the Americans, he came in and bought Ferrari, so to speak. Ford was really upset because he'd already made a deal with him and spent a lot of money and had people go there and tour everything and made up all the contracts and everything.</p>
<p> </p>
<p>Ford's engineering staff had said, “OK, there are other alternatives.” It wasn't Shelby. They had convinced him he should go with Eric Broadley in England and buy the new Lola Mk6 that Eric Broadley had designed and just showed at the London motorcar show. So Ford put all their money behind Eric Broadley and building the Lola into the Ford GT. In 1964, when the first Ford GT and the Daytona appeared, it was a major, major battle for the manufacturers in the GT world championship because it wasn't just Shelby, it was Ferrari and it was Jaguar and it was Aston Martin. You had all these guys trying for the world championship, and it was pretty obvious at the end of the year that the fastest car out there was the Daytona Cobra.</p>
<p> </p>
<p>There were three entities in the United States that were trying to get the contract for the Ford GT. Broadley, who already had it, and Carroll's old boss John Wyer, who had run an Aston Martin when he had won Le Mans. Ford had hired John Wyer to take over the Broadley operation to develop the Ford GT. That was one ending. There was a group of us in California, and this was led by a couple of people and Shelby. And they kept saying this guy on the West Coast is doing the right job for you, but most of the people within Ford were saying: “You know, neither of these guys is right. Where we should be spending our money is Holman Moody down in North Carolina, because they know Ford stock cars and that's where we should be spending our money.” So they were trying to convince Ford to spend their money with Holman Moody and build the sports car down there, and they would take that to Europe.</p>
<p> </p>
<p>Ford sat back and looked at the data and said, "The reason that we're winning because they all were all Ford engines, because Shelby has the best team of guys." They were lead by Phil Remington. But it had finally come around, and the thing worked. He took the contract and gave it to Carroll. And at that moment, when all of that money came to Carroll Shelby, part of the program was that they would forget the Cobras completely. All the money would go into developing the Ford GT to run against the Ferrari in the prototype class the following year. All these people were coming in from Ford. Carroll said, “Well, I don't need you anymore,” and kind of threw me under the bus. I said, “You know, I've just won the world championship for you.” “Doesn't matter,” he said, “I have all the money in engineering for the world now. You can do what you want.”</p>
<p> </p>
<p><span><img alt="BRE Datsun 510" height="533" src="https://imgproxy.fourthwall.com/6WFmuUXLWVGTKGBB6hZAc_HQYwXniaVIDiGZad0K3UM/w:890/el:0/q:90/sm:1/enc/OTY5YmJmYmU2YzEy/MWZlN0w9BllPcSXT/Dpsahpkswrn3Ouo9/-ch2yxLLAD5OYxJG/0bAAS1-GyADLZxaJ/5qvgvbJFHkEvIsCI/LltxbEF2r8QvTBTq/TvnGXW4Esgut3Pc0/-FQRBEecHXFT5SOB/QRjf6VGw_h8WpxCF/grT_ke-UpnQ.webp" width="800" onerror="this.style.display='none'"></span></p>
<p><em>BRE Datsun 510. Photo by the Sylvia Wilkinson Collection.</em>  </p>
<p>I went off on my own and started working with the Japanese, and I started working with a little company called Hino. In that particular year, the SCCA did not have a program for racing sedans in the United States. The Sports Car Club of America only recognized sports cars. But the editor of <em>Sports Car International</em> at that time wanted this California Sports Car Club, which at that time was independent of the SCCA. But they ran all these races with the MG car club in California. They kind of worked for the SCCA. They said let's put out the other professional race out here in California because the SCCA did not believe in professional racing. That was for guys who got big money and raced in circles, and that was the Olympian ideal.</p>
<p> </p>
<p>So they got together with the <em>Los Angeles Times</em>, and they invented a race called the Los Angeles Times-Mirror Grand Prix at Riverside. They put up a lot of money for it. That became the new era of racing in the United States because there was more money being put up for that. And as a result of that, all the top drivers and teams came from Europe. You had everybody you could think of in the world at that time who was a great driver come out to Los Angeles. And this is a huge, huge race all of a sudden. The California Sports Car Club, this little club in Los Angeles, was running the biggest money race of the world. And the SCCA had to take notice of what was going on because these guys started this race.</p>
<p> </p>
<p>The second year was really big. They said it would have an opening event before the Times-Mirror Grand Prix. Rather than focus on sports cars, which the SCCA recognized, they recognized this little group of sedans that had grown up right here in California. It was kind of a hooligan race for a bunch of sedans. At that time I was building cars for Hino, and I built up two really hot rod Hinos. Bottom line was that I won the race out there and my second driver was second. But the important thing was when we pulled into victory circle, it was almost solid Japanese, because the Japanese had come over to see how the Americans marketed automobiles for racing.</p>
<p> </p>
<p>At that point we became a major name in Japan. Nobody had ever heard of us. Hino was not a name that was recognized in Japan as a very important thing. Over there it was all Toyota, Nissan, Honda. Suddenly, this little upstart company from Japan wins this big race in California. It gave a lot of prestige to both to Hino and myself. As a result of that, I got offers from every Japanese company to run their team. I ended up running the Datsun team for Mr. Katayama, the head of Datsun on the West Coast. And we won four initial championships with the 240Z and the 510, and literally changed the whole landscape of American racing. People recognized what good Japanese cars were. That was another major change in motor racing.</p>
<p> </p>
<h2 class="wp-block-heading">What do you think is your best work?</h2>
<p> </p>
<p>Whatever the next program is going to be. I love them all, and they're all fun. I had a chance to build cars in England, I built cars in Italy, and programs that never became as world famous, but they were every bit as exciting and beautiful as the other things I've worked on. I’m just proud of those. There was the TR-250K for Triumph. There was the beautiful Can-Am car I did for Carroll and De Tomaso. They were all pretty exciting automobiles. Every one in its era was the important thing. I always surrounded myself with a great group of people who specialized in whatever they were doing, whether it was building engines or chassis or doing the developing. It always takes a team of people—it can't be one guy alone. I had a little bit of leadership stuff I learned from Bill Mitchell at GM and a little bit more that I learned from Shelby, so when I finally got on my feet on my own, I had a little idea about how to put a program together and make it work.</p>
<p> </p>
<p><span><img alt="Shelby De Tomaso P70" height="471" src="https://imgproxy.fourthwall.com/On0yKPBPyon3DpzjVeF8tdb4YsiOQHXh6aFDxhbYKq0/w:890/el:0/q:90/sm:1/enc/OGM3MWY1YjdjN2Fi/MTBkYWDokIfuNufm/WsX6hzTSDecS0rZW/j3HpiOvS0pOLToSe/WQVeL7cr1Q--JCpK/W_9Ro_y9GPHc9CDZ/7ZCjZ1249q0yK9lb/GMghv7vbq_R2HfaP/aozwysaW5ehXNMeB/___ZP8yjPVmdICiS/vq3yOuTFHwY.webp" width="800" onerror="this.style.display='none'"></span></p>
<p><em>Shelby De Tomaso P70. Photo via Wikimedia Commons.</em>  </p>
<h2 class="wp-block-heading">Do you still do any designing?</h2>
<p> </p>
<p>Yeah, I still do. It's very hard to get anything really good because most people who are planning on doing something serious are working with a major manufacturer that's got literally millions of dollars behind all the resources. So for anybody to reach out to privateer is pretty rare. I occasionally get people who come over and ask me to do things, and they try to sell us on a larger scale. Unfortunately, those have not come to pass the way I'd like, but they were interesting programs. There's still one out there that might happen.</p>
<p> </p>
<p>But in the meantime, I set up this operation here in Nevada where we build really nice aerodynamic race trailers for privateer teams and concours cars, anybody that's got a really quality super-good race car who wants to haul it. The Aerovault is now the best in the world.</p>
<p> </p>
<h2 class="wp-block-heading">Out of all of the cars ever produced, which one do you like the most?</h2>
<p> </p>
<p>That would have to go by eras, because I can look at anything designed from the early 1900s all the way to today and in each decade there is a star. And it was all designed by either an individual or a passionate, very small group of guys who did something that was spectacular and in many cases went completely against the common wisdom of what was also being done. If you look at the Peugeot that won at Indianapolis in 1913, it had every bit modern racing technology already designed into it that we still use today. And that's how good these guys were back in their time. If you understand the racing history and what people were trying to do in these really early, early cars, they didn't have all the machinery or the technology to put together exactly what they wanted.</p>
<p> </p>
<p>If you want to take an example, there was a guy in Detroit in 1902 who made the most streamlined race car in the world. The problem was that it was so fast that when you got to the corners, it usually ran off and crashed. So he backed off, didn't kill himself, and he built electric cars that were outselling all the gasoline cars there around the urban areas that time. That was the Baker Electric. But Baker, in 1902, had designed a terrific race car. Up until about 1950, nobody had never done anything as good as he'd done. But he didn't have all the technology to make it work and steer and everything.</p>
<p> </p>
<p>There were always visionaries out there that had great things done, whether you look at what Voisin did in France or Hans Ledwinka did with the Tatras in Czechoslovakia before the Germans destroyed him. They were all brilliant, brilliant designs that were way ahead of their time. And that sort of way you had to do something to really create any major effect upon the world. That's really what the Daytona was. The Daytona Cobra, in spite of the fact we only made six of them and it was crude as hell, got the job done. It completely reversed people's thinking on aerodynamics and the way things should be done. It's still the principles that Reinhard von Koenig-Fachsenfeld figured out for racing motorcycles in the '30s that are still applied today.</p>
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