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Special 3363 Classic 6x6

For more infomation >> NEW TAMIYA 3363 CLASSIC SPACE FIRST DRIVE! FANTASTIC RC MODEL 6x6 DRIVE! RC LIVE ACTION - Duration: 10:14.

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CATERPILLAR EQUIPMENT TRANSPORTATION! RC ACTROS 3363 CLASSIC SPACE 6x6! RC LIVE ACTION MACHINES! - Duration: 7:22.

Heavy RC Transport!

For more infomation >> CATERPILLAR EQUIPMENT TRANSPORTATION! RC ACTROS 3363 CLASSIC SPACE 6x6! RC LIVE ACTION MACHINES! - Duration: 7:22.

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JSU looks ahead to Southern Heritage Classic - Duration: 1:20.

For more infomation >> JSU looks ahead to Southern Heritage Classic - Duration: 1:20.

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1967 Jaguar Bertone Pirana Coupe Classic Drive - Duration: 16:48.

1967 Jaguar Bertone Pirana Coupe Classic Drive

Envision this: You're the editor of Motor Trend. And, naturally, you have lots of friends in automotive journalism. You see them at industry events, major auto shows, and press launches of important new vehicles, typically at exotic locations here in the U.S.

Now imagine inviting those friends to a bar after the first day of the New York auto show in April with these words: "Let's design a dream car." You'll build a driveable version in less than six months, in time to be unveiled on a turntable in Los Angeles in November.

Sound improbable? Of course. But, believe it or not, this scenario transpired 45 years ago. Instead of New York, it was in London, England. The publication was The Daily Telegraph Magazine, and the editor was John Anstey.

The car was a collaboration among auto journalists, Anstey, Jaguar, and the design house of Bertone, and was known as the 1967 Jaguar Bertone Pirana Coupe. This is that car's improbable story.

The Daily Telegraph Magazine was a newcomer in the competitive U.K. The Daily Telegraph newspaper already had a reputation for doing things in a big way.

In its coverage of the funeral of Sir Winston Churchill in 1965, it scooped its competitors in the predigital era by delivering complete color magazine coverage just a day after Churchill's burial.

To do so, Anstey had film flown to West Germany, where millions of copies could be printed — because it promised the best quality — and had the finished product flown back to the U.K.

just in time to be inserted into Sunday's edition, a week ahead of his national competitors.

In March 1967, the increasingly powerful Anstey cooked up another wild scheme to promote his weekend magazine, gathering a group of motoring writers at that year's Geneva motor show and asking them, in effect, "If you could build your dream car, what would it be?" The group of motoring scribes examined what was then the state-of-the-art in automotive design, culling elements from Aston Martin, Ferrari, Jaguar, Lamborghini, Lotus, and Maserati to come up with their ideal 2+2 Grand Touring coupe.

But this was no mere pipe dream. After pushing the magazine's senior management, Anstey actually obtained the budget to push the "dream coupe" vision forward. What's more, he had the audacity to promise delivery of an actual car in just six months.

Armed with an unbelievable budget of 20,000 GBP (nearly $371,000 in today's dollars) provided by The Daily Telegraph's bean counters, Anstey formed an internal design group — himself, picture editor Alexander Low, and art director Geoffrey Axbey — to refine the auto writers' broad strokes.

Less than a month later, in mid-April, the trio had finalized the design. The brief for what would be known as the Telegraph Car depicted a luxury Grand Touring two-seat coupe.

It would be built mostly with off-the-shelf components that were available or would be in the near future, and it would be fully driveable.

According to Anstey, this was, "a fast and comfortable coupe with plenty of leg-, head-, and elbowroom and a modern heating and air-conditioning system of such advanced design and proven efficiency that we could cruise quietly at 100 mph or more — on Continental motorways of course — with the windows closed.".

The next step was to select an engine and chassis, and the three-man Telegraph team (the original journalists by now had scattered to the wind) agreed the logical choice was the Jaguar E-Type because of its well-documented performance and well-demonstrated reliability.

But Anstey wanted more, and specified the use of wide-rim racing wheels — reported to have come from two different Jaguar D-Type race cars in the U.S. and Australia — that would extend the front and rear track.

To ensure a spacious cockpit, the team opted for the E-Type's 2+2 version along with the 4.2-liter straight six. And surprisingly, Jaguar co-founder Sir William Lyons enthusiastically backed the project, agreeing to sell Anstey an E-Type 2+2 chassis.

Who would build the car, and build it fast enough so that it could be unveiled at the Earls Court Motor Show in October? Anstey approached Nuccio Bertone of Carrozzeria Bertone in Turin, Italy.

Like Lyons, Bertone got on board the train, and after the exchange of just two letters each way between London and Turin, an agreement was reached to build the car.

Bertone took it upon himself to name the car Piranha, and, indeed, that's what appears on the fender script. The spelling was later changed to Pirana because Piranha was already in use.

If the car looks familiar, it might be because its stylist, Marcello Gandini, already well-known for his work on the Lamborghini Miura, was also responsible for the Lamborghini Marzal concept car that had just been introduced at the 1967 Geneva auto show.

The Marzal, besides being an inspiration for the Pirana, would serve as a precursor for the bodywork on the Lamborghini Espada 2+2, which would be introduced the following year and enjoye a 10-year production run over three series.

(The Espada itself spawned a one-off, a four-door version called the Faena, seen at the 1978 Turin auto show, styled by Pietro Frua.).

The Earls Court show was now just five months away, and Carrozzeria Bertone went to work to turn the idea car into a reality.

With the overall package determined, the process moved forward with a clay model, which led to a set of full-size drawings from which a full-sized mock-up was constructed in wood and clay to refine critical surface details.

From this buck, the craftsmen at Carrozzeria Bertone hammered out a monocoque by hand, fashioned from a combination of steel and alloy panels. What would become the Pirana took shape in mere weeks.

Because the horizontal rear glass obstructed the view behind, Bertone installed a louvered rear panel he called a "viewing aperture." To provide ventilation to the cabin, the glass behind the panel could be lowered out of sight via an electric motor.

The Pirana was fitted with Britax seatbelts with reminder lamps and audible warnings. There's also a speed-limit warning system with over-limit alarms. Being a prototype, the Pirana was 300 pounds heavier than the E-Type, which resulted in a small performance loss.

Still, with its power-to-weight ratio, the Pirana would feature a top speed of 145 mph, competitive with existing 2+2s from Aston Martin, Ferrari, Lamborghini, and Maserati.

The Pirana was completed on deadline and was a certifiable hit of the 1967 Earls Court Motor Show, documented by a British Pathe newsreel (youtube.com/watch?v=5gOfDXh9Eqk) and by the enthusiast motoring publications of the day.

Following its successful unveiling at Earls Court, the Pirana appeared in Turin in 1967 and in New York and Montreal in 1968. After that, it virtually disappeared from view.

Sold by The Daily Telegraph for $16,000 to recoup some of its investment, the Pirana's history from 1968 to 2010 is sketchy. It seems it was owned by a British national who had a second home in Palm Springs.

Apparently around 1980, the car was painted a shade of British Racing Green, a color not well-suited to its angular lines. In fall 2010, the Pirana surfaced in an advertisement for sale on eBay with a starting price of $150,000.

Later, through a brokered deal, current owner Ed Superfon, co-founder of the VIP Toy Store in Los Angeles, bought the car for $350,000.

Knowing the Pirana's provenance, Superfon had the BRG paint stripped and replaced in a shade of silver metallic that very closely approximates the 1967 Earls Court premiere hue.

He replaced the front hides and refurbished all mechanical details — lights, wipers, switches, and the imaginative HVAC that cools down the cockpit as much as can be expected from a 45-year-old system.

The Pirana was displayed publicly at the 2012 Concorso Italiano, the first time in almost 45 years. Superfon allowed me to drive the car after its return from Monterey.

Driving it on secluded two-lane roads in the hills above Los Angeles, I appreciated the uniqueness of this historic one-off concept. The driving position is typically Italian, classic arms-out, as in a then-contemporary Ferrari or Lamborghini.

The first surprise is the three-speed automatic, supplied by Borg-Warner and used on a wide variety of cars from the era.

On twisty canyon roads, the Pirana is tight with few rattles, not all that surprising given that the Pirana's odometer registers just over 16,000 miles. Superfon assumes this to be correct based on his research of the car's history.

Over the past 15 years, I've driven more than a dozen million-dollar manufacturer concept cars, starting in 1998 with the Jeep Jeepster. I can say without equivocation, the Jaguar Bertone Pirana Coupe drives as well as any and better than most.

I'd have no hesitation in getting behind the wheel and driving it from coast to coast or, say, from London to Rome.

That would be the kind of grand adventure John Anstey had in mind 45 years ago when he envisioned building this truly unique GT — that and, of course, boosting his.

ED SUPERFON has had a lifelong love affair with cars. Growing up in Michigan, he started drag racing his 335-hp 1959 Chevy Impala coupe around the streets of Detroit in 1960.

"One day, I went along with a friend to get his Jaguar E-Type serviced across the river in Canada at Windsor Motors. They were taking delivery of a 1969 Lotus Europa when we arrived.

I fell in love, bought it, and thus began my affair with odd and exotic cars." Other stops along the way included Phoenix, Arizona, where in 1972 he hooked up with the 20-something Harley Cluxton as he opened a new Ferrari dealership called Grand Touring Cars.

The first thing that comes to mind when seeing the Jaguar Bertone Pirana Coupe is, "I've seen that look before. " The Pirana bears more than a passing resemblance to the 1968-1980 Lamborghini Espada, another car penned by Marcello Gandini.

But if one looks at the Pirana in the context of its time, it's reality the transition step between two Gandini-designed Lamborghinis, the Espada and the Marzal, which premiered at the 1967 Geneva auto show.

It was the Marzal that set in motion John Anstey's quest to design and build the Pirana as The Daily Telegraph Magazine's idea car.

The Marzal's packaging was unique in that Gandini designed a 2+2 GT with half of the Miura's V-12 set transversely behind the back seat.

The 20-liter, 175-hp inline-six makes a great deal of sense when you think about it (no bank of cylinders nestled up against the bulkhead separating the interior from the engine compartment), much more than any V-engine design.

As a concept, the most interesting design element was its gullwing doors, which featured almost 50 square feet of glass glazing.

Strip away the doors and the unusual glazing scheme, and the proportions and especially the sheetmetal forward of the A-pillars clearly influenced both the Pirana and Espada that followed.

A close look at the sheetmetal aft of the doors shows obvious Miura influences. Over the years, like the Pirana, the Marzal kept a relatively low profile.

One appearance was soon after the 1967 Geneva show, when it served as the pace car for the 1967 Monaco Grand Prix, driven by Princess Grace and Prince Rainier.

It next appeared at the 1996 Concorso Italiano, then returned to the Bertone Design Study Museum in Italy. In 2011, it, along with several other Bertone concepts, was offered for sale at the Villa d'Este by RM Auctions.

The Marzal moved on to a new owner for 1.5 million Euros (about $2.1 million at the time). This article originally appeared in the Winter 2012 issue of Motor Trend Classic.

For more infomation >> 1967 Jaguar Bertone Pirana Coupe Classic Drive - Duration: 16:48.

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Fiat Punto 1.2 CLASSIC EDIZIONE COOL met airco 109.000 km ! - Duration: 1:00.

For more infomation >> Fiat Punto 1.2 CLASSIC EDIZIONE COOL met airco 109.000 km ! - Duration: 1:00.

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Affordable Classic: 1968 Cadillac Fleetwood Eldorado - Duration: 7:03.

Affordable Classic: 1968 Cadillac Fleetwood Eldorado

Bill Mitchell first melded Ferrari and Rolls-Royce styling into the 1963 Buick Riviera. Next came the front-drive 1966 Oldsmobile Toronado. Then the 1967 Cadillac Fleetwood Eldorado reached for the apex of General Motors style, luxury, and performance.

Like the Toronado, the Eldorado was a front-drive, "personal" two-door luxury hardtop. It shared its basic bodyshell with the Toronado and the rear-drive '66-on Riviera.

The Caddy was gorgeous, with creased, deep-draw body panels and a presence that suggested bold, regal sportiness, the kind of car made for an architect, brain surgeon, or NFL coach.

Cadillac later reused its concave trunklid panel design on the 1999 Evoq concept car. So we come to bringatrailer.com's listing of a showroom-clean 1967 Cadillac Eldorado on eBay, with a $10,250 starting bid and $10,500 buy-it-now.

The seller from Oregon writes that it has 93,248 miles on its original 429-cubic-inch V-8, and is in excellent shape. There's overspray from its Flamenco Red repaint, some minor aging of its white leather upholstery, and no power antenna mast.

It came with most Cadillac options. Referring to John Gunnell's "Standard Catalog of American Cars," I estimate the $6277 base price was optioned up to $8080. That's just 30-percent appreciation over 45 years. But bargain hunters probably can do even better.

"I would imagine you could find one for well under $10,000," says Bret Scott, of Pleasant Ridge, Michigan. He counts the Baroque Gold 1968 Cadillac Fleetwood Eldorado pictured here among his six collectibles.

Scott paid just $2600 for his in 2004 and drove it from Boulder, Colorado, to Palo Alto, California, where he lived at the time. The car has a couple of blemishes in the seat, but otherwise is without issues.

Face-lift changes to the '68 Eldorado are subtle, but easy to pick out. The front turn signals/parking lights were moved from the lower front bumper to the outer edges of the grille, next to the hideaway headlamps.

The hood cutlines are different because the 1968 has hideaway windshield wipers, which first appeared on '67 Pontiacs. There are round rear side-marker lamps embossed with the Cadillac wreath, and the 340-horsepower, 429-cubic-inch V-8 was upgraded to a 350-hp, 472 V-8.

Launch difficulties got the '67 Eldo off to a slow start, with just 17,930 produced. By '68, that jumped to 24,528, which remained a steady amount through the 500-cubic-inch '70 model. Scott lists two issues with his Eldorado.

In 1968, there was a fire at General Motors in a building where documents were stored, so he hasn't been able to get a build sheet, a problem for any GM from that year.

"All the parts catalogs are goofy," he says, and he invariably gets the wrong part from Cadillac. Other parts vendors are more reliable; and in either case, parts for his car have been easy to find and relatively inexpensive.

An all-new, baroque-styled Eldorado launched for 1971, with a convertible model added to replace the discontinued DeVille ragtop.

In 1976, the last year Cadillac offered a convertible version, sales of the two body styles totaled 49,184, with the downsized '79 Eldorado at 67,436. The first-generation Eldorado is as rare as it is elegant. Why isn't it worth more?.

"That generation of car wasn't the smoothest of Cadillacs," Scott explains. Cadillac described it as a "sport styled" car, and apparently infused a bit of that in the chassis.

What's more, it's not a classic cruiser, because there was no first-generation convertible, and the rear seat isn't capacious, as in a DeVille or Fleetwood Brougham.

At 221 inches long on a 120-inch wheelbase, the 1967-'68 Eldorado is no compact, and a second door handle on the rear of each door armrest makes it easy to get out of the back seat.

Second-generation Eldorado coupes go for about the same money, while "excellent" convertibles tickle the $20,000 range, until you get to the '76 Eldo ragtop, billed at the time as the last American convertible, ever, and worth up to $37,750 today.

The "Black Book" value on Bret Scott's car strikes him as high. "I would expect to find it in perfect condition, for that price. " In any case, it's still quite a bargain.

For more infomation >> Affordable Classic: 1968 Cadillac Fleetwood Eldorado - Duration: 7:03.

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Classic Feature: 1965 Aston Martin DB5 - Duration: 14:48.

Classic Feature: 1965 Aston Martin DB5

Like Sean Connery, the weaponized Aston Martin DB5 of "Goldfinger" fame is as handsome as ever.

Each can still draw a crowd 42 years after the Great Scott first drove the world's coolest spy car in the third installment of the seemingly immortal James Bond movie series.

The difference is that Sean Connery has all his original parts (as far as we know).

And Connery hasn't disappeared to be replaced by his stunt double (as far as we know) — or worse, replaced by his lifesize-cardboard likeness, known in the lifesize-cardboard-likeness industry as a standee.

Replaced, however, just about describes what's happened to the original "Goldfinger" DB5 over the last four decades. You may have heard the car was stolen a few years ago and never recovered.

True. If you're wondering, then, what it was RM Auctions sold recently for $2.1 million, keep reading. In movies, as in life, things are seldom exactly as they appear. Single movie scenes often are assembled in many different shots.

Thus, no fewer than four Bond DB5s were created: two for use in filming (loosely dubbed the "star" and "stunt" cars), and, later, two more for promotional work, which never appeared on screen.

Pre-Goldfingering, the original contraption-covered star car (see sidebar) began life in 1962 as a fifth-series DB4. Aston Martin reengineered it as the DB5 prototype and used it as a test mule.

After much cajoling, Aston Martin agreed to lend this one-of-a-kind machine to EON Productions to be modified for "Goldfinger," because the movie company couldn't afford the #4500 to buy one.

This now-DB5 was delivered to Pinewood Studios in England in January 1964, where special-effects master John Stears went to work.

After Stears's crew added 300 pounds of defensive and offensive weaponry, quadrupling the car's sticker price and halving its agility, the director decided it needed a stand-in for the fast-driving scenes.

Enter another loaner, the stunt car, a production DB5 with none of Q's "minor modifications" that made the star car so memorable.

When "Goldfinger" opened in September 1964, the car, like the movie, was a monumental hit. Flooded with requests for the DB5 to appear at events, Aston Martin decided to double its publicity options.

As soon as the stunt car completed its scenes for the follow-up film, "Thunderball," it went under the knife and emerged with foe-fighting finery nearly identical to that of the original star car.

The success of "Goldfinger" meant EON Productions could now afford to buy its own Aston Martins for a change. For the "Thunderball" premier in 1965, EON commissioned two more tarted-up DB5s — standees, if you will — for the U.S publicity tour.

The fleet of four Bondmobiles could now blanket the globe, brandishing enough working weapons to thwart any evil scheme.

In 1968, in one of the more boneheaded moves in all of autodom, an anonymous Aston functionary decided to strip the star car of all movie gags, spiff it up, and sell it as a used DB5.

One year later, the buyer, Gavin Keyzar, noticed that the other, supposedly lesser, but still armed Bond cars were being passed off as the real thing and selling at high prices.

So he installed similar weapons of his own design on the star car in an effort to pump up its value.

Time for a recap. By 1970, there was the original DB5 prototype — star of two movies, its gadgetry removed and later replaced with owner-derived prosthetic versions.

Then came the production DB5 stunt car — driven like hell in two movies and surgically altered afterward to resemble the star machine.

Plus two DB5 P.R.-mobiles never used in the movies, but with all the right parts in all the right places. Each of these cars had some element of authenticity, with varying degrees of importance and provenance. But does anyone care?.

The public didn't — and still doesn't — seem to: People still light up whenever they get close to any of them. The car's owners certainly cared. And they were not amused.

A 1981 Wall Street Journal article chronicled the battle among three of the four cars' owners, Jerry Lee, Richard Losee, and Frank Baker, all of whom claimed they had the Bond car — by which they meant the original star car.

The prize wasn't just a question of pride, but also money, presuming the Bond car would be more valuable than just a Bond car. Lee asked Aston Martin to authenticate which car was what.

The company identified them by their chassis numbers and settled the dispute: Losee was the winner with the star car; Lee came in second with the stunt machine; and tied for third with the standee P.R.

cars were Baker and the Smokey Mountain Car Museum in Pigeon Forge, Tennessee (which hadn't entered the authenticity fray). Despite the clarification, many questions remained, at least in the minds of true Bond maniacs.

The history trail was so faint that Brit Dave Worrall spent six years of his life getting the story and the cars straight for his 1993 book "The Most Famous Car in the World: The Complete History of the James Bond Aston Martin DB5."* To him we are indebted for much of the modification minutiae presented here.

But where Worrall's book leaves off, another tale begins. The last chapter includes a photo of Richard Losee handing the star car's keys to Robert Luongo.

Luongo had just placed the $250,000 winning bid for the car at a Sotheby's auction in 1986, acting as an agent for the car's new owner, Florida businessman and pop culture collector Anthony V.

Luongo, also Pugliese's brother-in-law, began an aggressive campaign to promote his DB5, placing it at dozens of museums, auto shows, and other venues and carefully documenting each exhibition.

Armed with a new, mid-1990s appraisal, Pugliese approached Grundy Worldwide, an insurance agency specializing in classic cars.

Grundy accepted the appraisal and executed a policy with Chubb Insurance for 80 percent of the appraised value, which in this case amounted to $4.2 million.

One night in June 1997, Pugliese's star DB5 was stolen from the Boca Raton airport hangar where it was stored.

The thieves tore a gate off its hinges with a truck and a chain, cut the hangar's alarm wires, wrapped the chain around the Aston's axle, and dragged it out.

Skidmarks testify that our hero resisted mightily, but the evil-doers prevailed. The wake of pavement rubber ended where a light cargo plane probably was parked.

Planes small enough to use that airport have a limited range. The Boca Raton police and Chubb immediately checked all airports within that range to see if any vehicle had been offloaded or transferred. Nada.

Nearly everyone involved in the case believes the car is now an artificial reef about 75 miles off the Florida coast. But that's pure speculation, and the crime remains unsolved.

Finding no evidence that the car was transferred from the plane wasn't the same as finding evidence that it was dumped in the ocean. Then there was the question of motive. The obvious one — insurance fraud — wasn't the only possibility.

By then, Robert Luongo and Anthony Pugliese were no longer brothers-in-law and had been at odds about how to deal with the car.

Was it jealousy? Revenge? Spite? Or an unrelated, obsessed collector who wanted to stash the car in his rec room and stroke it each night before bedtime? No one knows.

Grundy and Chubb paid up on Pugliese's insurance claim. Jim Grundy recalls the episode with some chagrin: "I used poor judgment in accepting that value," he says.

"I give [Pugliese] some credit for making a shrewd buy. But I made a mistake; $500,000 or one million would've protected his investment.".

Within months, Luongo sued Pugliese for a share of the insurance money. Pugliese countersued, claiming extortion. A judge jettisoned the countersuit, but Luongo versus Pugliese went to trial in 2000.

Luongo's lawyer made the case that his client, a Harvard grad, had devoted countless hours to promoting the car without pay, based on a verbal agreement that he'd get 10 percent of the eventual sale price.

So what if the car was stolen rather than sold? Its value had increased from $250,000 to $4.2 million while in his care, and he should get a cut of that increase, plus 10 percent of the insurance money.

The prosecution argued that Pugliese was so far removed from the exhibition program that he thought Leslie Kendall, curator at the Petersen Automotive Museum, where the car had been shown, was a woman.

Pugliese's lawyer shot back: Yes, Pugliese had once offered Luongo 10 percent of the car's sale price, but only if Luongo sold it within a six-month window in 1993.

Yes, Pugliese didn't pay Luongo, but that was because Luongo was obsessed with the car, wouldn't listen to Pugliese, and refused to stop promoting it even after Pugliese fired him in 1992.

When Luongo kept hounding him about the car, he relented and returned the keys. After all, the two men were family then.

The jury deliberated just 42 minutes, awarding Luongo just over $1 million: 10 percent of the insurance money, plus half the 1996 $1.2 million uptick in the appraised value of the car. Less attorney fees and taxes.

And the cost of a plane ticket so this writer could testify (see sidebar). Author Dave Worrall thinks the star car was actually the least authentic of the four, movie-wise, because its gadgets weren't original.

"The most important aspect of the car's theft is that it was the actual first DB5 prototype built," he said in a recent interview, "so it's a great loss to the world of automotive history." Not to mention its documented appearances in the Bond films.

Today, the star car remains MIA. The stunt car is still owned by Jerry Lee, rarely emerging from his home's custom James Bond Wing.

One of the standee cars is in the Dutch National Motor Museum in Holland, where it's been for many years. The other standee car is the one recently sold by RM Auctions on behalf of the Smokey Mountain Car Museum.

It was purchased by a Swiss businessman who, in proper spy movie parlance, has asked to remain anonymous.

For more infomation >> Classic Feature: 1965 Aston Martin DB5 - Duration: 14:48.

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Mercedes-Benz A-Klasse 150 CLASSIC / airco. - Duration: 1:02.

For more infomation >> Mercedes-Benz A-Klasse 150 CLASSIC / airco. - Duration: 1:02.

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DG2 by Diane Gilman Classic Stretch Denim Bermuda Short - Duration: 8:31.

For more infomation >> DG2 by Diane Gilman Classic Stretch Denim Bermuda Short - Duration: 8:31.

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1970 Rover 3.5 Litre Coupe Classic Drive - Duration: 15:16.

1970 Rover 3.5 Litre Coupe Classic Drive

Concord,Massachusetts, served as the Greenwich Village/Haight-Ashbury of the early 19th century, a hotbed of counter-culture intellectualism and free thinking led by one Ralph Waldo Emerson.

Here, in the upstairs back corner room of the house his grandfather built, Emerson evolved his uniquely American writing style while penning the seminal essay "Nature," which laid the foundation for the Transcendentalist movement.

Years before, his grandmother, Phebe Bliss, had anxiously observed the first battle of the Revolutionary War from this same room as it unfolded just beyond her backyard at the North Bridge.

In later times, renter Nathaniel Hawthorne developed his short-story collection, "Mosses from an Old Manse," from that same corner room.

And while we're dropping names, Walden Pond naturalist/carpenter/Transcendentalist Henry David Thoreau planted the quarter-acre garden out front and built Hawthorne's writing desk upstairs.

Our tortured hook to this literary who's who? An examination of Rover's luxurious 1963-1973 Coupe — the first four-door vehicle to be officially badged a coupe, thus transcending traditional notions of body styles and laying the foundation for the current fascination with this body type, which was sparked by the 2006 Mercedes-Benz CLS-Class.

Anyone who's taken high-school French knows coupe is simply the past tense of the verb couper, "to cut." In an automotive context, most such cuts are made to wheelbases and rooflines, as well as to a car's door count and level of stodginess and formality.

Postwar Rovers had those last two qualities in spades.

Press spinmeisters of the day lauded their engineering "for long use and slow styling obsolescence." Road & Track quipped, "Rover owners replace their first model as frequently as they replace the family silver, the need being about as urgent." The company's fourth postwar design (codenamed P4) of 1949-'64 was dubbed Auntie and Cyclops, names that accurately convey its glamour.

Auntie was selling strongly when the company embarked on a plan to add a second model to the lineup. At first, this P5 was conceived to be a smaller, more economical, higher-volume car.

Radically new layouts were considered, including a stub-nosed rear-engine design and even front- or all-wheel drive.

But, as luck would have it, with the company's Land Rover business booming and the Solihull factory filled to brimming, the local government refused permission for Rover to expand on the acres of adjacent land it already owned, an anti-jobs move that seems unthinkable today.

So instead of a high-volume/low-margin car, the company re-aimed the P5 at Jaguar, as a low-volume/high-margin cruiser.

The job of designing the firm's entry to this new market niche was assigned to David Bache, the fresh hire and recent graduate of the Birmingham College of Art who would become Rover's first "stylist." He started with a couple of beautiful head-turners that drew influence from a gorgeous Pinin Farina two-door coupe and convertible Rover had commissioned in 1952, based on the P4.

Company boss Maurice Wilks praised the voluptuous hips and forward-raked grille of Bache's design, then sent him back to the drawing board to deliver something more "discreet.".

But soon Rover decided to "let its hair down," if only a little, by fielding two variants of the P5.

The traditional somber saloon would be joined by a more raffish version in the style of the American pillarless "hardtop" that shared with the sedan everything below the greenhouse.

Bache gave his team orders to sketch up a half-dozen ideas, with a pair of them representing a major stretch: lots of expensive curved glass and so forth. To everyone's shock and delight, management opted for the most radical one.

Development commenced immediately, but engineering couldn't get the frameless glass to seal out British weather satisfactorily, so the car would have to make do with a thin B-pillar and stainless door frames.

Production would also be delayed from the saloon's 1958 Earls Court motor show debut to the fall of 1962 (Americans saw it first at the April 1963 New York show).

Of course, by 1963, the 115-hp F-head (overhead-valve intake/side-valve exhaust) 30-liter I-6 was getting wheezy, so the Weslake cylinder head originally planned for the Coupe got shared across the entire lineup, adding 19 much-needed horsepower, but eliminating the sportier car's performance edge.

The finished product stood 2.5 inches lower than the saloon, added several options as standard equipment, and commanded a price premium of about 9 percent.

The 2006 Mercedes-Benz CLS-Class that revived the four-door coupe craze used E-Class engines, stood 2.3 inches lower, and cost 10.9 percent more than its traditional E-Class sibling, but its restyling extended below the waist.

With just 134 horses on tap, perhaps Rover was hoping to lure Emersonian Americans who believed that driving satisfaction derives from intellectual intuition and reflection and transcends measurable performance.

There weren't many such drivers in the horsepower-hungry U.S., nor even in Europe. Total left-hand-drive exports accounted for just 10 percent of P5 production. Realizing the car needed more power, Chrysler was approached about providing V-8 engines but nothing came of it.

Then, in 1964, director William Martin-Hurst made a fortuitous visit to Mercury Marine, which was interested in marketing Land Rover diesel engines for marine use.

While there, he spotted a diminutive aluminum Buick 215-cubic-inch V-8 on the shop floor and learned that GM had recently stopped producing it and was interested in selling the manufacturing rights.

He talked Mercury's Carl Kiekhaefer into letting him take the engine home to Solihull. It was installed into a mule car and gradually won over a skeptical board of directors.

By 1965, a deal was struck with GM that included myriad drawings and records, 39 new engines, and even a short-term consulting contract with the engine's designer, Joe Turley, who helped fix known problems with the engine and develop British ancillary parts like twin SU carbs and Lucas electrics.

By 1967, the engine was powering the P5B (for Buick) 3.5 Litre saloon and Coupe, as well as the 3500 version of the more modern P6.

As that car had been tailored to better suit American tastes, the 3.5 Litre P5B was never officially exported to the U.S.

Our gorgeous Admiralty Blue 1970 example reportedly started life conveying a British minister around Hong Kong before finding its way to Vancouver, Canada.

Dirk Burrows, patron saint of Rover cars in the U.S., acquired it in May 2007, and immediately undertook a cosmetic restoration (paint, chrome, and the like).

It was finished in time to take first prize in his nearby British Invasion concours. The following spring, Burrows was rear-ended by a diabetic truck driver who had passed out.

This accident collapsed the entire trunk, but left the gorgeous greenhouse and doors unscathed. Burrows managed to restore the Coupe again in time for the next year's concours, and he took home another trophy.

The car has since been hit and restored a third time, so it's with some trepidation I approach my test drive of this star-crossed Rover, hoping the intense spirituality of our location might counter whatever bad juju has plagued it.

Sliding under the large steering wheel and onto the tall driver's throne requires carefully aiming a horizontally kinked lower left leg; once settled, I'm almost as comfy as the incredible thickness of the back and cushion suggest.

A little crank in front adjusts the seat height, the door armrest is also height-adjustable, and the backrest rake is infinitely adjustable from Puritanical upright to Bohemian sleep-in-the-car.

The scent of this leather is more old pub than old car — aromatic and clubby. The V-8 fires readily and settles into a frenetic high idle. A red ignition lamp glows to signal "all's well".

Next to it, a green lamp lights only if the oil pressure plunges — the choice of a color-blind engineer? Engaging Drive in the Borg-Warner automatic sends a shock wave of twist through the car, and we're off.

Inhaling through a well-muffled intake and those twin SU carbs, the engine wuffles along with a note that sounds more Bentley than Buick — the payoff for Rover's $8.4 million investment in tooling, development, and British naturalization of this Flint, Michigan, native?.

The alloy 3.5-liter weighs 200 pounds less than the iron six it replaced, improving the front/rear weight distribution from 59/41 to 50/50 — great for handling, bad for the feel of the laughably light Hydrosteer helm.

Eventually, I try out the left-rear seat, in which all British Prime Ministers from Harold Wilson to Margaret Thatcher rode — yes, even the Iron Lady, who wasn't elected until six years after this model's production ceased.

(The British government bought 100 black P5Bs and stored them to replace cars as they wore out).

My head rubs the Coupe's ceiling, but Dirk admits he fitted saloon seat cushions front and rear, which sit 1.5 inch taller than the Coupe ones.

Having driven a 2012 Mercedes-Benz CLS550 four-door coupe up to meet its forebear, I am struck by the similarities in the two cars.

Each is considerably more attractive than its sedan counterpart, and the cost and comfort penalty exacted by each is similar — I've bumped my head in the Benz, my knees in the 3.5 Litre — but have been quite happy to do so in pursuit of the admiring glances both cars draw.

Transcendentalism was strongly influenced by German Romanticism, and the romance of the impractically stylish, slant-roofed four-door is undeniable. Long may this movement last.

They were never produced, but they influenced David Bache's P5 design. Then, when the company toyed with a drophead P5 variant, it commissioned Henri Chapron of Paris to build one in early 1962.

The result was stunning, with a low roofline and a top that stowed flush with the bodywork.

Swiss coachbuilder Graber built a convertible to display at the Geneva show in 1963, but it's unclear if it was a private commission or a project to show off its abilities.

The car pictured is the only such period conversion to feature rear quarter windows.

London's FLM Panelcraft (which would go on to build wagon variants of later Rovers) was commissioned by Swedish civil engineer George Hansson, to convert his brand-new #1400 four-speed manual 30 Litre into a ragtop.

The company reinforced the floor, moved the B-pillar 5.9 inches aft, stretched the front doors by the same measure, narrowed the rear seat and moved the fuel tank to accommodate the top mechanism, and devised a fully lined, wood-trimmed manual-folding top.

For more infomation >> 1970 Rover 3.5 Litre Coupe Classic Drive - Duration: 15:16.

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DG2 by Diane Gilman Classic Denim BootCut Jean Fashion - Duration: 5:09.

For more infomation >> DG2 by Diane Gilman Classic Denim BootCut Jean Fashion - Duration: 5:09.

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Kids Color Learning Video With Classic Cars And Sing Babies Songs Family Fun - Duration: 4:41.

Do you know your A-B-C's

A - B - C - D - E - F - G H - I - J - K - L - M - N - O - P

Q - R - S - T - U- V, W - X - Y and Z

Now I know my ABC's 26 letters from A to Z

A - B - C - D - E - F - G H - I - J - K - L - M - N - O - P

Q - R - S - T - U- V, W - X - Y and Z

Now I know my ABC's Next time won't you sing with me.

A - B - C - D - E - F - G H - I - J - K - L - M - N - O - P

Q - R - S - T - U- V, W - X - Y and Z

Now I know my ABC's 26 letters from A to Z

26 letters from A to Z

One little, two little, three little numbers

four little, five little, six little numbers

seven little, eight little, nine little numbers

ten little numbers...

One...

Two..

Three..

Four little numbers...

Five...

Six...

Seven...

Eight little numbers...

Nine...

Ten...

Ten...

Ten little numbers…

One little, two little, three little numbers

four little, five little, six little numbers

seven little, eight little, nine little numbers

ten little numbers...

One...

Two..

Three..

Four little numbers...

Five...

Six...

Seven...

Eight little numbers...

Nine...

Ten...

Ten...

Ten little numbers…

For more infomation >> Kids Color Learning Video With Classic Cars And Sing Babies Songs Family Fun - Duration: 4:41.

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Mercedes-Benz A-Klasse 160 CDI Classic apk tot 08-07-2017 - Duration: 0:54.

For more infomation >> Mercedes-Benz A-Klasse 160 CDI Classic apk tot 08-07-2017 - Duration: 0:54.

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1952 Mercedes-Benz 300SL W194 00002 Classic Drive - Duration: 18:35.

1952 Mercedes-Benz 300SL W194 00002 Classic Drive

To a writer, there's nothing more fun than telling stories that are too good to be true. For example, the late Carroll Shelby claimed that, when demonstrating Cobras to potential clients, he would place a $100 bill on the dashboard.

If the prospective owner could reach forward and grab the cash before the Cobra hit the quarter mile, he could keep it. According to legend, no one ever left a Shelby test drive with more money in his pocket.

A great story, no doubt. The problem with it — and many of Ol' Shel's tall tales — is truthfulness, or lack thereof.

However, adding conventional doors would've meant chopping into and weakening the frame.

A legend was born. "Yes, I've heard this story," says Michael Plag, head of the team that painstakingly restored this car, model W194, chassis number 00002. "I believe it to be true.".

After World War II, Germany, Stuttgart, and Mercedes-Benz lay in tatters.

In the late 1940s, Daimler chairman Wilhelm Haspel decided Mercedes-Benz should return to motorsport, a field in which the company had been particularly dominant before the war with its mighty W125 and W154 Silver Arrow Formula 1 cars.

The W194's chief engineer and noted driver, Rudolph Uhlenhaut, didn't have the resources for that sort of engine in the early 1950s.

Instead, he was forced to use what he did have: a 30-liter inline-six out of the decidedly non-sporting 300 Adenauer sedan.

The use of a sedan engine in a lightweight race car was not without precedent, as the Jaguar XK120 won many races with the 3.4-liter straight-six from the Mark VII sedan.

Since world-beating speed was out of the question, Uhlenhaut focused on other attributes needed in an endurance racer. Three in particular were light weight, aerodynamics, and reliability.

The "SL" in 300SL stands for "sport licht," or light and sporty. Since the engine and transmission were from the 4000-pound-plus Adenauer, there was no possibility for weight savings with either component.

The very same lightweight aluminum and magnesium alloy (not Elektron) that went into the Luftwaffe's infamous Junkers bombers became the skin of the 300SL.

Just as creepily, the Junghans chronometers prominently located in the center of all 10 W194 dashboards were war surplus and, in fact, installed in Junkers and Messerschmitts.

Back to shedding pounds: To further keep the W194s' weight low, all the glass is actually clear plastic.

To achieve the 300SL's remarkable (so Mercedes thought) aerodynamics, Uhlenhaut laid the 30-liter motor down at a 50-degree angle and replaced the oil pan with a dry-sump system. This allowed for a sleek, low hood.

An old photograph shows an early 1951 mule's spaceframe shrouded in standard, though odd-looking, coupe body panels with a hole next to the driver's side headlight. Turns out it's an intake for the slanted engine's triple carbs.

And, because of the spaceframe, there are no doors. The finished W194 design, eerily similar to that of the also-designed-in-Stuttgart 1948 Porsche 356 (engineers from both companies no doubt ate lunch and drank together), is totally free of trim, including side mirrors.

"We found archival records indicating a drag coefficient of 0.25 Cd," Plag informed me.

Mercedes didn't have a wind tunnel at the time (the first car to be designed in such a machine was the Jaguar E-Type), but it did have a small wooden model and the University of Stuttgart's water tank.

I told Plag that 0.25 Cd makes the W194 more slippery than a Toyota Prius. In other words, this is a very hard story to believe.

As it turned out, a January 2012 wind-tunnel test showed this car to have an actual drag coefficient of 0.367, making that particular story too good to be true.

The shape is not world-class, but it is about as sleek as a Citroen DS or a Ferrari Testarossa.

As for reliability, the W194 300SL's 1952 success speaks for itself. On their first outing, a Gullwing finished both second and fourth in the Mille Miglia.

The cars then posted a first- and second-place finish at Bern in Switzerland. Next, Hermann Lang and Fritz Reiss won the 24 Hours of Le Mans, and the team of Theo Helfrich and Norbert Niedermeier finished second.

The W194s then went on to absolutely remarkable first-, second-, third-, and fourth-place finishes at the Nuerburgring Anniversary Grand Prix.

Said Uhlenhaut of the W194's reliability, "The races run in 1952 have shown that the 300SL with a naturally aspirated engine was at least equal — if not superior — to even the strongest opponent.

However, the opponents' inferior operational reliability and the great endurance of the 300SL generally led to victory for our brand.".

Of course, there was one more race the boys from Benz really wanted to win. In their minds, it was the most important race of the year: Mexico's Carrera Panamericana.

As Plag explained, winning in Europe is one thing. Winning outside of Europe is quite another.

As contemporary journalist Gunter Molter told Plag of the 1952 race that went from Juarez to Chiapas, "If we win this race, the whole world will know Mercedes-Benz is back." Moreover, a win in Mexico would be good for the national spirit.

Continued Plag, "People could for the first time [since the war] stand up and proudly say, 'I'm German.".

As fate would have it, the 300SL driven by Karl Kling and Hans Klenk — the one with metal bars welded onto the windscreen to keep out vultures after a big one crashed through the windscreen and knocked navigator Klenk unconscious (true story!) — won the race.

Another W194 driven by Hermann Lang came in second, and a third Mercedes, driven by American John Fitch, would have finished third had Fitch not allowed a mechanic to look at the car with a day to go, which disqualified him.

Despite that, a one/two finish in Mexico had the desired effect, for this is the win that convinced Max Hoffman to demand a sports car (both coupe and roadster) to pull people into his Frank Lloyd Wright-designed New York showroom, thereby securing a future for Mercedes-Benz in North America.

Before the war, Mercedes sold a total of 41 cars in the U.S. Hoffman is universally credited with saving the brand.

As mentioned, that fourth and X factor that allowed the W194s to be so monumentally successful is comfort. Inside, the original Gullwing feels like a sports car, not a full-blown racing machine.

The plaid racing buckets are comfortable and supportive. The dogleg, fully synchronized four-speed manual shifts normally with medium-length throws. The pedals are tightly spaced, yet positioned in such a way that even my size-13 Converses weren't getting stuck.

Compare this with an Indy car I once greased myself into in which I was able to depress all three pedals simultaneously with one sock-clad foot. The instruments are gorgeous, legible, and positioned exactly where you'd expect them.

The top of the dash is covered in dark blue felt so the bare metal underneath won't blind the driver.

Perhaps best of all, the little pass-throughs in the side windows were sized in such a way that a then-new-to-Germany bottle of Coca-Cola could be handed to Karl Kling (see sidebar), who preferred the soft drink to water during pit stops.

They are also key to ventilating the cockpit, as I discovered on a warm June day. There's just nothing about the W194 that screams "race car!".

Except, of course, the process of climbing in. "How sporting are you?" Herr Plag asked me from the driver's seat moments prior to my first pathetic attempt to flop inside.

He had just fixed the removable wooden steering wheel in place. I believe the word he wanted to use was "flexible." Michael is lean and tall and easily contorted his way inside.

At a, um, big-boned 5 foot 11 with exactly one yoga class under my belt, it was a little bit of a struggle to gently fit through the tiny hatch.

The first three W194 cars (00001, 00002, and 00003) had no door cuts whatsoever.

However, because of the famous Le Mans Start (where racers lined up on the opposite side of the pit lane and sprinted to their vehicles), the waist-high openings were cut down on the subsequent seven 1952 300 SLs, a motif that carried over to the single 1953 W194/11 (see sidebar) and all subsequent W198 production Gullwings.

Getting out of car #2 is even more arduous then getting in, so the Mercedes-Benz Classic center has cobbled up some rubber sheets (covered in the same fabric as the seats) that protect the car from short-inseamed passengers, as well as said passengers' ankles from the very hot side exhaust pipe.

Protecting the car is high on the agenda, as Plag estimated its value to be $15 million. "Not that we would ever sell it, but we located two buyers who would pay that price.".

Right, so, what's it like to drive an essentially priceless car? Stunning, but not for the reasons you might think. In my line of work, I get to drive a good deal of vintage metal.

But never have I driven anything as old that drove so brand-spanking new. Aside from a rational way to enter the car and decent ventilation, you could happily live day in, day out with this 300SL.

The steering is non-assisted, but in such a light car (2497 pounds) it comes across as well-weighted and refreshingly direct. Very much like a mid-engine Acura/Honda NSX, in fact.

The front suspension with its dual aluminum control arms reminds me of a continuation Brock Coupe. Road imperfections are dealt with in a one-and-done manner. That, however, is up front. The rear suspension is an antiquated swing-axle design.

And while I didn't push it hard enough for the W194 to exhibit any bad behavior, Plag sure did. Just like a VW Bug, the rear gets a little squirmy pre-apex.

Laying on the power seemed to be his preferred way of dealing with the back end's squirreliness. The grip is startling.

As for the engine, the hard-revving, tricarbureted 170-hp, 207-lb-ft, 30-liter inline-six moves the car with authority. Mercedes verified these output numbers during the restoration on an AMG engine dyno. With Plag behind the wheel, we were constantly outrunning our G55 photo vehicle.

Even I dared to push the motor up into the 4K range (redline is 5000 rpm, low by contemporary standards), marveling at the mechanical intensity of the hot mill and enjoying the rush of speed that accompanied the roar.

I wish I hadn't been so nervous behind the wheel, because the car seemed happiest when being pushed hardest.

However, as I braked at the end of my final run, I spotted a black cat up ahead on the left, attempting to cross my path.

Not that I'm superstitious in the slightest (ahem), but in second gear I kicked the throttle to the floor, scaring the hell out of the cat while quickly sprinting past it.

Disaster averted, and man, what a rush! The first three W194s made 170 hp. That figure went up to 180 hp in the subsequent seven cars.

Obviously, Plag and his team of workers at the Classic Center did a bang-up job on the restoration, but so did Rudolph Uhlenhaut when he started on this car in February 1952, completing it a month later.

More important for the purposes of history, car 00002 was never raced. In fact, it was the only one of the initial ten W194s that never sat on a starting grid.

Instead, it served as a parts car and driver-training vehicle. Which is why when Plag and his colleagues turned their meticulous attention on it, things weren't as bad as they could have been.

"The body was the hardest part," explained Plag. The shell was about 90 percent there, but had some issues.

He contacted five aluminum experts who all said the weird aluminum/magnesium alloy was too difficult to repair, and that Mercedes should just build a new one.

"But this was the original body! We had to use it." Finally, he found a small Italian firm that specializes in repairing old sports cars. Five months later, the original body was shipshape.

As for the complete restoration, it took from May to December 2011.

"We had to be done by December 15," Plag explained, "because the car had to be shipped to Detroit for the auto show." Once the car was completed, Plag was the only person who drove it, running about 30 kilometers around Mercedes' test track.

Then W194 00002 was crated up and shipped off to the New World.

I consider myself beyond lucky to have been given 30 minutes behind the wheel of what is undoubtedly the most significant Mercedes-Benz of the second half of the 20th century.

For more infomation >> 1952 Mercedes-Benz 300SL W194 00002 Classic Drive - Duration: 18:35.

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1985 Bitter SC 3.9 Coupe Classic Drive - Duration: 13:20.

1985 Bitter SC 3.9 Coupe Classic Drive

Today's exotic car buyers are spoiled by luxury. Even hard-core performance cars from Porsche, Ferrari, and Lamborghini offer the same amenities found in a Bentley as well as the reliability and ease of driving of your average Audi.

It wasn't always like this. Right up until the turn of the century, buyers had to make choices when selecting their object of lust.

Italian steeds were sexy and fiery, sometimes in both the figurative and literal senses. English coaches exuded class and elegance, but often were enjoyed more by mechanics than owners.

German machines were engineered and built like Swiss watches, offering performance and reliability but shying away from style.

It took the major players in the industry decades to figure out that all these attributes could be combined in cars that drove well and were reliable, but still elicited a primal reaction in drivers.

In the late 1970s, Erich Bitter, a German-born racer and businessman, saw the need for such a car and went to work creating limited-production cars for discerning buyers who weren't satisfied with a rolling compromise.

His first venture, the CD, was on a shortened Opel Diplomat platform with a body built by German manufacturer Bauer. It featured a Chevrolet 327-cubic-inch V-8 with retuned suspension.

Although well received at the 1973 Frankfurt auto show, it began life at exactly the wrong time.

Bitter received orders for 176 CDs at the Frankfurt show alone, but the oil crunch hit shortly thereafter, meaning most orders for the thirsty V-8s were cancelled. Nevertheless, production continued on the CD until 1979.

In total, Bitter built 395 cars and established himself as a real entity in the business.

Bitter's second project, the SC, started in 1977 while the CD was still in production. Opel had decided it would stop production on the Diplomat, and once that happened, no matter how successful Bitter's car was, the platform would disappear.

In 1978, Opel launched a new technologically advanced car, called the Senator. The new Opel was not only lighter, but also powered by a more efficient fuel-injected 30-liter inline six-cylinder engine.

The SC wasn't ready for production until 1981, and by that time, Bauer was busy with other projects and no longer had the capacity to build vehicles for Bitter.

Although other German manufacturers would have been the first choice, the contract was eventually given to the Italian manufacturer OCRA.

After only 79 units, the contract was pulled from OCRA due to quality issues and given to a second Italian builder, Maggiore. The handmade interiors also were sourced from Italy from leather maker SALT.

Until 1983, bodies and interiors were built in Italy and shipped back to Bitter's factory in Schwelm, Germany, for final assembly. Eventually, demand outgrew production capacity.

By 1983, all Bitter's manufacturing was being handled by Steyr-Daimler-Puch in Graz, Austria. Bitter had designed sedan and convertible versions of the SC, and it was determined that outsourcing the final assembly was the only viable option.

All SCs were still delivered to Schwelm for final inspection and test drives, but no manufacturing was being done at the headquarters.

By this point, three to four cars a week were being built, and the SC could certainly be deemed a success.

In 1984, Erich Bitter teamed up with Chicago-based real-estate millionaire Lee Miglin to bring the cars to the United States. This is where our story really picks up.

When we feature a particular car, we generally look for the best example of that car we can find, and then seek out the leading expert to help us with the details.

This time, we were lucky enough to find both in the same place. The car featured on these pages is owned by Michael Gabriel, who has more of a connection to his car than does the average classic car owner.

He ran the West Coast operation for Bitter during its three-year stint in the U.S. By his own description, he was the tech guy, the parts guy, the service guy, and even handled P.R.

Gabriel's car is a 1985 coupe with the larger 3.9-liter I-6 mated to the three-speed turbo hydramatic transmission.

Although both the larger engine and automatic transmission were options, Gabriel tells us most of the cars sold in the United States were configured like his car.

Originally, the Bitter and the Opel Senator it was based on used a 30-liter I-6, but with tougher emissions standards and competition from rivals, a larger engine was deemed necessary.

The engines were built by German tuner Manzel, which used new pistons, connecting rods, and crankshaft to increase the stroke from 2.75 to 3.54 inches for the displacement increase.

The first year of SCs sold in the United States, 1984s, had an emissions system developed by an American third-party federalizer.

After a year of struggling with lost power and melting parts under the hood, Bitter turned to Porsche for answers. The resulting 1985 models had a simpler, oxygen-sensor-equipped system using a higher-quality Porsche catalytic converter.

Both the 30 and 3.9 liter engines use Bosch L-Jetronic electronic fuel injection. Although not rare in cars of the era, it does have peculiarities unique to the Bitter.

The car can throw untrained mechanics a few curveballs — even something as simple as bleeding the cooling system can lead to problems.

(For the curious, you have to bleed the system cold by removing and then filling the reservoir elevated out of the car and bleeding air through bleed screws on top of the radiator with the engine off.).

The engine idles with a bit more lumpiness than expected from an inline-six. The sound is smooth and low; it doesn't sound like a BMW I-6.

It's more muted and sounds more luxurious. Power delivery is smooth, and the transmission shifts without jerking or lagging. It doesn't feel like a modern automatic, and that isn't necessarily a bad thing. It feels mechanical, not electronic.

The steering has a similar feedback. No electrical buzz is transmitted through the wheel.

Effort is heavier than any modern luxury car would dream of having, but so is communication. Even at low speeds, the driver forms a relationship with the road, with the tires playing the role of matchmaker.

Even with 160,000 miles on the odometer, this SC still feels more planted than some current cars right off the lot.

Although the Opel platform might not have the pedigree of something like a Mercedes or BMW, the Bitter was built to compete with them in specification and price, and getting the basics right in the beginning made it easier for Bitter to create a worthy touring car.

The SC was designed to maximize its suspension travel for a better ride. The rear springs are wound in an egg shape that allows them to collapse onto themselves without binding.

While it never feels like the car is floating, the SC rolls in turns, but still soaks up bumps even on the loaded side. The handling isn't what you would call quick, but it can dispatch sweepers and larger switchbacks with ease.

Turn-in isn't as direct or precise as in a modern car, partly due to a recalculating-ball-type steering box, but also due to the relatively high-profile 60-series tires.

Corners are never a single input event: First turn in, then adjust as needed through the corner. Flinging through canyons isn't what this car is really about, however. It's about the total driving experience, especially over long distances.

While the dynamics are commendable, the interior is what might best set the Bitter apart from rivals. The seats are wide and flat.

The sensation feels similar to sitting in a lounge chair. The structure of the seat is firm, yet the cushions are soft enough to conform to the passenger's shape to evenly spread his weight around.

Even at 27 years old, the leather in Gabriel's car is still supple and comfortable, moreover, it's everywhere you look. The entire dash, the inside of the glovebox, and even the inside of the center console cubby are cloaked in cow.

Both front seats adjust for height, tilt, and fore/aft. What might seem strange are the manual-adjustment knobs and levers on a luxury car, no electric adjust here.

Erich Bitter felt each car is matched to a driver, and that driver is going to adjust his seat once and not have to touch it again.

This driver-centric attitude extends to such issues as the HVAC controls being split on both sides of the steering wheel on the dash.

Also, the SC has a power door lock on the passenger door, but not on the driver's side. So unlocking the driver's door unlocks the passenger door, but not the opposite.

In the back, the seats are more appropriate for something in a sedan. While two 6-foot-tall passengers might not want to sit tandem, you could certainly accommodate a combination of average-size adults in the car.

Inside and out, the Bitter SC exudes luxury without being over the top. The design has aged well, and, while it doesn't look as flashy as the Maseratis or Lamborghinis of the time, it has certainly aged better.

This was Erich Bitter's goal — to create a low-volume car for discerning buyers. He never wanted to be an automotive giant; he just wanted to build the car he always dreamed of.

In the end, he produced an estimated 460 SC Coupes, not bad for a singular vision.

For more infomation >> 1985 Bitter SC 3.9 Coupe Classic Drive - Duration: 13:20.

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DG2 by Diane Gilman Virtual Stretch Classic Denim Jacket - Duration: 5:21.

For more infomation >> DG2 by Diane Gilman Virtual Stretch Classic Denim Jacket - Duration: 5:21.

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DG2 by Diane Gilman Classic Cropped Skinny Fashion - Duration: 8:36.

For more infomation >> DG2 by Diane Gilman Classic Cropped Skinny Fashion - Duration: 8:36.

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1980 BMW M1 Classic Drive - Duration: 15:38.

1980 BMW M1 Classic Drive

Some things happen only once in the automotive world, a spark of brilliance never to be duplicated. The BMW M1 is one of those occurrences.

Never before did BMW have a car like the M1, and it's doubtful it will build such a car again. Essentially a race car made to conform to the road, the M1 is one of the great automotive wonders.

In fact, it's a wonder it ever came to be. The story starts with Jochen Neerpasch, director of the newly formed BMW Motorsports factory racing program.

He campaigned 30 CSLs to good success in European sports car racing, but by the mid-'70s, even the large-winged "Batmobile" 3.5 CSL was looking old-fashioned.

Neerpasch wanted a new car to replace the CSL in the Group 4 racing class, something sleek and mid-engined that could go head to head with the best in the world.

At the time, BMW's R&D facility was focused entirely on its lineup of road cars, which was making serious forays into the American market. The 2002 brought BMW back from the brink and introduced the general consumer to the Bavarian automaker's products.

New cars were coming fast and furious, with the first 3 Series sport coupe, the E21 320i, replacing the aging 2002 in 1976, and the new 5 and 7 Series showing the world that sedans could be both luxurious and sporty.

Group 4 regulations required eligible race cars to be production-based and built in quantities of at least 400. Unfortunately, larger production models kept Munich assembly lines running at capacity, forcing Neerpasch to look to Italy to get the M1 off the ground.

Styling was assigned to Giorgetto Giugiaro's Italdesign firm, which had recently completed the Maserati Bora and Lotus Esprit, while chassis production and development were headed up by a company that happened to know a thing or two about building mid-engine supercars: Lamborghini.

BMW did supply its own powertrain, a 3.5-liter straight-six based on the one in the competition CSL chassis to be mounted longitudinally in the M1's tubular space frame.

With a 24-valve, dual-overhead cam design, the roadgoing M1's engine was to boast 274 hp, fed through a five-speed ZF gearbox.

Soon, Giugiaro had produced a striking exterior form that borrowed heavily from BMW's own 1972 Turbo concept. The Turbo's wild gullwing doors were abandoned, but Giugiaro had retained the same rakish profile that would help define supercars of the era.

Gianpaolo Dallara, then at Lamborghini after stints with Ferrari and Maserati, was in charge of suspension design. A handful of M1 prototypes were built, but major financial troubles reached a head at Lambo's headquarters.

As the popular (albeit unconfirmed) story goes, BMW had to sneak into the government-padlocked Lamborghini workshops in the dead of night to recover its engineering mules and assorted tooling.

In the months that followed, Neerpasch scrambled to find new partnerships to take the M1 from dream to reality.

A deal was struck with Modenese chassis constructor Marchesi to assemble the space frames, while Italian composites maker TIR would lay up the fiberglass body panels.

Italdesign agreed to fix bodies to frames at its headquarters, and German automotive constructor Baur would conduct final assembly and quality control at its Stuttgart plant.

Finally, a year behind schedule, BMW's jaw-dropping supercar officially went on sale in February 1979. The cost was an eye-watering $115,000 after U.S.

federalization, but then, the M1 was never expected to be cheap. Over the rest of that year and the one that followed, BMW built enough road cars to satisfy the FIA's homologation rule.

Then, just over two years after production had started, it was over. In March 1981, the last BMW M1 went through final assembly at Baur; it was one of just 397 M1 road cars ever delivered (450 including race cars).

For decades, the M1 has been something of a curiosity.

With so few produced, seeing one in the flesh is rare indeed, a problem compounded by the fact that many owners purchased their cars only to lock them away in warehouses and museums as low-mileage collector items.

Yet, here I am behind the wheel of a 1980 M1 on a Connecticut highway. This particular example managed to evade the federalization process, starting life as a press demonstrator.

That means it never had 175 pounds added in emissions and safety equipment, including reinforced bumpers and side-impact bars.

Thanks to large door openings, getting into the M1 is easy enough, despite its low profile. The door closes again with a solid thunk even though the car is skinned in fiberglass–a true BMW, this.

The low roofline does cut into headroom, and, as is the case with many period supercars, those taller than six feet will have difficulty fitting in.

Shoulder and thigh room ars generous though, and the seats are supportive but also comfortable for longer trips.

Two interior color options were offered to prospective M1 purchasers, black or tan. The former was far and away the most popular choice, and our car reflects that with its black leather-swathed dash and leather/cloth seats and door panels.

Switchgear and ventilation borrow in part from the period 7 Series. Overall, the interior is really quite plain, far from the futuristic accoutrements to be found in a period Lamborghini Countach or the opulence to be had in an Aston Martin DBS.

In the M1, it's all staid Bavarian business, right down to the plain-looking Becker Mexico radio located in the center console and the simple, three-spoke steering wheel.

It's striking just how easy the car is to drive. That said, there are a few peculiarities.

Wheelwell intrusion means the pedal box is offset quite a bit toward the center of the car, and the clutch pedal is long in travel, causing my ankle to run out of its own travel, often just before the clutch bites.

The transmission has a racing-style dogleg pattern with first gear down and to the left.

The hood falls away out of sight, leaving little indication of where the nose of the car actually is, though the large windshield and thin A-pillars offer very good visibility otherwise.

Most surprising of all is how well this race-inspired chassis is dialed in for the road.

The ride is at once supple and controlled, soaking up bumps without breaking a sweat, yet the car turns in well and there is so little roll that it's almost imperceptible from the driver's seat.

The car feels wide and low, which inspires tremendous confidence, but it never feels too large for the road in the way other supercars often do. The steering is heavy at parking speeds (and the turning circle laughably wide).

It lightens up once the car is properly moving, with the kind of feel and involvement that has tragically ceased to exist in even the best of modern sports cars.

The 12-inch disc brakes, massive for the day, stop the M1 quickly with fairly light action. Drawbacks? The M1 isn't the best place to carry on a conver-sation.

That's not so much because the car is noisy, although it can be (cruising along at 70 mph on the freeway shows the tachometer at over 3000 rpm), but more because the noise is so glorious that every time the M1 accelerates with any gusto, conversation immediately halts to better hear that straight-six symphony.

Never mind that this car has half the cylinder count of its Italian competitors; the engine is one of the world's finest.

Redline is nestled up against 7000 rpm, and the tach needle races to get there, a hard-edged, mechanical crescendo building as it does.

It's more of a hairy-chested growl than a scream, but with a complexity and sophistication to rival the best from Italy.

The noise is so addictive, I can't help but preserve bits of it through the voice recorder I brought along on our two-hour drive to today's photo location.

The old Pirelli tire headquarters in New Haven, Connecticut, was an ultramodern office space when built over 50 years ago, but what remains of our venue is now a vacant architectural curiosity in the parking lot of the New Haven IKEA.

There are so many small details to take in while the car is stationary: the small monochrome roundels on the Tron-esque Campagnolo wheels, for example, and the BMW Motorsports script on the cylinder head.

Then there are the exposed frame tubes that run from the roof to the engine bay behind the rear window. There's no glovebox in the dash, but there is a lockable bin between the two seats.

And don't bother putting any luggage in the front "trunk." It's filled to capacity with the car's radiator and spare tire.

Luggage space in the compartment behind the engine is quite good, though, with plenty of room for a weekend's worth of gear for two practical people.

At the end of the day, there's no forgetting that this car was designed for the track first and the street second.

It's that sensation of driving a car so focused yet so well suited for high-performance running that makes the M1 such a magical experience.

Though too much weight for too little power didn't help the M1's case against period exotic competition, those who seek out an M1 today likely won't care about precious tenths of seconds on the dragstrip.

They'll instead revel in the fact that the M1 is thrilling to pilot at any speed, its driving reality never betraying the fantasy its shape promises.

Though the M1 was designed as a racer from the get-go, it never had much success in motorsport.

It wasn't for lack of power: Group 4-spec M1s produced 470 hp at 9000 rpm, a figure that was competitive with other contenders. The real issue was weight. With the roadgoing car weighing in at just over 3000 pounds (U.S.

federalized cars weighed a couple hundred pounds more due to added safety and smog features), even Perspex windows and a gutted interior couldn't bring the M1 down to Group 4's 2200-pound weight minimum.

While several cars ran at Le Mans in the hands of privateers, the M1 never had much luck there, either. Some cars were built by private teams to even higher spec, boasting over 800 hp from the same basic 3.5-liter engine.

In the end, Neerspasch struck a deal with the managing body of Formula 1 to run a support race with identically prepared Group 4 M1s.

As something of a "gentlemean's racing" series, 15 cars were driven by wealthy would-be racers, while the top-five qualifying F1 drivers for each of the season's races would pilot the remaining cars. The result was the wildly aggressive Procar series.

Drivers like Piquet, Rosberg, and Regazzoni bumped and blitzed Group 4-spec M1s with massive flared fenders and towering wings around world-famous F1 circuits, flames spitting from their exhaust.

BMW finally got what it was seeking all along with the M1: credibility and desire among enthusiasts.

For more infomation >> 1980 BMW M1 Classic Drive - Duration: 15:38.

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1964 Porsche 901 Prototype Classic Drive - Duration: 16:11.

1964 Porsche 901 Prototype Classic Drive

The 1950s were indeed happy days for professor Ferdinand "Ferry" Porsche's young sports car manufacturing concern.

The good doctor and his father had managed to transform Germany's "people's compact" — designed by the senior Porsche for Volkswagen — into the lightweight, agile, venerable, and much-loved 356 "bathtub" Porsche that was winning races and Sunday drivers' hearts.

A process of continuous improvement resulted in a steady horsepower increase from the original 1948 model's 40 to 130 in the highly strung four-cam, pushrod-actuated two-valve Carrera 2000GS engine of 1962-'63.

Chassis tuning and brake upgrades kept the aging front trailing-arm and lateral torsion-bar suspension and rear swing-axle setup functional as well.

But toward the end of the decade of poodle skirts and prosperity, customers were itching for more refined and spacious touring cars that made less racket and offered more creature comforts.

Hence, in the mid-'50s, the company started doodling designs for a larger Porsche. Long-serving body-design chief Erwin Komenda naturally took the first few swings at a four-seat 356.

His designs were informed by two core beliefs: (1) strongly curved body panels are inherently stronger, and (2) humans were expanding, so a larger interior would prolong the design's useful life.

Stretching bathtub curvature over a longer, wider interior resulted in zaftig shapes.

Ferry Porsche deemed them too bulbous (do you think he would he have OK'd today's Panamera?) and hired Count Albrecht Goertz, father of the gorgeous BMW 507 roadster and an associate of renowned industrial designer Raymond Loewy.

But Goertz's time in America rendered him incapable of resisting flashy trends like quad headlamps and six round taillamps, so his design looked a bit like a shrunken fastback '58 Impala.

Ferry Porsche is said to have proclaimed it "a beautiful Goertz, but not a Porsche.".

Meanwhile, in 1957, Ferdinand Alexander "Butzi" Porsche, number-one son of the Professor, left his studies at the Ulm College of Design to join the family business. He began in the design department, training under Komenda.

A few of his suggestions were incorporated into successive Goertz designs, but that design direction was ultimately halted.

Having successfully penned some beautiful race cars during his short career, the young scion was officially assigned responsibility for the 356-successor project in August 1959.

Porsche's engineering department is said to have considered front- and amidships engine placement for its Grand Tourer, but concluded that a proper race car needed rear drive and a rearward weight bias, and that, because mid-engine designs could not accommodate a rear seat within a package small enough to race, the expedient design for a small company lacking the resources to develop multiple driveline variants was the tried-and-true rear-engine layout.

The boxer engine design was retained for its low center of mass and compact packaging, and six cylinders were considered essential to produce the required 130 horsepower at an acceptable noise level and cost.

Engineering had developed an ultra-compact front-strut design that ditched the space-gobbling coil springs in favor of longitudinal torsion bars keyed to the lower lateral arms, leaving a wide, low luggage-compartment floor.

Ferry Porsche wanted a fastback body to continue the visual lineage of the 356, and a 94.8-inch wheelbase was deemed the minimum acceptable for rear-seat accommodation.

Armed with these marching orders, and having perhaps derived some inspiration from the svelte and slippery lines of the 1959 Abarth 356B Carrera GTL (it may have been the work of Franco Scaglione, body man Rocco Motto, or an unnamed Abarth employee), Butzi Porsche put pen to paper and plasticene modeling clay to wood.

Two years later, following several iterations on which the wheelbase dithered up and down (it would eventually settle at 87 inches), a scale model of his "T8" design was unveiled in December 1961.

With a target production date of July 1963, work began in earnest on a development program involving the construction of 13 prototype development cars, the earliest known survivor of which is our subject car.

By May 1962, the project was officially named 901, a number chosen to fit within the Volkswagen parts numbering scheme in preparation for an envisioned melding of the organizations.

(Shortly after the car's production launch, Peugeot claimed to own the French naming rights to all three-digit numbers that had a zero in the middle, so Porsche changed the name to 911 after somewhere between 49 and 82 (reports vary) 901s had been built — the world still awaits a production Peugeot 901.

In November of that year, chief test driver Helmuth Bott took his first spin in a running prototype (#13 321) powered by a 20-liter four-cylinder engine and four-speed transaxle. It did not go well.

The body had weak points, the windows bowed out at speed, and straight-line stability was a mess. By the end of that month, it was clear production would be delayed until well into 1964.

Successive prototypes were built to test various components or serve other purposes.

The second prototype (#13 322) posed for the first "leaked" press photo; the third underwent extensive endurance testing; number four was primarily a suspension and brake test car; and number five was the star of the Frankfurt motor show in 1963 and underwent the first press road test by Auto Motor und Sport.

Our number seven (#13 327) went into suspension testing service in February 1964 with the nickname Barbarossa ("red beard" in Italian — the nickname of Frederick I, duke of Swabia, later king of Germany and Holy Roman Emperor).

It also spent time in the wind tunnel at an automotive research institute in Untertuerkheim. Frequently updated with production-intent parts, Barbarossa helped sort many suspension, braking, aerodynamic, and heating/ventilation problems uncovered during those early test runs.

After completing almost 44,000 kilometers, Barbarossa was still in presentable shape, so the somewhat cash-pressed company sold the prototype to a "friend of the family," Porsche race driver and automotive journalist Richard von Frankenberg.

Perhaps best known for surviving a horrific somersaulting crash at Avus in Berlin while racing a 550A, he ultimately perished in a road accident in 1973, after which Barbarossa's ownership history gets murky until it surfaced in December 1984 as a derelict hulk for sale to settle a mechanic's lien in New York City. .

Don Meluzio got his first taste of Porsche's rear-engine magic during his Army service in Germany by riding shotgun in his 1st Sergeant's 911 to watch the races at Hockenheim and the Nuerburgring (his lieutenant drove a 356C).

After returning stateside, he started autocrossing a 911 in 1980 and graduated to road racing in '85. He eventually found his way into a 924 D-production ex-works car.

It was these deep roots in the Porsche collector and racing communities that helped him identify the battered rusting hulk with the strange forward-sliding vent sunroof, the crashed front corner and the mechanic's lien as the oldest known surviving prototype of the venerable 911.

Obtaining proof from the factory wasn't easy.

Meluzio mounted an expedition to Zuffenhausen in 1985 to consult with a cadre of engineers armed with photos of all the design peculiarities of his "garage find," things like the torsion-bar struts that support the luggage-compartment lid, the coil-springs that hold the engine lid open, the circular (instead of oval) fuel-filler door, missing trim strips below the doors, the 356 steering wheel attached to a column with an ignition switch mounted to it, and the two large gauge clusters instead of five.

Barbarossa's fuel filler lid is indeed circular, not oval. The ignition/steering lock is on the steering column.

Then there's the wacky hand-cranked sunroof that retracts only partway forward, but incorporates drain tubes positioned within the structure — hardly a hot-rod shop job. Oh, and of course there's the serial plate with five digits –13 327.

After a call to a retiree from Porsche's body shop who recalled the peculiar sunroof, the car's provenance was confirmed.

As Don and expert Porsche restorer Denny Frick set about their extensive research into how to return the vehicle to its original factory-prototype condition, they gradually discovered that very few 911 parts interchange with this handbuilt 901.

Dimensionally it's 2 inches shorter and a half-inch narrower than a '64 911.  None of the glass interchanges (the vent windows are now and were then made of Plexiglas), and the bodysides are less curved than in production.

There are tiny side-window de-misters that were too small to have ever worked, and were never developed for production. The rear quarter-windows are fixed, as in later 911s, but the early ones opened.

The left wheelwell intrudes more than in production, displacing the pedals inboard, and the brake pedal incorporates a unique machined cam that increases the rate of travel of the master-cylinder with steady pedal travel — sort of an analog/mechanical brake-assist system.

Many parts were handmade one-offs, like the turn-signal and ignition switches, much of the chromed brass trim, and the door sills, windshield base, and dash bottom, which are carved from soft wood and upholstered.

The engine was missing when Meluzio bought the car, but records show that many different engines were fitted to it during its testing life, so there is no "official" numbers-matching engine.

They managed to find an early 901 production car engine with the correct Solex carbs, and installed the Beetle-like dual exhausts that exit through the valance panel (photos of earlier prototypes show exhausts exiting beneath this panel, but that design dragged on driveways and was updated).

Our date with this primordial Porsche (and its four-cylinder 902 cousin, see sidebar) occurs on a glorious late-summer day at the authentically European Lauxmont Farms estate outside York, Pennsylvania.

Meluzio's million-dollar baby doesn't get much exercise, but with some coaxing it barks to life and settles into a fitful idle.

Just navigating the few turns out onto the main road reveals that legendary 911 steering feel, even through this unfamiliar three-spoke wheel.

Impressive low-end torque wafts us up the long driveway with ease, where the 902's four-cylinder needed to grab a lower gear. The difference in engine notes — a racy snarl versus a Beetle-like ping — justifies the price bump, to these ears.

Maybe it's that tricky cam, but the floor-hinged brake pedal feels a touch soft, though braking force is plenty reassuring while descending the driveway.

The 911 has had a long and storied career, racking up global sales of more than 700,000 and countless motorsport victories. It's both developed and lived down a reputation for evil, tail-happy handling in its most powerful variants.

Its range has broadened to include multiple body styles, all-wheel drive, and performance ranging from 345 to 620 horsepower. That vast family tree is rooted in this one little red car.

Suddenly, naming it after a German king and Holy Roman Emperor seems pretty prescient.

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