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A blue Callaway Corvette, worthy of a Petrolicious Film Friday feature, is parked on a gravel surface in front of a row of white garage doors.

By Kris Clewell –  October 17, 2025

Petrolicious Film Friday: The Sanctioned Madness Of The C...

Petrolicious, the creator of quality, original films and articles for classic car enthusiasts, has released its latest video, featuring Alex Leventhal’s mighty Wunderbar-Optioned Callaway Corvette Twin Turbo. Petrolicious celebrates the inventions, the personalities, and the aesthetics that ignite a collective lust for great automotive machines, and it seeks to inform, entertain, and inspire its community of aficionados and pique the interest of those who have been missing out. Today, Petrolicious takes up the story... If you ticked a certain box in 1987, your brand-new car didn’t go straight to the dealer. It rolled off the line, got loaded onto a truck, and vanished for a few weeks. Somewhere far from the factory, a man with a mustache and a vision tore it apart, stuffed two turbos into it, and sent it back, still covered by the factory warranty. That was the deal between General Motors and Reeves Callaway, the quiet engineer who convinced America’s biggest carmaker to hand over its flagship and let him make it faster. Callaway wasn’t a marketing guy. He was a craftsman disguised as an engineer, a racer who understood the poetry of precision. In his small Connecticut workshop, he built turbo systems that turned European cars into perfectly mannered monsters. His BMWs, Alfas, and Volkswagens didn’t just go quicker; they went smoother. Power and polish in equal measure. It was enough to catch Detroit’s attention. By the mid-1980s, Chevrolet needed an answer. The Corvette was competent, but not feared. Europe ruled the language of speed, and inside Chevrolet, the engineers were choked by paperwork and fear. The oil crises had beaten the fun out of the place. Risk was dead. Committees made decisions that engineers should have made. Callaway offered an escape route. He’d take their car, give it teeth, and send it back with manners. GM listened, and, against its own nature, said yes. From 1987 to 1991, if you ordered RPO B2K, your new car left Bowling Green, got trucked to Old Lyme, and returned weeks later reborn. Callaway’s crew bolted on twin turbos, intercoolers, and a web of polished plumbing that somehow worked like it had been designed there from the start. It came back still under warranty, but now capable of shredding Europe’s elite. “It’s a car that surprises you,” said owner Alex Leventhal. “It looks like a Corvette, but the way it builds power, it’s silk until it isn’t. You can tell it wasn’t designed by a committee.” The standard Callaway Twin Turbo was quick, smooth, and deceptively civilized. But for the lunatics, there was the Wunderbar Option. “That’s where it crosses into madness,” Alex said. “The boost hits like a second engine waking up, and the car stays completely composed while everything else goes blurry.” The Wunderbar cars were the high point. Tuned closer to 400 horsepower and 575 pound-feet of torque, they turned the polite Twin Turbo into something that could stalk the likes of the Ferrari F40 and Porsche 959. The comparison wasn’t hype. It was math. In an age when American performance was measured in quarter-miles, Callaway was speaking in top speed and sustained boost. The Wunderbar would cruise near 200 miles per hour on street tires, cold air blowing through the vents. It was absurd. A Corvette, a fiberglass car from Kentucky, hanging with Maranello’s best. It shouldn’t have been possible. The F40 was sacred—a million-dollar altar to violence and ego. The Callaway was its antithesis, born of pragmatism and patience, and it could still catch it on the straights. That kind of heresy didn’t fit the narrative. Relatively speaking only a few Callaways were built, and while an F40 now trades for millions, a pristine Twin Turbo might fetch a few hundred thousand. Same era, same power, same speed, different mythologies. Europe had romance. America had results. Early cars made 345 horsepower and 465 pound-feet of torque. The later Wunderbar-spec added bigger turbos, better intercooling, custom wastegate tuning, and fuel mapping that made the power come on like a tide instead of a punch. It changed the character without killing the charm. The real magic was how it behaved. It started clean, idled smooth, and handled traffic without complaint. It wasn’t brutal. It was balanced. “When you drive it, you get what Callaway was chasing,” Alex said. “It’s calm until you ask for chaos, and when it comes, it’s perfect. It feels like something built by a person who cared.” Other tuners went loud. Hennessey chased numbers. Lingenfelter chased trophies. AMG went corporate. Callaway went quiet, and his cars were faster for it. He was the outsider who made it inside and somehow stayed himself. When GM bought Lotus and birthed the ZR-1, the partnership ended. The moment passed. But what it represented hasn’t. It was the last time a major manufacturer handed its flagship to a man and said, “Show us what’s possible.” For Alex, that’s the whole reason his car matters. “It’s proof,” he said. “Proof that an American could match the best in the world, and that one guy with conviction could make the biggest company on earth believe in him.” He looked at the car sitting in the sun, the turbos cooling under the hood. “Driving it now feels like holding a piece of American audacity in your hands,” he said. “It’s a reminder of when courage could still fit inside a workshop.” Reeves Callaway died in 2023. But his cars still breathe. They’re more than fast—they’re evidence that craft once outran convention, and that sometimes, the smartest thing a corporation can do is trust the guy with the mustache and the crazy idea.

A blue Subaru 22B STi with the license plate "R2 KFW" is driving on a curved, paved road with greenery and a cloudy sky in the background, perfect for a Petrolicious Film Friday feature.

By Kris Clewell –  September 26, 2025

Petrolicious Film Friday: The Legend of the Subaru 22B ST...

Petrolicious, the creator of quality, original films and articles for classic car enthusiasts, has released this amazing video featuring Robert Jackson's stunningly-rare UK edition of the Subaru 22B STi. Petrolicious celebrates the inventions, the personalities, and the aesthetics that ignite a collective lust for great automotive machines, and it seeks to inform, entertain, and inspire its community of aficionados and pique the interest of those who have been missing out. " width="680"> Today, Petrolicious takes up the story... Rallying wasn’t dead, but it was on life support. A quiet blip in the world of motorsport, stripped of the fire that had made Group B both legendary and lethal. The spectacle was gone, kept alive by hardcore enthusiasts at its bedside. Then Subaru showed up in blue and gold, gravel spitting from its tires like a slingshot aimed at the crowd. Colin McRae, Richard Burns, Carlos Sainz, and a factory-blessed team from Banbury called Prodrive shocked the patient back to life. Rallying was loud again, and Subaru built a road car to prove it. The 22B. It was around then Robert Jackson first heard from Subaru UK. The letter that followed still raises the hair on the back of his neck. It confirmed the car’s scarcity and explained that just 16 would be officially imported as 22B STi Type UK. Type UK meant Robert wasn’t just buying another fast Japanese coupe through the grey market; Subaru themselves had sanctioned the cars for British roads, with odometers in miles and small but important tweaks like revised lighting, side markers, and immobilizers to meet UK regulations. To be one of those sixteen owners, you had to be chosen. The 22B existed because Subaru had done what seemed impossible after Group B’s collapse: it made rally a cultural force again. From 1995 through 1997, the Group A Impreza won three straight WRC manufacturers’ championships, driven not just by engineering but by the personalities behind the wheel. McRae’s fearless, sideways style made him a folk hero, Sainz brought pedigree, and Burns carried the promise of Britain’s next champion.  Together, with Prodrive’s polish, they turned Subaru from an also-ran into a cultural juggernaut and sent the Impreza surging into popularity well beyond rally stages. Colin McRae was sideways on TV commercials, Richard Burns was cutting his teeth, and the blue and gold livery became shorthand for speed. Subaru wasn’t just winning stages, it was rewriting what a rally car could mean to a generation that thought the party was over in ’86. To celebrate its 40th anniversary, and those three titles, Subaru built the 22B. At first glance, it looked like the Impreza from your neighbor’s driveway after a month on steroids. The arches were wide, muscular, and purposeful. The paint was a deeper shade of rally blue. Gold BBS wheels filled the swollen fenders. Under the hood sat the EJ22G, a hand-built 2.2-liter turbo flat-four with torque that hit harder than any WRX had before. Suspension was bespoke. Ratios in the gearbox were shorter. This wasn’t a styling package. It wasn’t the exact chassis McRae and Sainz threw down rally stages either, the works cars were obviously Prodrive-built gravel weapons, but the 22B carried their DNA. Subaru launched it in 1998, immediately after those three back-to-back championships, as a celebratory road car that looked and felt like the title winners. It was Subaru bottling its rally dominance and selling it in numbered form, just 424 in total. For Robert, the hook came at the NEC Motor Show. The color itself seemed so unique, slightly different to the World Rally car, but more beautiful. The lines of the car, everything about it just looked absolutely perfect. He wrote to Subaru UK. They wrote back and interviewed him, wanting to be sure the few cars they had went to the right hands.  The confirmation arrived in a letter: “Exclusive doesn’t even begin to describe what you are driving. Only 424 examples of the Impreza 22B STi will ever be produced worldwide, making this one of the rarest cars on the road.” When someone finally told him, “Mr. Jackson, you are one of the lucky 12 customers,” he could feel himself hyperventilating. In reality, while Subaru UK imported 16 Type UK cars in total, its likely only 12 were offered to individual buyers, with the remaining four kept for press and demonstration use. The day he collected it is burned into his memory. Sliding his hands over the Nardi wheel, easing the car out of the showroom, he realized this was no ordinary Impreza. Everything about it felt classy, exciting, powerful, full of quality. He fell in love even more from that first moment. That love wasn’t private. Owning one of the rarest cars in Britain meant notes under his wipers, invitations to clubs, strangers at Donington Park asking if the rumor was true, that yes, it really was a 22B. The car ended up featured in Japanese Performance magazine, his ownership documented as part of the Impreza’s growing legend. Two and a half decades later, Robert faced the reality that all rare cars do: time doesn’t care. A full restoration was needed. But the goal wasn’t to modify, to chase power figures, or to modernize. It was to preserve. He explained that he wanted to make sure that this legacy, this car that was going to be with him and then with somebody after him when he was no longer around, would be amazing. Every part would be restored to how it was from new. Like a new penny, like a piece of art. Driving it again, he says it still feels like that first day, tight, responsive, alive. The difference now is perspective. This car makes him different. He’s part of it. The car has made him shine brighter. Because it’s the car. It’s not him. It’s the car. That’s the 22B’s magic. It wasn’t built to dominate collectors’ auctions or to sit under a dust cover. It was built to remind the world that rally wasn’t dead. It was built to put Prodrive’s gravel-slinging championship cars in civilian hands, to make people like Robert hyperventilate at the thought of ownership. Rally’s golden age didn’t end with Group B’s funeral. It just paused until Subaru flew overcrest towards a 9-right into imminent glory.  The 22B was the exclamation point, a defiant reminder that motorsport’s most visceral theater still had something to say.

Two men in conversation sit in chairs with a table between them, a red AMG car in the background, and duPont REGISTRY and RENNtech branding displayed.

By duPont REGISTRY –  August 30, 2025

duPont REGISTRY Talks: Revealing The Secrets Behind AMG’s...

From the early days at AMG to founding RENNtech and architecting the fearsome Hammer-era Mercedes monsters, Hartmut Feyhl’s journey is the kind of engine-roaring story that defines automotive lore. In the latest episode of duPont REGISTRY Talks, our Editor-in-Chief sits down with Feyhl – tuner-extraordinaire, technical savant, and the man behind that unmistakable AMG thunder – to peel back the curtain on his remarkable career. Feyhl’s tale is one of migration, mastery, and motorsport passion. He arrived in the U.S. after a storied tenure at AMG in Germany, bringing with him the horsepower and precision that quickly made RENNtech the premier name in Mercedes-Benz tuning. You’ll hear how those iconic Hammer cars were born – a time when brute power met the highest levels of German engineering prowess, reshaping the world’s expectations of road-legal performance. Expect insider secrets on how RENNtech fine-tunes everything from engine maps to suspension dynamics, along with wild stories from track testing, ultra-rare builds, and the obsessive pursuit of “performance without compromise” – a motto Feyhl instilled into every program from the brand’s 1989 birth onward. Whether you're fascinated by high-octane engineering, boutique tuning legacies, or the relentless creative drive behind automotive icons like the Hammer Mercs, this episode is a must-listen. Tune in and discover how a single engineer’s vision helped define an era – and continues shaping performance car culture today. Visit duPontREGISTRY.com " width="680">

Petrolicious Film Friday: One of None – The Lotec C1000

By Kris Clewell –  August 22, 2025

Petrolicious Film Friday: One of None – The Lotec C1000

Petrolicious, the creator of quality, original films and articles for classic car enthusiasts, has released its latest video featuring the Lotec C1000 – a Mercedes-powered hypercar that stood apart as an experiment in excess. Petrolicious celebrates the inventions, the personalities, and the aesthetics that ignite a collective lust for great automotive machines, and it seeks to inform, entertain, and inspire its community of aficionados and pique the interest of those who have been missing out. Today, Petrolicious takes up the story... The early 1990s were a peculiar crossroads. The excess of the 1980s had given way to restraint, but flashes of ambition remained. Porsche’s 959 had already reset the road car rulebook, Ferrari’s F40 weaponized rawness, and McLaren’s F1 redefined speed with a driver at its center.  Mercedes, rooted in tradition but buoyed by Group C dominance and AMG’s rise, straddled both worlds. On the fringes, tuners like Koenig Specials, Gemballa, and Rinspeed still chased wings, pipes, and conversions that kept excess alive. Outside cars, culture was shifting. Jurassic Park broke cinema ground, the internet crept into homes, Windows 95 loomed, and the PlayStation was about to alter gaming. It was a transitional moment, futuristic and uncertain, a backdrop that made the Lotec C1000 feel like a visitor from another world. It was also a time when immense wealth could bend the rules. For some, things like Porsche Sonderwunsch or BMW Individual weren’t enough. They wanted singular machines that ignored boundaries. Those demands produced audacious creations, born in quiet meetings in secret places between wealthy patrons and race shops bold enough to indulge them. Lotec was one of those shops. Founded by Kurt Lotterschmid in the late 1960s, it built Group 5 racers and custom one-offs before pivoting toward hypercar projects in the 1980s. Their resume included a Ferrari Testarossa-based prototype built for a sheikh, an early hint of the wild commissions to come. When Sheikh Ahmed Al Maktoum, CEO of Emirates Airlines, decided he wanted something unique and unrepeatable, Lotec answered. The result was not just a car but a statement: the Lotec C1000, a Mercedes-powered hypercar that even in the 1990s stood apart as an experiment in excess. The C1000 was shaped rather than born. Its carbon fiber monocoque gave it both rigidity and lightness, a racing-bred skeleton that set it apart from the tubular or aluminum monocoque chassis common in supercars and race cars of the era. The bodywork carried a mix of cues: the sharp intakes and swollen arches felt distinctly Lotec, the proportions and stance had a Mercedes familiarity, and in certain angles it recalled Sauber’s Group C prototypes. Some lines even foreshadowed the later CLK GTR, raising the question of whether this one-off may have influenced Stuttgart’s thinking. It was a machine forged in the overlap between tuner ambition and Mercedes heritage, something that could only have come from this odd moment in time. Beneath its dramatic carbon body sat Mercedes’ M117 V8, a design rooted in the late 1960s and dismissed by then as old guard. But it had muscle memory: SOHC per bank, stout internals, and a reputation for toughness. It had powered sedans and AMG monsters alike, and most importantly, formed the foundation of the M119 derivative that carried Sauber Mercedes to Group C glory. In 1989, the C9 won Le Mans with this iron block DNA. That endurance pedigree convinced Lotec. Turbocharged and cooled properly, it could withstand punishment that more exotic motors might not. Old guard in origin, battle hardened in practice. Lotec pushed it forward with twin turbos, bespoke engineering, and modern electronics. Output hit 1,000 horsepower, numbers that sounded like fiction in 1995. For perspective, here’s the field: Ferrari F40 (471 hp), Porsche 959 (444 hp), Jaguar XJ220 (542 hp), McLaren F1 (627 hp), Bugatti EB110 Super Sport (603 hp), Dauer 962 (730 hp), and Vector W8 (625 hp).  Against that field, the C1000’s four-digit claim felt extraterrestrial. With a top speed rumored to be around 268 mph, it sat well beyond the reach of tire technology at the time. Y-rated rubber, the best of the time, managed 186 mph. The XJ220 hit 217 on special Bridgestones, and McLaren’s 240 mph run had to wait for Michelin to catch up in 1998. The C1000’s top speed claim was never confirmed, more rumor than record, yet it endures as a ghost number. It's bench racing fodder that dares belief. Its mythology only grew stranger thanks to its eight-page owner’s manual. Buried in diagrams and notes was a warning: if the turbos were set to 1.2 bar and torque rose to 1,200 Nm, warranty was void. Which of course is exactly how the car’s patron would have wanted it. The disclaimer read more like a dare than a limit. After its creation, the car disappeared into hibernation. For years, it lived as a rumor, resurfacing in grainy videos or as whispers in Mercedes circles. John Hooper, a technician in Charlotte, kept it alive, tending to it while it sat in North Carolina, treating it like a mythical unicorn more than a car. Collector Jonathan Weisman eventually purchased it, ensuring its survival. Curated, the Miami restoration outfit, took it in under Hooper’s guidance and with fabricator Sean Robinson, a Pebble Beach hand. Their task wasn’t ordinary restoration, no manuals, no spare parts shelves. As Curated’s Stephen Duncan Peters put it, “the problem is everything’s custom, the good thing is everything’s custom.” Wiring was retraced, finishes preserved with dry ice, plating redone carefully. Even the turbos were rebuilt with restraint. Inside, wear was left visible, bones intact. As Weisman described it: “restoration isn’t about over-polishing or rewriting history, it’s about letting the car breathe again as what it always was.” And breathe it does. The M117 still runs, its whine recognizable to anyone who’s owned an old Mercedes, only here it’s amplified through turbos and wrapped in aspiration. It's signature sound bridges memory and excess, relatable yet unreachable.  So where does the C1000 sit among hypercars? It spawned no lineage, unlike AMG, Pagani, or Koenigsegg. It was a one-off, a flash of wealth and engineering excess that vanished as quickly as it appeared. And yet it forecast the bespoke hypercars of today, showing decades early that with enough money, rules bend. One man’s dream, a small German shop’s skill, and Mercedes’ racing-blooded V8 created something unrepeatable. For a moment in 1995, the horizon belonged to Lotec.

A yellow Lancia Delta Integrale hatchback is parked on a driveway in front of a modern house, surrounded by trees and sunlight—a true Petrolicious moment.

By Kris Clewell –  August 08, 2025

Petrolicious Film Friday: The Architecture of a Lancia De...

Petrolicious celebrates the inventions, the personalities, and the aesthetics that ignite a collective lust for great automotive machines, and it seeks to inform, entertain, and inspire its community of aficionados and pique the interest of those who have been missing out. Today, Petrolicious takes up the story... It’s still dark. The sky looks bruised, but ready for another dawn. The sun hasn’t broken the horizon yet. The world hasn’t started spinning fast enough for emails, texting, and traffic. It's just quiet, heavy stillness. This is when Goktug Sarios likes to wake up. “That morning quietness,” he says, “it’s very special to me. You breathe. You see things. You feel things.” In the garage, something waits with the same calm. A Lancia Delta Integrale Evo II. Yellow. The kind of yellow that doesn’t just catch your eye, but pulls you in. “It gives you a feeling before you even know why,” Goktug says. Before the Alcantara, before the Recaros, before the flared arches, it’s the yellow that hits first. “It was never supposed to be this good,” Goktug says. “It was built for groceries. Then it started winning everything.” The Evo II is the final iteration of a Group A legend. From 1987 to 1992, the Delta carried Lancia to six straight World Rally Championships. That's six in a row. Six. An achievement no one has matched since.  Originally conceived as a family hatchback, it was reshaped by the strict Group A homologation rules that demanded road-going versions of rally cars, it became a weapon through necessity. The road going Evo 2 is the ultimate distillation of all of it. The rules, the engineering, and what pushing the limits of what a chassis can be means. It is truly a Holy Grail. It’s fitting that Giorgetto Giugiaro designed it. The same man who created the Volkswagen Golf GTI, the roots of the hot hatch, also shaped this car. The GTI had proved that a small, practical hatchback could be a tool for daily life, especially for young people in crowded cities, while still being something full of youth. Something fun, alive, and spirited. The Integrale Evo II took that idea further. If the GTI was the spark, the Integrale Evo II was the raging wildfire, packing rally-bred suspension, real power, and the kind of character that could turn errands into events. The details are what captivate Goktug. The subtle Alcantara with yellow stitching. The harmony in its proportions. The way the engine bay is tucked and tight, with cooling vents cut into the top because, as he puts it, “it just runs hot.” Function dictating form. His first drive wasn’t love at first sight. “Honestly, it felt normal,” he admits. “Like just a car.” But the canyons changed that. Nimble. Firm. Alive. The high seating position gave him a view like a rally stage. The Recaros held him steady as the chassis dug in. “It wasn’t meant to be a sports car,” he says, “but it makes you feel like you’re part of something.” “For me, it’s a moving sculpture,” Goktug says. Its boxy honesty pairs with his brutalist home of concrete, steel, and glass. He smiles when he talks about the way the house appears dramatic and unexpected when you turn the corner. “It surprises you,” he says, “the same way the Integrale does once you really drive it.” Both carry a kind of rawness. Both are beautiful not because they try to be, but because they refuse to be anything else than exactly what they are. “This car makes you breathe differently,” he adds. “You don’t just drive it. You feel it.” That’s why the Integrale matters. More than a hatchback with flared arches, it’s an exercise in architecture as much as engineering. Every line and angle feels deliberate, as if drafted onto graph paper before it was hammered into steel.  The squared arches, upright stance, and crisp edges give it a presence that’s structural as much as sculptural. It’s a vessel that holds where we used to be as motorists, designers, and engineers. It's a piece of rally history you can, if you're lucky, hold in your hands. In the quiet of the morning, before the world starts spinning, it waits for it.

Petrolicious Film Friday: The Last Real Alfa Romeo

By Charles Bradley –  July 11, 2025

Petrolicious Film Friday: The Last Real Alfa Romeo

Petrolicious, the creator of quality, original films and articles for classic car enthusiasts, has released its latest video, featuring Hiram Ace Wang’s Alfa Romeo Milano. Petrolicious celebrates the inventions, the personalities, and the aesthetics that ignite a collective lust for great automotive machines, and it seeks to inform, entertain, and inspire its community of aficionados and pique the interest of those who have been missing out. Today, Petrolicious takes up the story... Hiram Ace Wang didn’t grow up dreaming about Alfa Romeos. He grew up in mainland China, where old cars didn’t really exist. Registration laws, emissions crackdowns, and aggressive scrap page programs made sure of that. Cars were appliances, meant to be used and disposed of, not remembered. But when Hiram came to the U.S., something changed. Suddenly, he could touch history. The flawed, emotional Milano Gold wasn’t only a car, it was a portal. And it spoke to him in a way no perfect machine ever could. That’s the thing about Alfas. They’re grounded in something different. Maybe it’s the way they feel even when they’re idling. Maybe it’s the legacy baked into their metal, the company that won the first Formula 1 championship, that beat Ferrari before Enzo even had Ferrari, that put race-bred engines into family sedans with names like Giulia, GTV, and, for a short while, Milano. That last one? It’s maybe the most overlooked, misunderstood, and misnamed Alfa of the bunch. You can still snag them, albeit in various terrifying states of repair, for a song here in the states. Released in '85 in Europe, it was called the 75. But when it came to America in 1987, they didn’t think “75” would mean anything to American buyers. So they lazily named it after the city where Alfa Romeo was born. Milano. The car wasn’t built there. Fiat had just taken over the company, but the car had already been developed. It was one of the last truly independent Alfas before the influence set in. But the badge on the trunk said Milano like it still meant something.  For Hiram Ce Wang, a French car enthusiast who grew up in mainland China, this 1989 Milano Gold represents more than just Alfa’s twilight era and pre-Fiat eccentricity. It’s alive. It’s flawed. It’s something that, in his words, "communicates." Not in some digital interface kind of way. "You feel what’s going on there," Hiram says. "From the engine to transmission. All the vibration from the road. Your suspension is doing good, or not." But the Milano wasn’t perfect. Not even close. The original seats barely held you in corners. The gear ratios were weird. Second and third were stacked close together, then came a bizarre jump to fourth. The handbrake looked like it was pulled from a forklift. The steering wheel was non-adjustable and massive. But none of that stops Herman. In fact, it’s part of the appeal. He swapped in seats from a Lancia Delta Integrale, because the originals were useless. He refined the stance, chasing better road feel. Every change he makes is a quiet act of improvement with reverence. That engine, though. That’s where the whole thing clicks. Under the hood of his Milano Gold is a 2.5-liter V6, part of Alfa Romeo’s legendary Busso engine family. Designed by Giuseppe Busso in the 1970s, this 60-degree V6 is a mechanical sonnet. It breathes deep, revs quick, and is way oversquare. That oversquare layout, with a bore much larger than its stroke, lets the engine spin up fast, breathe well, and live in the upper revs without breaking a sweat.  It gives the Busso a kind of urgency most modern engines have suffocated with refinement. The truth is, oversquare engines are not ideal for most people. Most folks want torque, usable grunt down low, the kind that pushes you back in your seat without needing to wring it out. And that comes from stroke, not bore. But oversquare engines like the Busso are built to spin. That’s where the Italian music is. Hiram calls it "actually a really powerful engine. It's always pretty smooth, and it reacts fast while you're pressing that throttle." The Busso’s reputation isn’t only romantic. It earned its stripes over a 26-year production run. Hiram’s 2.5L version runs Bosch Motronic fuel injection. The U.S. spec delivered 158 horsepower, while European versions made closer to 165 thanks to freer-flowing emissions equipment and slightly different tuning. It revs like it has something to prove. It may not be fast by today's numbers, but it moves with the kind of urgency and character modern sedans can’t fake. The Milano Gold was the top trim, leather seats, optional rear spoiler, and that unforgettable V6. It was never just about speed or luxury. It was about character. And now, three decades later, it's a rolling time capsule of what Alfa Romeo used to be: daring, mechanical, expressive. These days, Milano means overpriced coffee and fashion week. But back then? It meant a snarling V6, a weird handbrake, and a car that still had something to say. For people like Hiram, it still does.

Petrolicious Film Friday: Alfa Romeo Giulia GTV – Never Sell Yellow

By Charles Bradley –  June 27, 2025

Petrolicious Film Friday: Alfa Romeo Giulia GTV – Never S...

Petrolicious, the creator of quality, original films and articles for classic car enthusiasts, has released its latest video, featuring Quentin LeBlond’s 1973 Alfa Romeo GTV 2000, designed by a young Giorgetto Giugiaro at Bertone. Petrolicious celebrates the inventions, the personalities, and the aesthetics that ignite a collective lust for great automotive machines, and it seeks to inform, entertain, and inspire its community of aficionados and pique the interest of those who have been missing out. Today, Petrolicious takes up the incredible story... There are cars you drive, and cars that quietly work their way under your skin. Quentin LeBlond's 1973 Alfa Romeo GTV 2000 Bertone belongs to the second group. It’s not loud about it. It doesn’t ask for attention. But every time he reaches for the key, every time he feels the way the shifter slides into gear, it whispers back that it's still there. Still willing. The GTV 2000 sits at the top of one of Alfa Romeo's most iconic bloodlines. GTV stands for Gran Turismo Veloce (Fast Grand Touring) and the 2000 series, introduced in 1971, represented the final evolution of the classic 105/115 series coupes. Designed by a very young Giorgetto Giugiaro during his time at Bertone, it became one of his formative masterpieces.  Before Giugiaro became synonymous with the sharp-edged, angular wedge designs of the late 1970s and 80s, the DeLorean, the Lotus Esprit, the VW Golf, he created this: a perfectly balanced, delicate shape that feels timeless even decades later. The signature Alfa heart grille flanked by quad headlights, the delicate Hofmeister kink, the short rear deck, all of it perfectly weighted. It’s easy to see why this car helped shape the trajectory of Giugiaro’s career and why Bertone, as a design house, remains stamped on so many iconic machines. But great design only takes you so far. What makes the GTV unforgettable isn’t just how it looks, but how it moves. The 2.0-liter twin-cam four was good for 132 horsepower, but it was never about the number. It was about the feel. Light on its feet. Eager. Responsive in a way modern cars can't imitate. It earned its place not through speed, but through character. Quentin’s been circling this world since he was a kid. Rallies, shows, long weekends spent chasing sheet metal through winding roads. At some point, watching wasn't enough. He left a conventional career and built Mechanicüs, a dealership meant to strip away the greasy handshakes and fogged-up promises that sometimes sour the classic car world. Here, every car is vetted by feel. Driven. Understood. The goal isn’t to move metal. It’s to keep the obsession alive long enough to hand it off to his kids. The Alfa isn’t just a backdrop to Quentin’s story, it’s a centerpiece. The car where all of this folds back into itself. Quentin knows every inch of this thing. He knows how to feather second before first to save the synchros. "I know that if I don’t want first gear to crack, I have to go second-first. And reverse? Fifth before reverse, always," he explains, half-smiling. He knows the spot under the hood where time and a lazy respray still betray the car’s original red paint. He knows the smell of the cabin on a humid morning. The sound of the starter catching. The way the gearbox complains briefly, then falls into rhythm. It's not the kind of knowledge you learn from a manual. It's earned through years of repetition. The intimacy of imperfection. And yet, even with that familiarity, the car still manages to catch him off guard. A random glance in a shop window reflection. The way the fenders bend light just so. "Every time I see it in a mirror, or just walk past it, I rediscover it. The shape, the look, the color — there’s still a connection I can’t really explain," he admits. The Alfa has, for the most part, never let him down. Except for one story. They were on their way to Le Mans Classic when his wife, absentmindedly fiddling with the ancient cigarette lighter, managed to short the electrical system. A small fire. A close call. Quentin had to leave the car parked just short of their destination. But he doesn’t hold it against the Alfa. Not really. He talks about it like you talk about an old friend who once got you into a little bit of trouble. The kind that makes the friendship stronger. And now, it’s no longer just his. On weekends, he brings the kids out to the garage. They don’t drive it. They start it. They know the sequence. The little rituals. Quentin won’t share exactly what the starting procedure is, it seems like it's something private, passed down to his kids but not to you. That silence says something. "Not many four and six-year-olds know how to start a 1973 Alfa Romeo. I’m pretty proud of that," he says. His six-year-old and four-year-old could probably start the car better than most adults at this point. And maybe that’s what sticks with you the longest. The idea that some things, when they become part of your routine, when you live with them long enough, develop a strange kind of loyalty. Like a dog that waits at the door. Like a battered tool that still cuts straight. It’s easy to dismiss an old Alfa Romeo as a finicky thing, as unreliable. But this one, in its own stubborn, mechanical way, never walked away when it mattered. And that’s the part you end up passing down. Not just the machine. The constancy. The odd, esoteric comfort of something that refuses to quit on you. Quentin puts it simply: "It’s part of the family now. I trust it. It trusts me. That’s all I need."

A man in a cap speaks into a microphone during an indoor event at the Miami Concours 2025, with an audience seated around him and a woman standing nearby holding a blue box, highlighting the essence of automotive luxury.

By Charles Bradley –  June 04, 2025

duPont REGISTRY Talks: Inside the Future of Automotive Lu...

What defines luxury in tomorrow’s supercars? At the 2025 edition of the Miami Concours, duPont REGISTRY Talks hosted a special live-recorded episode titled ‘The Future of Automotive Luxury: Exclusivity, Customization & Design’. Moderated by our Editor-in-Chief Charles Bradley, the podcast features two of the most influential figures shaping high-end automotive culture today: Brett David, CEO of Prestige Imports – Lamborghini Miami, and Paolo Trevisan, Head of Design at Pininfarina. The conversation opens with the surging demand for hyper-exclusive, bespoke vehicles. David noted that today’s ultra-high-net-worth individuals no longer settle for mere performance – they seek identity and exclusivity. “So many vehicles are held today as blue-chip stocks,” he said, explaining how collectors are customizing everything from paint codes to immersive interior environments: “It’s like a piece of art on four wheels.”  Trevisan echoed this sentiment through a designer’s lens, citing Pininfarina’s unique approach to heritage and innovation from its origins as a coachbuilder. “We honor the spirit of the past, but we always look for something new and special for the future,” he said. Customization took center stage, as David detailed how affluent buyers now expect tailored materials, rare finishes, and seamless tech integration for their beautiful, high-powered but low-volume sports cars. Meanwhile, Trevisan discussed the rising value of limited-run vehicles, pointing out that fewer mass-market supercars and more curated editions like Ferrari’s Icona series are shaping a new era of collectability, cars that truly make a statement about the individuals. The duo also explored the evolving intersection of automotive, art, and architecture, citing lifestyle-led real estate like duPont REGISTRY Tower Design by Pininfarina as evidence that garages, as well as living space, are becoming curated showcases of passion and luxury way of life. Finally, both looked ahead to a rapidly transforming future. From electric hypercars that maintain driving thrill to 3D-printed materials, active aerodynamics and AI-powered interfaces, the next generation of supercars will be defined as much by innovation as by elegance. “It’s part of our lives; we use all the new technologies available to create our products much faster than before,” said Trevisan. “With rapid prototyping, there is a big revolution happening right now.” Watch or listen now to duPont REGISTRY Talks for this deep dive into the future of elite automotive culture – recorded live in the heart of Miami’s luxury car scene at the stunning Moore Building in the exclusive Design District.

Petrolicious Film Friday: The Handbuilt Dagrada from the Edge of Obscurity

By Charles Bradley –  May 30, 2025

Petrolicious Film Friday: The Handbuilt Dagrada from the ...

Petrolicious, the creator of quality, original films and articles for classic car enthusiasts, has released its latest video, featuring Camillo Mekacher-Vogel – who owns the only Dagrada Giannini 750 Sport left in the world. Petrolicious celebrates the inventions, the personalities, and the aesthetics that ignite a collective lust for great automotive machines, and it seeks to inform, entertain, and inspire its community of aficionados and pique the interest of those who have been missing out. Today, Petrolicious takes up the incredible story... The war was over, but the world hadn’t settled. In Italy, 1949 wasn’t peace, not really. It was survival in a different key. The country was still picking gravel out of its teeth. Steel that once framed bombers was being melted down for scooters and sewing machines. Entire families lived in single rooms with curtains for doors. North of Milan, just before the land tips into the Alps, was a strip of country still wrapped in soot. Factories ran hot again, producing parts for trains, tools, appliances, anything that could be sold, anything someone needed. The region had money, but not much. Pride, but not loud. It was a place of people who worked with their hands and stayed out of photographs. The car’s origin was as unpolished as its aluminum skin. Dagrada wasn’t a company so much as it was a man. Angela Dagrada. He didn’t just lend his name. He built the cars. Welded the frames. Shaped the bodies. Then climbed in and raced them. Mille Miglia. Club events. Hill climbs. Whatever he could afford. The workshop was probably more aviation garage than assembly line. Tube steel, rivets, intuition. Not everything had a drawing. Some things just felt right. We don’t know much about Angela Dagrada. No interviews. No memoirs. No tidy archive of production numbers or postwar exploits. And maybe that’s the point. Italy’s hills and alleyways were filled with one man marques after the war. These were small operations that flared up and burned bright, if briefly. Men who weren’t trying to start legacies. They were just building the fastest thing they could imagine with the tools they had. Dagrada was one of them. Maybe one of the best. Siata, Nardi, OSCA, these names echo now, but many others vanished completely. After the war, a strange kind of energy spread through Italy's workshops and garages. There was leftover machinery, idle hands, and an aching need to go fast again. Materials were scarce, but ambition wasn’t. Small constructors sprang up almost organically, fueled by mechanical know-how, racing dreams, and just enough aluminum left to shape a body or two. The national racing scene gave them somewhere to go, and the public's hunger for motion gave them a reason to exist. This wasn’t just cultural, it was integral. Italy’s motorsport ecosystem at the time supported it. The Mille Miglia and countless local hillclimbs gave small builders real platforms. There were few regulations and low barriers to entry. You didn’t need a factory. You needed a welder, a shed, and something worth driving. These were builders not aiming for volume or legacy. They were chasing something more immediate. Speed, escape, relevance. The cars weren’t side projects. They were survival with curves and velocity. They lived in garages, raced in the foothills, and died on paper. Dagrada didn’t. One of his cars survived. As far as anyone knows, this is it. The only Dagrada Giannini 750 Sport left in the world. If there were others, they’ve disappeared. Misfiled in history. Broken for parts. Rebodied, rebadged, forgotten. There were others like it in postwar Italy. Siata, Nardi, OSCA. Dozens of little garages, each with a dream and maybe enough aluminum for two bodies. But Dagrada was different. Not louder. Just more focused. The Dagrada 750 Sport wasn’t a scaled-down racer. It was a scalpel. Built with precision, without pretense. “There’s not a single part on this car that’s trying to impress you,” Camillo says. “It was built to do something, not say something.” The numbers are almost irrelevant compared to the romance and enigma of it, but they’ll still make you raise an eyebrow. 340 kilograms. 60 horsepower. Giannini 750 engine, twin-choke. That’s 12.5 pounds per horsepower. It would smoke a Porsche 356 (roughly 18.5 lbs/hp), an early 911T (about 18.2 lbs/hp), and run neck-and-neck with a modern Mazda Miata (about 16.5 lbs/hp). The numbers give it context, but they don’t explain it. It raced more than 30 times. Landed on the podium in half. Won a third. That’s not folklore. That’s ledger. “When I started researching its past, I couldn’t believe how often it showed up in period records,” Camillo says. “This wasn’t some garage experiment—it was competitive.” The original owner didn’t commission it. He came across it the way you stumble into something that already knows you. After the war, he returned home with 19 confirmed aerial victories. A pilot who survived the desert skies of North Africa and flew with precision, not luck. A true ace. A man looking for a different kind of machine to test his nerve. His name was Franco Bordoni-Bisleri. The war gave him his speed and grit. Italy gave him a reason to keep using it. The planes were quiet now. But the machines, the right kind of machines, were still out there. He started racing. Maseratis, at first. Then something else. Something lighter. More alive. "It was like a bird," he’d later say. Driving it is closer to flying than anyone has the right to expect. You sit on the axle. The car doesn’t filter the road, it prints it on your spine. Startup is a ceremony. No choke. No key and twist. You open the engine bay. Manually fill the carbs. Wait for the fuel pump. Blip the linkage by hand while pulling a lever inside. It only runs when you ask it the right way. “You don’t just start it,” Camillo says. “You negotiate with it. And if you rush it, it lets you know.” "It’s something between a motorcycle and a car," says Camillo Mekacher-Vogel, the current steward. "You feel it has so much grip… until it no longer has it." He laughs when people ask if he’s worried someone might steal it. "If they can start it, they deserve to drive it." Every inch of the body is hand-hammered. You can see the impact points if you look close. They didn’t buff the history out. “Every dent is part of its timeline,” Camillo says. “You take that away, you take away the memory of what it did.” Underneath, it's all mechanical purity. No part of the car hides what it does. It was made to be fixed. No computers, no abstractions. There's nowhere to source parts. You break it, you fix it.  Franco's callsign during the war was Robur. Latin for strength. He kept it after the war, and a drink by the same name is still sold in Italy. He lived a life that needed speed. Angela Dagrada gave it to him. Cars like this weren’t just built. They were needed. By men who didn’t want to go slow. By countries trying to remember who they were. There’s no nostalgia in the welds. No corporate committee signed off on the curve of the fenders. It’s the opposite of modern. It’s what happens when soul matters more than software. Today, it survives not as a museum piece, but as a living thing. Camillo drives it. Maintains it. Keeps it uncomfortable, raw, honest. It doesn’t exist to be admired. It exists to be understood.

A classic Volvo 242 Turbo, reminiscent of its Group A Homologation days, with headlights on, parked on a gravel path against a backdrop of trees—a scene straight out of a Petrolicious story.

By Charles Bradley –  April 11, 2025

New Film Friday On Petrolicious: Volvo 242 Group A Homolo...

Petrolicious, the creator of quality, original films and articles for classic car enthusiasts, has released its latest video, featuring Dan Maly's Volvo 242 Group A homologation special. After a couple of years away, the Petrolicious website and YouTube Channel has been recently rebooted by duPont REGISTRY Group, and new films are now dropping every Friday. Petrolicious celebrates the inventions, the personalities, and the aesthetics that ignite a collective lust for great automotive machines, and it seeks to inform, entertain, and inspire its community of aficionados and pique the interest of those who have been missing out. Today, Petrolicious takes up Dan’s story... We name the things that matter. We’ve been naming the things that carry us for centuries. Ships were named to ensure safe passage, to give something intangible like fate a target to bless or curse. They are the first commonly recorded named objects because they were crucial to survival, commerce, and mythology. Horses were named because they were companions, often the only ones on long trails. Wagons, bicycles, locomotives, planes... if it moved and mattered, it got a name. Names give them a penchant for stories. Stories make them real. It gives them legacy. This Volvo is named Gertrude. Not because it's cute, or quirky, or "just a thing we do." It's named Gertrude because the man who built it, Dan Maly, needed to name it after someone who meant something. His grandmother. She had thirteen kids. She held the family together. She was tough, and full of grit.  " width="680"> Gertrude the car is a 1983 Volvo 242 Turbo Intercooler. One of around 500 homologation-spec cars Volvo built to satisfy FIA’s Group A requirements. Group A was FIA’s touring car formula that demanded manufacturers build road-going versions of their race cars – at least 500 of them – to compete. Volvo answered with the 242 Turbo. It looked like a box, but hit like a... brick. Backed by the Eggenberger Motorsport team, the Volvo 240 Turbo shocked the motorsport world in 1985 by winning the European Touring Car Championship outright. The car was driven by the likes of Thomas Lindström and Gianfranco Brancatelli, who consistently outpaced the BMW 635CSi and Alfa Romeo GTV6. That year, the 240 racked up six wins and multiple podiums, and clinched the title despite being up against much flashier and supposedly faster competition. It was, in every sense, the underdog. A brick with a grudge. And it left BMWs in its wake. In 1985, the motorsport press dubbed it the "car to beat." And they were right. Dan's car isn't bone stock. It's not a museum piece. It's a restomod. One he built in his garage with tools handed down from his father and his grandfather. When it came time to paint it, he kicked the Firebird out of the garage, hung plastic, and sprayed it himself. "I see the flaws in the paint," he says. "Others might see them too. That's fine. I love her because she's not perfect." Under the hood is the original B21FT block, the holy redblock. Cast iron. Overbuilt. Named for the red paint they wore from the factory. These engines are legends not because they made big power out of the box, but because they don't die when you throw a bunch of boost at them. Dan kept the block but for better head flow he gave it a new top end from a '97 940 Turbo. A 16T turbo, blue injectors, and a four-speed with overdrive keep it moving. It's hybridized, he says, "but it works." And it does. There's five years of his life in the car. And if you listen for the passion he has for the car, you can hear every single one of them in his tone. And Gertrude? It isn't just a name. It's a badge of honor. It's respect. We used to name cars more often. Back when you kept them long enough to trust them. Back when breakdowns didn't mean replacements. Back when you knew what was under the hood, not just what was due on the lease. But as cars became more disposable, more anonymous, the names went away. You don't name something you plan to flip. You name something you live with. Gertrude isn't only a car. She's a memory with a key. And she's probably going to outlast all of us. Images courtesy of Volvo Car Corporation

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