Pushkin. Hey Eddie here, before we get started, I wanted you to know that you can listen to Car Show ad free by becoming a Pushkin Plus subscriber. You'll also get access to detours, bonus episodes of Car Show, where we go for extended drives, play outtakes, and more fine Pushkin Plus on the Car Show page in Apple Podcasts, or at pushkin dot Fm. Risky Business nineteen eighty three. Tom Cruise is Joel Goodson. His dad has a Porsche
nine eight. A couple of boys in daddy's car. Joel's just backed the silver coop out of the garage and is rolling through town doing high school senior things. He's the model kid. He's hoping to get into Princeton in the fall. He has no idea how sideways it's all about to go. Fast forward to the movie's second act. Joel is sitting with his girlfriend Lana played by Rebecca de Morney, on the hood of the Porsche overlooking the lake. I'm okay. They are soon to start their own little
prostitution business. At the beginning of the scene, as Lana grabs her purse out of the nine twenty eight, she knocks the shift lever into neutral. When she gets up from the hood of the car to leave Joel, he takes off after her. Was something I said. The Porsche starts rolling down the dock toward the lake got side. Ye never has a car so perfectly embody the Hollywood storyline.
Forget the gradual, forget the fast, and the furious. Risky business director Paul Brickman could have picked a better signifier for Joe's predicament. This is a car that's all about going in way too deep, getting a way out over your skis. This is the story of the Portion nine twenty eight, an elite car with tons of promise, but one that, metaphorically speaking, fell right into the lake. I'm
Eddie Alterman, and this is Car Show. In this episode will examine how the nine twenty eight, this raging tour to force of styling, engineering and performance, failed to speak to the exact audience that should have loved it. But Portion soon to ask why we put so much performance in a luxury car, and lothers ask why we put so much luxury in a performance car. You'd think that in the eighties, a great and powerful continent cross for like the nine eight would have been an easy cell
to Porsche's polo Cologne wearing sports car clientele. It was not excellence is expected, So how did this perfect Porsche become Porsche's pariah. The biggest issue with the nine twenty eight may have been the pre existence of the Portione nine to eleven. Porsche names its projects in running order. You can tell which came first because of the model numbers. The core model coupe started as the nine oh one, but became the nine to eleven after complaints from Pouchet
the French. He said that Porsche can use the same number zero number naming convention. The point is that the nine twenty eight is a good dozen steps away from the nine to eleven, a world away. It turns out, while the nine to eleven has been scaling new heights of performance and desirability over the past forty years, nine twenty eight remained somewhat forgotten. People make fun of it. It's been labeled an eighties car, a cocaine cowboy, not
the kind of Porsche Porsche people care about. But it was a car Porsche itself had lavished extraordinary care on. At the time, it wasn't veiled. It was the only Porsche, not somehow based on a Volkswagen product. It was all new, new VI eight engine, new suspension, new layout, Hence the problem. Most people didn't really know what to make of the nine twenty eighth when it came out in the late
seventies or for a long time after that. That confusion curled into dismissal and eventually set for a while at least an antipathy why the car was groundbreaking, It was beautiful, and man was it fast? On it a nine twenty eight because it's weird mostly and it's like kind of like does doesn't he doesn't even like necessarily suit me or my personality, but just like like a weird a really weird car, really weird version of a portion of you know. This is Derek Burke. He's a Detroit musician
and works in the film business. He co owns a nine twenty eight with his brother. It's his car will be abusing for this episode, and even he is conflicted about it. It's like I always pictured like a Miami Vice type person in one of these cars, you know, like like a really eighties kind of like you know, the person that that I'm not, but you hope to
be one. Yeah. Yeah, I struggle with my personality while I'm driving it, you know, like you know, you get out at the gas pump, like, you know, like you have like identity problems. I feel like at least I do. I'm like, I like, like am I like a yeah, yeah, thank you? Yeah? Right? Like what what does it mean? Now? Does me? Now that I'm driving just a car? You kind of like it is an ostentatious German cud You
can you can pull it off? Yeah. Derek Burks nine twenty eight is an original first year car from nineteen seventy eight. Let's examine the thing that confronted customers as they walked into Porsche's showrooms. So this is the nineteen seventy eight first MABI year. So this is as pure a reflection of the concept as you're gonna get the first year as it came from the factory. And it's an amazing shape. It's really really beautiful. Yeah, it's a
it's original point original paint. Yeah. Really from this angle, it is so evocative of the nine to eleven um just the roundness of it, the the placement of the lights is sort of updated nine to eleven rear end. You know, just kind of cat cast a couple decades into the future. Um, you know, it's amazing to me that it was so rejected by the Porsche cognischend It kind of still is right because what they were going for was really an evolution of the nine to eleven look.
You know, it didn't have a front grill, and the idea was like, let's make it look like a Porsche. Roundhead lights pop up in this case, so like an evolution of the nine to eleven look, but smooth streamline hood, a rounded back. You know, from what I understand, and this might be apocryphal, Fairy Porsche, the guy in charge at the time loved the AMC Pacer. That's the the um the inspiration for the rear windows in the rear
hats from the Pacer. I heard that exactly. The Pacer, if you don't remember, it was the car in Wayne's world. It was also the car Serial Killers drove. Make of that what you will. So you have one kind of main glass panel in the back of the back light, and then these two side windows on the side, and that's like a kind of a laid down version of the Pacer. Super super cool looking. And this was so avant garde. This is so ahead of its time. I mean,
it still looks futuristic, looks futuristic. That's what's interesting about it. It looks like nothing else, you know, And that's just the exterior. The interior of the car. It looks like it came straight out of the day of a system the designers really swung for the outer reaches of the galaxy. They put a radio fader nod by the driver's doorsill and installed sun visors in the rear seat positions. And there are a couple really interesting seat options in this car.
As I recall, there was the Pasha seed inserts, which were a fabric kind of a lure insert but in an op art pattern, so it looked like a rejected Pink Floyd album cover kind of thing. Yeah, and super trippy, yeah, but not not like um even you know, like really weird, yeah, kind of stroving in and out. Yeah, Like it reminds me of the pattern you see when you rub your eyes, you know, right, it's real, real psychedelic. And it lent to this sense that this car was like kind of
reverse engineered from alien spacecraft. You know, it was like totally new and just landed like a meteor. When Porscha created the nine twenty eight, they thought they were making something akin to an evolution of the nine to eleven. They thought they were bringing the ideas, an essence of the company forward into the modern era. Porsche didn't realize it was betraying the people who loved it most. It wasn't the nine twenty eighth styling or interior that irked them.
It was the stuff under the skin that got so well under their skin. Let's start at the beginning. Porscha looms large in the hearts and minds of car enthusiasts, but it's really the ultimate father and son operation. The father, Ferdinand Porsche, designed the Volkswagen Beetle for Adolph Hitler. His son Fairy, turned that Beetle into a sports car. This became the first Porsche, the bathtub shaped three fifty six.
The three fifty six begat the nine to eleven. The latter a bit bigger, a bit more solid, a bit more refined than the three fifty six, but the fundamentals were the same. Engine hung way out back behind the rearacle. Really fun to drive, really hard to drive. Well. There's a driving style in Porsche Land called shushing, where you slide the car through a corner, ass out foot, heart on the gas, a plume of tire smoke trailing behind you. Essentially use the rear of the car to steer you
through a turn rather than the front. It's fun, it looks crazy. It takes skill and nerve and an understanding of physics, and it is the essence of driving a rear engine portion. There's a glorious, like you know, animalistic element to this thing. Here I am at the wheel of a signal Red nineteen eighty five nine to eleven convertible. It's counterintuitive. In a normal car, like a front engine, front wheel drive car, a car starts to slide, you take your feet off the gas, and everything kind of
corrects itself. In this car, you take your foot off the gas, it'll spin, go into a corner way too hot, lift off the throttle, and then all of a sudden, no traction the back because instead of keeping the loads on the rear wheels so they could have traction, you unload the rear wheels. No traction anymore, and the thing spins. So you know, it really did take balls of steel to keep your foot in it. So to speak. I own one of the early nine elevens, a nineteen seventy
one Coop. It's one of the lightest, most sensitive road cars I've ever driven, and it rewards Driverley's skill. I can't shush it every time in every corner. When I get it right, it's like the heavens part and Jacob's ladder descends. Oh my god, it's just a tear sports car. They're cooled, making all kinds of weird noises. So unrefined but super refined at the same time, sportscar drivers and
racers embraced the nine to eleven. When driven properly, it was just incredibly fast and effective relative to its par level and complexity. It hauled ass out of corners. Because it carried a majority of its mass over its rear wheels, it gave it a lot of traction under power. It was light and always seemed to punch above its weight, and so it kept evolving on the street and winning
on the track. This little odd ball was cementing itself as the quintessential sporting machine with wins on grueling international rallies like Monte Carlo. The nine eleven Turbo or nine thirty came to the States in nineteen seventy six. It was the nine to eleven in a superhero costume, a fearsome and combustible mega coup with fat fenders and a huge fluke for a tail. The turbo was even harder
to drive than the standard nine to eleven. Power delivery was all or nothing, and it gained a reputation as a dentist killer for the way it would spin off the road at the slightest provocation, like when it's unexpecting driver lifted off the throttle in a fast corner. It earned the nickname the widow Maker. The nine eleven was a car to respect. So if the nine O one was the nine to eleven and the nine thirty was the nine eleven Turbo, where does the nine twenty eight
fit in? The nine twenty eight had actually been on Porsche's drawing board since nineteen seventy one, a mere seven years after the launch of the nine to eleven and before the nine thirty. Then the US was hit with an oil embargo in nineteen seventy three. This is NBC Nightly to use Wednesday, October seventeenth, Good Evening. The Middle East War produced developments all over the world today, the oil producing countries of the Arab world decided to use
their oil as a political weapon. They will reduce oil production by the American automobile. For so long, the symbol of America's wealth and extravagance is dying. New cars and used cars stand like shining tombstones in the showrooms and parking lots of the nation's car dealers, unloved, unwanted, and unsold. All of a sudden, it did not seem prudent about the future of the small family owned company on a V eight powered sports car like the nine twenty eight,
it would have to wait. Maybe if there were no gas crises and the nine twenty eight came out in seventy four or seventy five, the nine to eleven wouldn't have had the time to endear itself so completely to the driving enthusiast. But by the nineteen seventy eight model year, the nine twenty eighth first drivers had clasped the nine to eleven tightly to their breasts. So why do the
nine twenty eight at all? Well, it was a poorly kept secret that within the company itself, the nine eleven had been marked for death for a couple of reasons. The first was ambition. Doctor Ernst Furman was the successor to Ferry Porsche as company chairman. He was an engineer and an engine's signer. He thought the nine to eleven was on its last legs. But there was also certainly
a part of him that had Mercedes envy. He wanted to build a car to compete with the absolute pinnacle of automaking, the guys who invented it all, Mercedes Benz back in nineteen seventy one. He wanted to show the world what a modern Porsche could be. Elegant, comfortable, sophisticated, real competition for the big BMW and Mercedes Benz coops. So that was one motivating factor. The other reason had to do with this here that it's the signature worrying
and churing of the air cooled nine to eleven. Isn't that a great sound? I mean, it is unmistakable. Nothing else sounds like this, man, that is a wild animal sound, or some day it sounds like nothing else, like it's straining against itself on the verge of imploding, sort of like how the rolling stones always sound like they're about to fall apart, but never do it's part of what keeps you engaged. You don't want to have the radio on. You need to be able to listen to that engine.
But it's also not exactly modern sounding. The company fear that it's noise would get regulated out of existence. In the nine to eleven, all the noisemakers were in the back. The intake manifold the chortling air cooled flat six engine the flatulent exhaust system, So when the nine to eleven drove by the automotive noise regulators microphones, it created a
big decibel spike at the of the car. Conventional cars, with their engines up front and exhaust in the back, spread that noise out across the length of the car for less of a sonic whack. But noise wasn't the only hurdle the nine to eleven was seen as ill equipped to clear. There were also safety and emissions concerns. Porsche figured that any replacement for the nine to eleven would have to be future proofed against all this change, and then a more conventional layout would be a better
basis for development. There were safety in numbers, A quiet, liquid cooled engine in front like a more traditional sports car with room for more mufflers and catalysts in the back, better weight distribution front to rear thanks to a rear mounted transmission, a thoroughly modern sports car, a showcase of Porsche's engineering prowess. Perhaps most important both to the engineering aspirations of Porsche and to nine twenty eighth rejection by
traditional Porsia owners was the newly designed rear axle. Seems like a small change, but it had huge implications for the car and for the argument I'm trying to make here. It was known as the weissok axel. It stabilized the rear of the car by towing in the rear wheels like a pigeon, and within nine twenty eighth there was far more balanced mass wise front to rear. That meant
no more easy shushing. Porsche engineers thought this was a gigantic step forward, making the car far more stable in all conditions and thus more drivable for a wider group of people. But to the Porsche faithful it was a fun killer. Our friend Derek Burke is not one of the faithful, apparently. Yeah, people don't want to change what they love. Yeah, because there is like they had built up this skill and this proficiency in driving the nine to eleven, and this thing was so easy to drive.
They're like, what's the point, right, the car doesn't push back? You know the designer Raymond Loewy. Right, if you've seen air Force one, the aircraft, not the Harrison Forn movie, you know his work. Lowie was America's foremost industrial designer and an age when design was just starting to matter. He redesigned the coke bottle, He did the Lucky Strike cigarette pack. He even designed studebakers. Lowie expressed his core designed philosophy as the acronym MAYA m A y a
most advanced yet acceptable. The idea was that for a new design to succeed, there needed to be something familiar about it, something that linked it to the past. The logo he drew for x On, for example, was built off the cross. It looks like the cross of the Knights Templar. Look at the two xes in it. Some time we could do a whole episode on Raymond Loewie, but I bring him up here briefly because in the case of the nine twenty eight, his otherwise successful MAYA
philosophy didn't quite apply. You have to understand Porsche's value is experimentation. Because it is so closely associated with one car, the nine to eleven, many people think that it's a risk averse operation. One visit to the company's museum in the Zuffenhausen district of Stuttgart, Germany will dispel that notion. They are arrayed on the floors and pinned to the walls like exotic butterflies. Is Porsche's riot of ideas. Four door nine elevens, the nine seventeen racing cars with their
pressurized two frames and mechanical guts hanging out. Crazy concepts such as the froggy and toy like Panamericana, green and White German police nine elevens, the wild and the wacky abound. In this context, the nine twenty eight seems gently progressive, and to Porsche it was, even though it was the first Porsche designed entirely from scratch, with aluminum bodywork and
an all NUVI eight. The company intended for it to be Maya in the extreme, most advanced yet acceptable but loyal Porsche buyers, the very targets for the nine twenty eight saw a betrayal under the car's curves. It's just different. It's smoother, it's so much more refined sounding. It doesn't have that weird mechanical kind of coarseness that the nine to eleven has. But you kind of love about the nine to eleven. This is just yeah, it's like the
best German corvette that's ever been right. Yeah, it's like a weird German muscle car. Yeah, totally. It feels like it wants to go in a straight line really fast and not really turn with the kind of precision like when you're coming out of a corner here. It doesn't have that kind of snapback, added Tode that the nine to eleven is where a nine to eleven you come out of a corner and it's like a great smallow skier. The transitional behavior is like the thing writes itself immediately
and sets you up for the next turn. This car is a lot lazier feeling. It's like, yeah, I'll get to it when I get to it, right. I feel like I could drive across the country in it, like on the highway though that that like, I think that's what it was for. Very different than the nine to eleven. Everything is has like that that little layer of insulation. It's much more of a luxury car, much more of
a GT. It feels much heavier in the hand. As they say, it's a vastly different driving experience than the nine to eleven. The nine to eleven is real, kind of direct and percussive and like always on, whereas this thing, it's like you can kind of drive it with a pinky, you know, you know what the front wheels are always doing, you know what the chassis's doing. It gives you a lot of information. But it does have that kind of creaminess that the nine to eleven doesn't have. But this
is more stable. This has killed fewer dentists. Well, the dentists always come. I don't know, I don't know, but there's something about the kind of people who are attracted to nine to elevens technically minded, who work with their hands at a very high level, you know, like a dentist, like an architect. Tom Wolfe talks about that in From bau House to Our House, that architects always wanted to have the nine to eleven. The nine to eleven embodies like a real philosophy of how to build a car,
and it's totally different than anything else. And I think one of the reasons This wasn't as embraced is because it was a more commodified vision. You know, it was one that was built to conform to regulations and built to conform to you know, the kind of style of other cars. It seemed like a threat to a belief system in a way. The faithful didn't want to see Porsche turn into just another car company. They to understand
kind of the the weirdness of the American customer. The American Porsche guy was buying that car out of a kind of iconoclasm because he didn't want to be lumped in with the Corvette guys or the Triumph guys of the MG guys. The Porsche was different, and it said something different about you. It said that you were maybe a more skilled driver, or that you had some connection to the racing heritage of the brand, and that you were one of those hairy armed heroes of motorsport. But
just you know, your day job was a dentist. Nine twenty job was to supplant the nine to eleven to be so captivating and cool as to wipe it from memory. It did not do that. It couldn't. The nine eleven had a kind of destiny to persist after the break, we'll hear about the governor's pardon that extended the nine to eleven's life. I'm Eddie Alterman, and this is Car Show. In nineteen eighty one, the nine to eleven got a
miraculous green mile reprieve. Porsche brought in a new CEO, a German American named Peter Schutz, whose parents fled the Third Rife and settled in Chicago. Schutz was an engineer and an industrialist. He had stints at Caterpillar and Cummins Diesel under his belt. When he got to Porsche, the nine eleven was just getting strapped into the electric chair. He noticed how glum everyone at the company seemed more
than just the usual Teutonic stoic gloominess. Porsche's employees were visibly upset that the company was going to cancel the nine to eleven. So Shutz heads down to a meeting with Porsche's chief engineer at the time, how Bot. Schutz notices that Bot has one of those big charts on his office wall, with the lifespans and development cycles of all Porsche products stretching out into the future. The line for the nine to eleven stops dead in nineteen eighty one.
So Schotz goes over to the chart, picks up a marker, and extends the nine elevens line off the paper, onto the wall and out the door of Bot's office. In twenty thirteen, Shoultz wrote this for Road and Track. While the nine to eleven could be temperamental at times, at least it had character. That's what people loved most about it. You had to remain vigilant with your inputs. But for those who could, those of training with skill who could catch it in a slide and bring it back into line,
the nine to eleven was king. It was the only car worth driving because it was the only car that would push back in its way. Eight only cemented the nine eleven as the Porsche icon, but why? In many ways, the nine twenty eight was the natural logical progression from the nine to eleven, much more sophisticated, highly capable, and easier to drive, building certify real competition for Mercedes, Benz
and BMW. It was future proofed yet familiar. No front grill just like the nine eleven, arounded rump just like the nine to eleven, and comfortable like the nine to eleven On the face of it. The nine twenty eight, hued closely to Lois maya maxim should have been a layup.
Many people blame the nine twenty eighth price of twenty eight thousand, five hundred dollars or over one hundred and twenty thousand dollars today for the chilly reception it received, But the nine twenty eight was launched on the cusp of the eighties to the me generation, to yuppies. That audience was all about big ticket statements like the nine twenty eight. And besides, sports cars are Vevlan items, status
and bols. The higher the price, the more highly they're prized. No, it was something deeper about the relationship between Porsche coops new and old. Back to that bright red eighty five nine eleven I was driving earlier in the episode. This is a lot more raw, and so you can see how the person who is used to this car, you know in the eighties, who loved the feeling of that engine behind them, loved the sound of the engine behind them, love the fact that they needed to know how to
drive it. You can see how they get in and be like, if I wanted to Corvette, I'd buy a Corvette. You know, there's no personality that car doesn't push back. You know, it's too good. The nine eleven was so appealing because it was such a handful. It was small, it was noisy, and it would bite. It took skill to drive well, and everyone knew it. You elicited respect from other drivers. You are a local version of those d dragon slayers who drove nine to elevens on racetracks
around the world. The superior handling and performance of the nine twenty eight was a disadvantage in many Porsche file's eyes. The nine twenty eight was Tana Ta NA two advanced, not acceptable, too stable, too comfortable, too conformists. So it's ironic that the nine twenty eight was the non conforming model at Porsche for the entirety of its run. Even if it sold decently for a while and ran for a long eighteen years, nine twenty eight was always misunderstood
by drivers and by the media. It was mixed. It was mixed. You know how the media sometimes can be, you know, they look down on new things that no oh, of course, every once in a a while. Tom McDonald was the head of public relations for Audi, VW and Porsche when the nine twenty eight was released in nineteen seventy eight. He was there for the car's first media drive. It was a mixed reaction because you had some media who
were biased towards racles rear engine cars. But I mean the nine twenty eight was such a unique It wasn't an evolutionary car. It was a revolutionary car. And they had interesting characters around it. Again, a guy like Tony Lapine. I think he someone asked him, why are the headlights the pop up headlights? Why aren't they covered? And he says, because we want to look up to the sky to God. I mean, so it was always pedal to the metal for a lot of the media guys, and it was
all about the numbers. Ken Porsche pull it off and it's this the way that Porsche's gonna go forward now, I tell you. There was also a little bit of a pushback from the Porsche Club. Tom's talking about the PCA, the Porsche Club of America. PCA members are Porsche's greatest allies and they can also be their greatest nemesis. And I used to liaise with the Porsche Club. That was part of my job as to hold hands to the
Porsche Club and we had issues. I had issues going back to nineteen seventy when the nine fourteen came whether or not that was a real Porsche and was that going to be accepted by the Porsche files as a real Porsche. And then when the Porsche nine twenty four came out, we had the same you know, pushed back by some people. But they had spent a lot of time getting to know the nine to eleven, learning how to drive it. They took pride in being able to
handle that car. I have a very interesting little piece of paper that I keep right here, and it's a quote. It says a Porsche owner is not necessarily a Porsche driver. Think about it. Pia really made Porsche in this country. I mean going back way before my time, back in the in the fifties and sixties. They were the backbone, if you will, of the Porsche enthusiast. Today, they are still i'd say influential. I mean, Porsche really reaches out to them making sure that they were on board with
new products. So are they are Porsche people on board with the vehicle's Porsche is making now or are its owners still fixated on the nine to eleven. Well, it's complicated. The nine to eleven is still the white hot center of the Porsche universe, with a staggering twenty four variants, everything from the basic rear wild drive coupe to the
bewinged track gobbling GT three. But encircling the icon is a vast array of vehicles that, at first glance seemed just as offensive to the core nine eleven person as the nine twenty eight was the mccan Mini suv, the heavy hatchbacked Panamera Sedan, the Panamera Wagon, the Cayenne Suv, the Tychon electric vehicle. Only the seven eighteen Boxer and Cayman sports cars seemed to hew closely to the nine
to eleven in concept. The Cayenne started this Cambrian explosion of models twenty five years after the nine twenty eight, so let's use that as our example. The Cayenne was the first five door, five passenger Porsche, a high riding front engine, all wheel drive beast. It was heavy, but it was faster and better to drive than the SUVs
of the day. There was some Porsche fire in it, and it was hilariously overbuilt for the carpool lane, surprisingly good on the racetrack, and very competent off row, truly flexible in spirit, much like the original nine to eleven. It referenced to nine to eleven shape in its headlights and its hood, and it channeled a tiny hint of the spirit of those special nine elevens, the nine five threes and nine five nins that raced in such gruing
off road trials as the Peris Dakar Rally. To many, it looked like complete heresy, a misunderstood nine twenty eight by another name, But people bottom lots of them. Perhaps because more people in two thousand and three had more money and more access to money than ever it allowed non traditional, a typical Porsche buyers to enter the fold.
Or perhaps because people wanted an suv so they could see eye to eye with all the other SUVs on the road, or perhaps because many of the Porsche faithful wanted that suv to be a Porsche, not a BMW or Mercedes Benz, and on and on. But here's what I think. The real reason the nine twenty eight failed where the Chayenne didn't is this nine eight was created
to kill the nine to eleven. The Chyenne came along to exalt it, to make its essence more widely accessible to take some of the Porsche vibe to the somnambulent suv category, whereas the nine twenty eight was an existential
threat the Porsche of faithful. Those iconoclasts who wanted their engine in the back and their rear end sliding resented the nine twenty eight for its maturity, for its price, and for its non portionists, whatever that meant at the time, whereas these same people, no doubt tenderized a bit by the nine twenty eight, embraced the Cayenne because it's celebrated the nine to eleven. Honor your heroes, don't try to replace them. You didn't think I forgot about Joel Goodson,
did you? His redemption came at the end of risky business. Do you have something to tell me? No, I don't think so. I just got off the telephone with Bill Rutherford. Apparently you two had quite a meeting. Princeton can use a guy like Joel. What Princeton can use a guy like Joel? His exact words, it's unbelievable. You're as good as in. Redemption is also coming slowly to the nine
twenty eight. Collectible prices are up, haters are down. And if you look at most high end sports cars now, they're much closer in spirit to the nine twenty eight than the nine to eleven. Very refined and easy to drive every day, capable of long cross continent stints. Grand tours are the order of the day now. Aston Martin's Mercedes SLS and even some Ferraris owe a debt to
the nine twenty eight. Hell, some even suggest that the current nine to eleven is so grown up that it's really now just a nine twenty eight with its engine in the back. It's the hero's journey, the mono myth, and I appreciate that, but I'm still an old nine to eleven. Guy Welle is really special and it was so ahead of its time that it's really where a lot of sports cars went. And that's great, you know, and it really did advance the species. But man, give
me one of these every day of the week. Car Show is written and hosted by me Eddie Alterman. It's produced by Sam Dingman, Jacob Smith and Amy Gaines. Our editor is Jen Guera. Original music and mastering by Ben Taliday. Our executive producer is Mia Loebell. Our show art was designed by Sean Karney and Airbrushed by Greg with Fever. Our patron saints are Lee, Tom Mallad and Justine Lane, and thank you to Derek Burke for the abuse of your Car. Car Show is a production of Pushkin Industries.
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