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(showing articles 401 to 420 of 687)
- 01/11/14--09:00: _Stacy Peralta rippi...
- 01/11/14--11:00: _Scooter grass track
- 01/12/14--09:00: _350cc Dutch TT
- 01/12/14--11:00: _The Green Hornet's ...
- 01/13/14--09:00: _Canyon Urban Cocept...
- 01/13/14--11:00: _Bathurst 1978 Tony ...
- 01/14/14--09:00: _1953 Porsche 356 SL...
- 01/14/14--11:00: _Germany GP start
- 01/15/14--09:00: _de Havilland Vampire
- 01/15/14--11:00: _Eddie Lawson 89
- 01/16/14--09:00: _Rockstars' Garage: ...
- 01/16/14--11:00: _Neill Kelly aboard ...
- 01/17/14--09:00: _Cagiva Ala Azzurra ...
- 01/17/14--11:00: _Noel Manning aboard...
- 01/18/14--09:00: _Topper Headon, The ...
- 01/18/14--11:00: _Vélodrome d'Hiver, ...
- 01/19/14--09:00: _Montesa Team at Mon...
- 01/19/14--11:00: _Peugeot 205 T-16 Pa...
- 01/20/14--09:00: _DeLorean Bike
- 01/20/14--11:00: _Mike "The Bike" Hai...
(showing articles 401 to 420 of 687)
- 01/11/14--09:00: Stacy Peralta ripping at Coldwater Canyon Pool 1977
- 01/11/14--11:00: Scooter grass track
- 01/12/14--09:00: 350cc Dutch TT
- 01/12/14--11:00: The Green Hornet's Black Beauty by Dean Jeffries
- 01/13/14--09:00: Canyon Urban Cocept Bike
- 01/14/14--09:00: 1953 Porsche 356 SL Le Mans
- 01/14/14--11:00: Germany GP start
- 01/15/14--09:00: de Havilland Vampire
- 01/15/14--11:00: Eddie Lawson 89
- 01/16/14--09:00: Rockstars' Garage: Elvis Presley's 1956 Harley Davidson KH
- 01/17/14--09:00: Cagiva Ala Azzurra Custom by Venier Customs
- 01/17/14--11:00: Noel Manning aboard his Hillman Imp engined outfit 1967
- 01/18/14--09:00: Topper Headon, The Human Drum Machine
- 01/18/14--11:00: Vélodrome d'Hiver, 1909
- 01/19/14--09:00: Montesa Team at Montjuic 24 Horas 1959
- 01/19/14--11:00: Peugeot 205 T-16 Paris Dakar
- 01/20/14--09:00: DeLorean Bike
- 01/20/14--11:00: Mike "The Bike" Hailwood 1966 Isle of Man TT Honda 125cc
A derby-and-mask shod Seth Rogen and a mask-wearing Jay Chou owned the weekend box office reprising roles that were originally created in 1936: The Green Hornet and Kato, a superhero and his martial-arts-maven sidekick that began as a radio show in the 1930s. If the trailers are to be believed, this is the first superhero film in which the sidekick is more badass than his boss. It actually makes sense, though, because the first actor to play the role of Kato onscreen was none other than Bruce Lee in his first big American role. But what is perhaps most important about our current duo is the wheeled fiend they'll be driving: a Chrylser Imperial called Black Beauty. A supercar long before there were Murcielagos and Veyrons, Black Beauty is so significant to the story that it gets just as much time and space as the superhumans in the trailers and on the billboards.
For The Green Hornet television show of 1966 and 1967, with Van Williams as the stinger leading Bruce Lee, two Black Beauties were built by star Hollywood carmaker Dean Jeffries, both based on 1966 Imperials. The first of those cars, the driving car, has disappeared into the void that we assume also contains Amelia Earheart and the aliens who made crop circles. But the second car, the hero car with all the gadgets – that still work, mind you – that one is parked in The Petersen Museum in Los Angeles. And because Autoblog enjoys doing its homework before going to see a film, we went to see it.
From The Shirley Bassey Files, this being "just little bits of history repeating," 40 years ago there was a huge interest in superheroes. Batman's popularity on ABC in the 1960s kicked it all off (this following the monumentally popular Superman series from the 1950s), and the show known for its BIFF! and KABOOM! fight scene cuts led to shows you've probably never heard of, like Mr. Terrific and Captain Nice. But it also spurred 20th Century Fox Television to create The Green Hornet, which meant they needed to create Black Beauty.
Dean Jeffries was given the job and 30 days to get it done. The series had just two Imperials (whereas the modern-day movie had 29), and because the studio didn't want to spend a fortune recreating effects, the hero car had to be able to do all of them. The whereabouts of the #1 car is another rendezvous with oblivion, the story of the #2 car is another tale of Hollywood props: after the show was canceled just two seasons in, the car was left to rot on the 20th Century Fox backlot, then an anonymous woman in Beverly Hills bought it – no one knows how or why – and it rotted on her estate, then a Southern California man bought it, gave it back to Dean Jeffries in 1993 to restore, and left the restored car on Dean Jeffries lot, and finally it was bought by the Petersen.
"It" is an Imperial with a 440-cubic-inch V8 turning out 350 horsepower and 480 pound-feet of torque running through a three-speed automatic. There were 13,752 such sedans made by Chrysler, and this one got to live a more fruitful life than any other. Believe it or not, just four purely cosmetic changes were made to the exterior of the car: the greenhouse sail panel was extended 14 inches to make the sedan look more like a limo, the door handles were replaced with electric switches, the rear lights were redesigned to run up the trunk, and the gas tank filler flap was moved to a spot on the back deck ahead of the trunk, since the original spot in the center of the rear valance was taken by a gun.
Every other tweak was done to serve the show, down to The Green Hornet center caps in the Keystone alloys. In front, the grille is noted for a gun barrel that emits non-lethal Green Hornet gas. It's flanked by rocket launchers down below and, barely visible next to the launchers, there are retractable rams meant to hold the car upside down on the underside of the rotating floor in The Green Hornet's garage. Up above, the headlights rotate from a regular pair to a green pair, which provides Kato his night-time 'infra-green' vision. Kato would use a green plastic panel that flipped down from the sun visor in conjunction with the lights.
The sides are the barren black lengths they appear to be, which only emphasizes the fact that the car is as long as a Tolstoy novel, a whisper under 19 feet in length. It's also lowdown – the Imperial lords itself so close to the ground, the impression it gives is that if you replaced the fat sidewalls with some low profile rubber you'd have trouble getting over a speedbump. And when you're a filthy rich badass in a black limo, that's probably the way it should be.
The devices return in back: There's a homing and tracking scanner that emerges from the trunklid, another gun barrel in the rear valance that emits grease, smoke and oil, and rotating rear license plates flanked by more rocket launchers. To cover his tracks – literally – The Green Hornet has brooms that would descend behind the rear wheels... as if no one would notice...
Inside, the front of the cabin has the look of a regular '66 Imperial. Well, aside from the plaque in front of the passenger seat attesting to this being the Black Beauty that worked in every episode of the series. But open the glove compartment and a double-length panel opens up that hides the glove compartment on the right and The Green Hornet's phone on the left, in the center of the dash. Beneath that, in place of the gargantuan ashtray is a scanner for the tracking system in the trunk. The sun visor hides the green visor for Kato's infra-green, and the steering wheel center cap clearly identifies the owner of the car.
It is in back where props meet reality. There is barely any room in the back seat because a cabinet of switches and props juts out of the back of the front bench. For effects, there are two scanners contained in the cabinet (The Green Hornet loved his green screens, apparently), there are compartments in the C pillars that hide guns, and there are flaps astride the rear window that open so he could shoot at baddies behind. Lower the center armrest and you'll find one of the oddest superhero accoutrement in one of the oddest places: a drafting set, complete with protractor and compass.
What really sponges up space is Mission Control: a deep panel of buttons, toggles and switches that emerges from another panel in the cabinet, and another two-rows-deep set of controllers in the passenger-side armrest. The dedicated battery and hydraulic pumps didn't help the legroom either. In fact, there isn't any legroom. But this is where the props were actually controlled, by men we imagine who were either sitting cross-legged... or amputees.
In spite of Bruce and Beauty, and verisimilitude, the show didn't do well enough to last beyond its 29 episodes (the last two episodes were movies that team Hornet up with Batman). Have a look at the high-res gallery for photos and descriptions of The Green Hornet's tricks and tools, and if you want to see them up close just head to The Petersen Museum – the Black Beauty is in the Hollywood Gallery in the permanent collection, in front of Michael Keaton's Batmobile and across from a wounded-in-action General Lee. We haven't seen the Rogen/Cho effort yet so judgment will be forthcoming, but based on Jeffries work, the good old days of superheroes look pretty freakin' cool.
"Eurobike came to a close over the weekend in Friedrichshafen, Germany, and I have seen a few interesting concept bike designs from the show. One of my favorites is by German brand Canyon, well known for their race oriented roads bikes and the red dot award winning Speedmax time trial machine. The concept bike that Canyon debuted last week is not geared exclusively toward the racing crowd though. Instead, it is a 2 speed belt drive urban bike with features such as integrated lights, an integrated locking system, mudguards, non slip flat pedals, hydraulic disc brakes, a removable shopping basket, and much more. This is definitely an urban bike with a sporty side though. They point out that “the central challenge was to transfer characteristics such as competitiveness, great design and functionality so typical of the Canyon brand to an urban product range.”
Integrated front and rear LED lights are a detail that we are seeing more and more often on transportation focused bike concepts. In this case, I like the way that the front light is an extension of the stem/handlebar assembly, which in turn is nicely integrated into the shape of the frame (similar to a LOOK 675 or similar frame design). The rear lights are found in the seatpost clamp, and according to Canyon, power to both is supplied by a “plugless SON hub dynamo, which transfers power via the fork drop-outs.”
The click-in removable front basket is another nice feature. It looks good on the bike, and when removed can be used as a shopping basket, complete with a handle, as shown in the illustration below. If this bike were to become a real product, I would imagine that different sized accessory baskets and platforms could be offered to mate with the frame.
A big part of this concept bike is the anti-theft device, which is more than just a lock. Though a locking mechanism is built into the frame at the seat tube junction, the full solution is based on an infrastructure based concept (Canyon notes that this concept is “all about sounding out possibilities and ideas with the involvement of local councils and communities.”). In order for the locking system to work, chains or cables would need to be part of the urban infrastructure. They envision that “local councils can provide locking systems on road signs and lamp posts, businesses and restaurants can provide further bike stands for their customers, employers for their employees and every individual at home for his bike.”
Beyond the lock idea, there is a QR code on the frame that allows for online registration and identification. Unless the QR pattern is removed, it can be easily checked with a Smartphone so that a prospective buyer could determine if the bike is stolen. There are not many details on that system at this point, but it seems like a good starting point for a registration system at least…somewhat similar to Cyclingboom and other like systems. In the event that the locking and online registration systems both fail, Canyon would offer a reduced replacement price for unrecoverable stolen bikes.
Now that the initial presentation at Eurobike is over, Canyon wants to “share and discuss the concept with as many people as possible.” Leave a comment, and let let them know what you think of the design… and the idea of linking it to new infrastructure projects in local communities."
"When Porsche entered the 24 Hours of Le Mans race for the first time in 1951, it modified two of the last 11 aluminium-bodied pre-356 cars that had been built by Tatra in Vienna. The bodies had been languishing in storage in Salzburg and it turned out to be a serendipitous decision, as they were lighter and stronger than the steel shells that replaced them. The first cars to carry the company’s name on the nose, they were called the 356 SL (Super Light) and proved fiercely competitive in their class wherever they competed. In fact, seven of the last 11 cars still survive, along with a number of other aluminium-bodied SL conversions. Three cars are known to have been written off, and one of the two SLs that competed in the 1953 La Carrera Panamericana completely disappeared thereafter.
Two cars were sent to the 1951 Le Mans race, but Rudolph Sauerwein crashed #47 in the rainy practice, leaving only French drivers August Veuillet and Edmond Mouche in #46. They finished 20th and won the 751 cc–1,100 cc class. Three SLs returned to Le Mans in 1952, with Veuillet/Mouch finishing 11th–again, winning their class. Two SLs were entered in 1953 as well. By that time, however, the factory was concentrating on the Porsche 550 model.
The SLs represented an auspicious start for Porsche’s competition record, and this recreation was constructed from the ground up, with painstaking thoroughness and new parts by a respected German restoration company in 2006 and 2007. Based on a 1953 steel body, this Porsche is powered by a 100 bhp, 1,600 cc engine, with dual Weber carburettors. It is finished in matte silver and features aluminium wheel arch covers and louvers on the side windows and engine cover. It has a correct “banjo” steering wheel, GT seats, as were used in the Speedsters, and a grey/blue leather interior. The electrical system has been upgraded to 12 volts and the larger 60 mm Carrera brakes have been fitted. The car carries a sports exhaust, auxiliary lights and an oil cooler, and comes complete with German registration, TUV paperwork and ownership documents."
"The de Havilland DH.100 Vampire was a British jet fighter commissioned by the Royal Air Force during the Second World War. Following the Gloster Meteor, it was the second jet fighter to enter service with the RAF. Although it arrived too late to see combat during the war, the Vampire served with front line RAF squadrons until 1953 and continued in use as a trainer until 1966, although generally the RAF relegated the Vampire to advanced training roles in the mid-1950s and the type was generally out of RAF service by the end of the decade. The Vampire also served with many air forces worldwide, setting aviation firsts and records.
Almost 3,300 Vampires were built, a quarter of them under licence in other countries. The Vampire design was also developed into the de Havilland Venom fighter-bomber as well as naval Sea Vampire variants.
The Vampire was considered to be a largely experimental design due to its unorthodox arrangement and the use of a single engine, unlike the Gloster Meteor which was already specified for production. The low power output of early British jet engines meant that only twin-engine aircraft designs were considered practical; but as more powerful engines were developed, particularly Frank Halford's H.1 (later known as the Goblin), a single-engined jet fighter became more viable. De Havilland were approached to produce an airframe for the H.1, and their first design, the DH.99, was an all-metal, twin-boom, tricycle undercarriage aircraft armed with four cannon. The use of a twin boom kept the jet pipe short which avoided the power loss of a long pipe that would have been needed in a conventional fuselage. The DH.99 was modified to a mixed wood and metal construction in light of Ministry of Aircraft Production recommendations, and the design was renumbered to DH.100 by November 1941.
Originally named the "Spider Crab," the aircraft was entirely a de Havilland project, exploiting the company's extensive experience in building with moulded plywood for aircraft construction. Many of the basic design features were first used in their Mosquito fast bomber. It had conventional straight mid-wings and a single jet engine placed in an egg-shaped, aluminium-skinned fuselage, exhausting in a straight line.
Geoffrey de Havilland Jr, the de Havilland chief test pilot and son of the company's founder, test flew prototype Serial number LZ548/Gon its maiden flight on 20 September 1943 from Hatfield.The flight took place only six months after the Meteor's maiden flight. The first Vampire flight had been delayed due to the need to send the only available engine fit for flight to America to replace one destroyed in ground engine runs in Lockheed's prototype XP-80. The production Vampire Mk I did not fly until April 1945, with most being built by English Electric Aircraft at their Preston, Lancashire factories due to the pressures on de Havilland's production facilities, which were busy with other types. Although eagerly taken into service by the RAF, it was still being developed at war's end, and never saw combat in the Second World War.
The Vampire was first powered by a Halford H1 (later called the "Goblin") producing 2,100 lbf (9.3 kN) of thrust, designed by Frank B Halford and built by de Havilland. The engine was a centrifugal-flow type, a design soon superseded post-war by the slimmer axial-flow units. Initially, the Goblin gave the aircraft a disappointingly limited range. This was a common problem with all the early jets, and later marks were distinguished by greatly increased fuel capacities. As designs improved the engine was often upgraded. Later Mk Is used the Goblin II; the F.3 onwards used the Goblin III. Certain marks were test-beds for the Rolls-Royce Nene, leading to the FB30 and 31 variants built in Australia. An unusual characteristic of the low positioning of the engine meant that a Vampire could not remain on idle for longer than a certain time because the heat from the jet exhaust would melt the tarmac on which it stood.
De Havilland initiated a private venture night fighter, the DH.113 intended for export, fitting a two seat cockpit closely based on that of the Mosquito night fighter, and a lengthened nose accommodating AI Mk X radar. An order to supply the Egyptian Air Force was received, but this was blocked by the British government as part of a general ban on supplying arms to Egypt. Instead the RAF took over the order and put them into service as an interim between the retirement of the de Havilland Mosquito night fighter and the full introduction of the Meteor night fighter.Removal of the radar from the night fighter and fitting of dual controls gave a jet trainer, the DH.115 Vampirewhich entered British service as the Vampire T.11. This was built in large numbers, both for the RAF and for export.
A total of 3,268 Vampires were built in 15 versions, including a twin-seat night fighter, trainer and a carrier-based aircraft designated Sea Vampire.
The Vampire was used by some 31 air forces. Germany, the Netherlands, Spain and the U.S. were the only major Western powers not to use the aircraft type.
In 1947 Wing Commander Maurice Smith, then-Editor of Flight magazine, stated upon piloting his first jet-powered aircraft, a Vampire Mk III; "Piloting a jet aircraft has confirmed one opinion I had formed after flying as a passenger in the Lancastrian jet test beds, that few, if any, having flown in a jet-propelled transport, will wish to revert to the noise, vibration and attendant fatigue of an airscrew-propelled piston-engined aircraft".
On 8 June 1946, the Vampire was introduced to the British public when Fighter Command's 247 Squadron was given the honour of leading the flypast over London at the Victory Day Celebrations.
The Vampire was a versatile aircraft, setting many aviation firsts and records, being the first RAF fighter with a top speed exceeding 500 mph (800 km/h). On 3 December 1945, a Sea Vampire piloted by Captain Eric "Winkle" Brown became the first pure-jet aircraft to land on and take off from an aircraft carrier.
Vampires were used in trials from 1947 to 1955 to develop undercarriage-less fighters that could operate from flexible rubber decks on aircraft carriers, which would allow the weight and complication of an undercarriage to be eliminated.Despite demonstrating that the technique was practicable, with many landings being made with undercarriage retracted on flexible decks both at RAE Farnborough and on board the carrier HMS Warrior, the proposal was not taken further. On 23 March 1948, John Cunningham, flying a modified Mk I with extended wing tips and powered by a de Havilland Ghost engine, set a new world altitude record of 59,446 ft (18,119 m).
On 14 July 1948, six Vampire F.3s of No. 54 Squadron RAF became the first jet aircraft to fly across the Atlantic Ocean when they arrived in Goose Bay, Labrador. They went via Stornoway in the Outer Hebrides of Scotland, Keflavik in Iceland and Bluie West 1, Greenland. From Goose Bay airfield they went on to Montreal (c. 3,000 mi/4,830 km) to start the RAF’s annual goodwill tour of Canada and the US where they gave formation aerobatic displays.
At the same time, USAF Colonel David C. Schilling led a group of F-80 Shooting Stars flying to Fürstenfeldbruck Air Base in Germany to relieve a unit based there. There were conflicting reports later regarding competition between the RAF and USAF to be the first to fly the Atlantic. One report said the USAF squadron delayed completion of its movement to allow the Vampires to be "the first jets across the Atlantic".Another said that the Vampire pilots celebrated “winning the race against the rival F-80s."
"Elvis Presley wasn’t renowned for his good taste, and the motorcycles displayed at Graceland do nothing to refute this reputation. “Tacky” best describes the small collection of flaked-out choppers, garbage-wagon Harley dressers and fiberglass-bodied, VW-powered trikes that look like taxicabs from Planet Barbiturate, where The King resided for most of the ’70s. This wasn’t always the case, however. Six-hundred miles north of Memphis, at Milwaukee’s Harley-Davidson Museum, there’s an ex-Elvis motorcycle that’s as simple and timeless as the stripped-down R&B music that made Presley a rock-‘n’-roll pioneer.
The Pepper Red 1956 Harley-Davidson KH was not Elvis’s first motorcycle, as many believe. That was a Harley Model 165, a larger-displacement successor to the 125cc Hummer, purchased in ’55 with the proceeds from Presley’s first Sun Records contract. In early ’56, with both his riding skills and bank balance improving, he upgraded to the full-sized KH. That year’s model, powered by the 883cc Flathead engine, was the last K-bike built, as it was superseded by the OHV Ironhead Sportster in ’57.
Presley, just 21 at the time, was still a relatively unknown regional artist when he purchased this motorcycle on January 14, 1956, from Tommy Taylor at Memphis Harley-Davidson. He paid $903 after trading his Model 165, and financed the amount with a monthly payment of $47. This purchase marked another career milestone: the move from Sam Phillips’ Sun Records to major label RCA Victor. Just four days earlier Elvis had recorded his first RCA Victor song, “Heartbreak Hotel,” which went on to become the best-selling single and the basis for the first million-selling, number-one pop record, the eponymous Elvis Presley. Certainly, he had reason to celebrate!
Presley selected the two-tone “Deluxe” KH, with the optional windshield and “buddy” seat so he could give pretty girls rides. It’s the bike Presley posed with on the cover of the May ’56 issue of Harley-Davidson’s The Enthusiast magazine, for a feature story titled “Who Is Elvis Presley?” It’s also the motorcycle depicted on the cover of Presley’s Return of the Rocker compilation album.
Elvis rode the KH until November of ’56, when he moved up to a ’57 Harley-Davidson FLH. He then sold the KH to his riding buddy Fleming Horne, who eventually sold the bike—along with complete documentation including the bill of sale, registration paperwork and insurance documents, all signed by Presley—to Harley-Davidson in ’95. It has been the centerpiece of the Harley-Davidson Museum’s Pop Culture exhibit since that facility opened in ’08."
"This Italian custom bull has been raised and hand crafted by Venier Customs. This custom Cagiva Ala Azzurra aka Sputafuoco (spitfire) is an excellent example of a radical transformation of an Italian classic. When I looked at the picture of the bike I was a bit confused about the brand. You see the engine of this bike has a Ducati stamp on it but it’s called Cagiva Ala Azzurra. To clear the confusion lets get some flashbacks from history.
“In 1978 Cagiva sourced four stroke Ducati V-twin engines ranging from 350 cc to 1000 cc. Later in 1985 Cagiva bought Ducati but decided to keep Ducati’s name due to it’s iconic global presence. Cagiva motorcycles were known for their good balance between style, technique and price.”
Back to Venier Customs Cagiva Ala Azzurra. According to Stefano “ This Cagiva Ala Azzurra was my very first design even before the Diabola and because I was still interested in it I decided to make it happen. A little tired of the usual cafe racer and special bikes that are becoming all the same, made with the exact same process I wanted to try something a little different, and I actually like the bike that came out.
The biggest challenge with this build was to make sure the bike would came out elegant and aggressive at the same time, designing something that was not the usual skinny seat, pipe wrap and fat tires”.
The Venier Customs build is an interesting infusion of a 1984 Cagiva Ala Azzurra and a Ducati Pantah TL. The stock 350 Cagiva Ala Azzurra engine features a custom exhaust and sits on a Ducati frame. The fuel tank and the sides are from a Ducati Pantah TL. At the front this bike features a headlight from a Moto Guzzi Stornello, which is fitted with hand-fabricated brackets. The vintage bars are from a Benelli 354 with superbike grips and original throttle. The front suspension is from Marzocchi while the rear is from Bitubo. The seat was upholstered in house with an Italian flag on it. The wheels are stock wrapped in a pair of Dunlop tires."
More on: http://www.venier-customs.com
In the wake of the Drivers' and Manufacturers' World Rally Championship titles secured by Peugeot with the 205 Turbo 16 in 1985 and 1986, the so-called Group B cars were deemed too powerful and promptly outlawed at the end of the 1986 season. This gave Peugeot a chance to turn its attention to other challenges and put the car through its paces in other parts of the world. The 205 Turbo 16 was consequently adapted for a programme of cross-country rallies and African raids, giving rise to the 205 Turbo 16 Grand Raid."
Jean-Louis Loubet is professor in contemporary history at Evry-Val d’Essonne University near Paris, France, and is director of its history department and history laboratory. He has also written a number of books on the subject of automobile history, including his most recent work, La Maison Peugeot which was published by Librairie Académique Perrin in 2009.
The car's first participation in the Paris-Dakar Rally harvested an easy win in 1987 in the hands of Ari Vatanen who faced little opposition, unlike the following year. The same season also saw Peugeot Talbot Sport win Egypt's Rallye des Pharaons. In addition to its results on the stages, the brand's commitment to the sport was also intended to boost its image and promote sales.
Indeed, the very 'survival' of Automobiles Peugeot depended on it. Happily, the 205 Turbo 16 went on to claim 16 wins from 26 starts in the World Rally Championship, securing two Drivers' and two Manufacturers' crowns (1985 and 1986), plus Paris-Dakar victories in 1987 and 1988. In June 1988, Peugeot Talbot Sport introduced the 205 Turbo 16's successor, the 405 Turbo 16.
Using the iconic symbol that is The DeLorean Motor Car as its inspiration, Sarto designed a line of stunning stainless-steel bicycles that reflects the cutting edge materials that were used by DeLorean. In a true collaboration between Stephen Wynne of Delorean Motor Cars (DMC).; Marc Moore & Joe Lambert of DeLorean Bicycles, and Enrico Sarto (Antonio Sarto Racing Frames) the idea to produce a bicycle worthy of the DeLorean name was born.
To create a bicycle that has the style and unique character of the original DeLorean Motor Car was no small task. Also, Keeping the bicycle a superb performer was of paramount importance. This was in no way to just be a branding exercise, the DeLorean bicycles had to ride as good as they looked.
Italian made Columbus stainless-steel affords the rider the silky smooth ride quality of titanium coupled with an efficient stiffness that is better than any standard steel frame. DeLorean’s Columbus tube sets are the only seamless drawn stainless steel that offer a very thin wall thickness; the final product is lightweight without sacrificing performance.
The line-up will include three models offered to the consumer:
• THE DELOREAN SPEED
Electronic Group Ready Road Bike.
•THE DELOREAN ANYDAY
Flat Bar, 11 Speed Internal Shifting, Carbon Belt Drive City Bike
• THE DELOREAN CRUISE
A Single Speed Relaxed Ride Cruiser.
These will be offered Consumer Direct with online ordering, through DeLorean Automotive dealerships, and select bicycle dealers.
The new Delorean Bicycles are quality built to the highest standards, and are designed t olast. With limited availability they are destined to become as iconic and desirable as the car itself.