Latest / BREAK/FIX the Motorsports & Vehicle Enthusiast Variety Show / Designing Emotion: Formula 1 and Ferrari

Transcript

Designing Emotion: Formula 1 and Ferrari · BREAK/FIX the Motorsports & Vehicle Enthusiast Variety Show

• 0:00
  John Summers is the motoring historian.
• 0:02
  He was a company car thrashing, technology sales rep that turned into
• 0:06
  a fairly inept sports bike rider.
• 0:08
  Hailing from California, he collects cars and bikes built with plenty of
• 0:12
  cheap and fast, and not much reliable.
• 0:15
  On his show, he gets together with various co hosts to talk about new
• 0:18
  and old cars, driving, motorbikes, motor racing, and motoring travel.
• 0:33
  Good day.
• 0:34
  Good morning.
• 0:34
  Good afternoon.
• 0:35
  It's John Summers, the motoring historian, um, and in a pivot to an
• 0:40
  altogether more serious style, instead of prattling endlessly about random
• 0:45
  automotive topics in this episode, I'm going to focus on Ferrari.
• 0:51
  Um, the movie's coming out.
• 0:54
  Um, what the movies be now on the movie came out two or three weeks
• 0:59
  ago, but I've not yet seen it.
• 1:00
  So I'm still in the pre movie world and I guess that's important to
• 1:06
  me because I feel like in the past when movies have come out, they've
• 1:10
  really defined how people see that particular figure from from history.
• 1:16
  Um, I guess another example of it might be the Ford versus Ferrari movie,
• 1:20
  which feels like that's now the sort of real history of, of, of what happened.
• 1:25
  And I'm always put in mind of, um, you know, the Oliver Stone movie,
• 1:29
  which, um, with, you know, JFK and the grassy knoll and the, the story
• 1:34
  of the bullet that changes direction.
• 1:36
  Well, my understanding is it was completely made up.
• 1:39
  You know, it was made up by all of a stone to make for a good story.
• 1:43
  It doesn't have any basis in, in fact, and, and, um, I guess I'm
• 1:49
  uncomfortable therefore with movie adaptations, much as I love the way
• 1:53
  that a modern movie adaptation can make the story really, really come alive.
• 1:59
  I mean, this movie features my favorite Ferrari, the three 15 or
• 2:04
  three, three, five S um, I think it's the pinnacle sports car.
• 2:09
  I think.
• 2:09
  Is the pinnacle road car.
• 2:12
  Um, I have no problem understanding why, with the exception of the Yulun Hau Coupe,
• 2:18
  these big capacity V12 Ferrari open road race cars that were built for the Mille
• 2:24
  Miglia that were built for Le Mans, I have no problem with understanding why, why
• 2:28
  these cars are worth 10, 15, 20 million.
• 2:32
  They're, they're the peak of, of automobility.
• 2:36
  So look, I, I said, I wasn't going to digress or I've tried not to
• 2:38
  digress, but I've, I have done straight away there, haven't I?
• 2:42
  Um, and my, my first point was, you know, I, I, I love the, the mark of Ferrari.
• 2:46
  I was, um, initially, uh, a little, you know, resistant.
• 2:52
  I think there's part of me that always wants to, to be
• 2:55
  a little bit, uh, contrary.
• 2:57
  And if everyone else is saying how great Ferrari is, I, I naturally
• 3:01
  want to look at Maserati or, or.
• 3:04
  Or Lamborghini, but, but let's, you know, let's call a spade a spade, you
• 3:09
  know, there's a reason why the crypto bros have Lamborghinis, not Ferraris as
• 3:15
  their, their, their dream cars, because Lamborghini connotes obscene about.
• 3:20
  of, of wealth, doesn't it?
• 3:22
  Ferrari doesn't Ferrari.
• 3:24
  We track back to the racing and to history and it has something,
• 3:29
  it has something more for people.
• 3:30
  Now, Maserati has that as well, but with, but with less success.
• 3:34
  And that's why this recent incarnation of Maserati is far more of a sort
• 3:38
  of luxury brand than, than the race.
• 3:41
  And the racing brand, the, the, for our, the, the Maserati and then,
• 3:45
  and then Oscar once were, um, so I, I was, you know, I always felt like
• 3:52
  if you were going to go to a dinner party and try and impress people with
• 3:55
  your key fob, I always felt like a Maserati one was the best way to do it.
• 3:58
  But nowadays that would just say I'm driving a Fiat or Chrysler SUV.
• 4:02
  Wouldn't it?
• 4:03
  So I'm, you know, I'm not sure about that anymore, but this is a, uh, Uh,
• 4:08
  yet another look, look digression.
• 4:10
  The point is that I arrived at Ferrari in, in a slightly reluctant way.
• 4:15
  And when people say to me, you know, but these Ferraris, they have live axles.
• 4:18
  They don't have any of the purity or of a Lotus or something like that.
• 4:22
  I, I, I see that, but I like pasta with very good sauce and a nice red wine.
• 4:31
  And that is what Ferrari offer more and better than any other.
• 4:37
  Uh, motoring, um, experience Italian or, or, or otherwise.
• 4:41
  So I lived in Italy for a little bit.
• 4:44
  Um, and I visited Maranello when Michael clinched either his, I think it was his
• 4:50
  sixth world championship when, when I was there, it might've been sixth or seventh,
• 4:54
  but I guess it was a time when, um, Maranello was laid out in a different way.
• 4:58
  And, and there was, uh, an area which is now a factory area.
• 5:04
  Uh, Uh, years ago, that was, was an open field and, and
• 5:08
  they would put up a big screen.
• 5:11
  And I guess somebody told me about it at the hotel that I was staying at.
• 5:15
  And I got talking to an Australian cycling guy.
• 5:18
  And when I told him I was interested in cars, he was like, Oh, there's their
• 5:22
  screen in the race at the track tomorrow.
• 5:24
  And I was like, Oh, wow.
• 5:25
  I'd been intending to just lie in my car.
• 5:27
  Hotel room and watch the race on TV.
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  But because it was Japan, like the, he could clinch the championship.
• 5:34
  Michael could have clinched the championship in Japan.
• 5:37
  Um, so Suzuka, so when you're in Europe, that's a race that takes
• 5:40
  place like in the small hours.
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  So it was quite exciting.
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  You know, we like, I went out to the Aussie guy.
• 5:45
  I wasn't interested in looking at the racing.
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  So I went out there on my own.
• 5:49
  It's a bit weird.
• 5:49
  You like park up a rental car and there are other people around, but
• 5:52
  it's all dark and it's a bit weird.
• 5:54
  And I didn't really know where I was going, but anyway, there was
• 5:56
  the And, and there was the race and, and Michael didn't race very well.
• 6:01
  I remember, but the, the atmosphere was more, you know,
• 6:04
  music festival than, than it was.
• 6:07
  Uh, so I, I've, I've been with the Tifosi if, if you, uh, if, if you will.
• 6:14
  Um, Right, it's advertising voiceover John interrupting with, with another
• 6:20
  pivot from, uh, the way that these, uh, pods have, have gone before,
• 6:25
  in that I have a sponsor, so let me mention them, we're 12 seconds into
• 6:28
  the commercial spot, and I've not mentioned the brand name, it is Auxito.
• 6:34
  Global suppliers for automotive led lights.
• 6:38
  Anyway, long and short is, uh, one day about 10 years ago, I visited
• 6:43
  Montgomery for a conference in Las Vegas.
• 6:45
  I was driving home in the old bullet, a one bullet Mustang.
• 6:49
  I was, instead of going on the freeway, I decided I'd cut across death Valley.
• 6:54
  So I did death Valley at night.
• 6:56
  And, and I guess, you know, the roads are long and straight,
• 6:59
  and I was using some of that.
• 7:01
  The Mustang speed and the fact that the road was quite a way.
• 7:03
  I ran off the road into the desert because the car was going faster
• 7:07
  than the throw of the headlights.
• 7:09
  And when I, um, there was a bit of dust anyway, long and short was I swore
• 7:14
  after digging myself out of that hole and reversing back onto the road in
• 7:20
  the, in the small hours there, I swore that never again would I drive a car
• 7:26
  that I knew had Substandard lights.
• 7:29
  Um, so I've looked around for a way to upgrade it and then I was watching Furious
• 7:35
  Driving on YouTube and there he is putting LED lamps in his Mazda Unis Roadster.
• 7:42
  So I thought, all right, sauce for the goose, sauce for the For the gander and,
• 7:48
  uh, bought myself some, well, lo and behold, they've given me a coupon code.
• 7:53
  So if you want to go and buy them, you can get them at, uh, well, you, you pay the
• 7:58
  normal rate, but I get some of your money.
• 8:01
  So that's outstanding for me.
• 8:02
  So if you're going to buy led lights, look, so, so what I thought I would
• 8:05
  do was I thought this would be the beginning of a little featurette
• 8:10
  where I talk about how good, bad, or indifferent these auxito lights are.
• 8:14
  I've yet to.
• 8:16
  So, you know, more to come.
• 8:19
  Enough of advertising John, now the Ferrari movie.
• 8:23
  Yeah, so, um, my initial sense with the movie was that it was
• 8:31
  going to be based around when I realized the movie was set in 1957.
• 8:36
  I realized it.
• 8:37
  I felt like it was going to be based around Ferrari's own movie.
• 8:41
  Yeah.
• 8:41
  Yeah.
• 8:41
  Memoirs, not his biography, his autobiography, which there's a rather lame
• 8:47
  o English translation of the title, which is My Terrible Joys, which isn't anywhere
• 8:53
  near as poetic as, as it is in Italian.
• 8:55
  And my Italian is not really that good, but even I can, I can see that it's
• 9:00
  just, and the whole book is one of those experiences where you wish you could read
• 9:03
  it in Italian because you feel like it would have, have more, have more, There.
• 9:09
  So this, this, these memoirs that Ferrari wrote 60 years ago in, in, in, in the
• 9:15
  early 60s, they're, um, my terrible joys.
• 9:19
  I recommend it to, to, to anybody who really wants to
• 9:22
  understand who Ferrari really was.
• 9:24
  And I'll quote from it and, and talk more, um, later.
• 9:28
  So as I say, I thought the movie was going to be based on that.
• 9:30
  Turns out no, um, turns out instead, um, They're going to base it on this
• 9:37
  sort of, on the book that Brock Yates wrote about Ferrari, which I understand
• 9:42
  for Americans is, is the gateway.
• 9:46
  And I understand given Brock Yates, um, position as, uh, you know,
• 9:51
  amongst American journalists, I understand why a movie funded in LA
• 9:56
  would, would want to focus on the Brock Yates version, but I just want
• 10:00
  to flag for enthusiasts out there.
• 10:03
  This is.
• 10:04
  A very American lens and it's Brock Yates lens that we're seeing this this
• 10:10
  movie with and and you know Those of you that listen to my pod avidly and
• 10:15
  I don't think there are any of you judging by the figures But but you
• 10:17
  know notionally somebody who might have listened to an earlier episode.
• 10:21
  I told a rambling story about when My son and I met Derek Hill, um, at
• 10:28
  the start of the tour to get to tour to elegance one pebble beach week on
• 10:33
  the Thursday morning at the start.
• 10:35
  We got talking.
• 10:36
  We had the same shoes.
• 10:37
  You know, it was just a just just a random thing.
• 10:40
  And he and I, he told me at that time he was doing the movie.
• 10:44
  Um, and, uh, and was involved in, in, in the movie.
• 10:48
  And, and, you know, that again, speaks to the fact that it has this, yes,
• 10:51
  super valid perspective because who could be more valid than the son of,
• 10:56
  you know, Phil Hill, uh, the first.
• 10:59
  You know, the, the only American born formula one world champion for Ferrari,
• 11:04
  you know, there's an authenticity there.
• 11:06
  Um, but at the same time, it is an American lens, not an Italian lens.
• 11:10
  That was the, uh, the, the thought that I had, you know, Brock Yates
• 11:14
  and Derek Hill and Patrick Dempsey making it rather than, you know, um, I
• 11:20
  don't know who the Italians would be.
• 11:22
  You did it.
• 11:22
  I'm not up on Italian journalists, but yeah, I think you, you understand the,
• 11:27
  uh, the, the point that I'm trying to.
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  That I'm trying to make here.
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  So, um, much of what, um, I've said here then is drawn from my terrible joys
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  and, and it's also drawn from an attempt over the years, over the decades, as
• 11:44
  I've got older to, to really empathize with Ferrari, because at first I talk
• 11:48
  about how mysterious he is and he's got these sunglasses and he's kind of
• 11:51
  halfway between a man and Darth Vader.
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  And really, he's not that complicated.
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  It's not that hard.
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  You know, it's, it's, it's, you know, at first you're like, why would
• 12:01
  the guy never go to a motor race?
• 12:03
  Why wouldn't he go and watch?
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  I mean, James Mangold moves him totally unrealistically in Ford versus
• 12:11
  Ferrari to the pits to witness his own, you know, humiliation, of course.
• 12:15
  That's why he didn't go.
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  And, and if you look deeply into Ferrari's history, if you look at,
• 12:20
  there was an Italian Grand Prix at Monza in the early thirties
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  where he lost two or three drivers.
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  In one meeting, you know, in the, in the one meeting drivers dead, um, you
• 12:35
  need to think about that and, and why that might have meant that he wouldn't
• 12:41
  have wanted to actually be at Monza in case something like that happened.
• 12:46
  You know, happened again.
• 12:47
  Um, and of course, this is the, the part of the appeal of Ferrari.
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  It's like Bond.
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  There's this really, really dark side that goes on and, and, and
• 12:59
  now, you know, the guy died in 1988.
• 13:02
  So, so now anybody under the age of, of, um.
• 13:06
  Anybody under the age of 40 doesn't even remember a time when he was alive.
• 13:10
  This new Ferrari as a luxury brand is something completely different.
• 13:14
  And I'm going to talk about that a little bit more in a minute.
• 13:16
  But, um, for my own, um, you know, attempt to, uh, create a, uh, A better
• 13:26
  understanding of who Ferrari was.
• 13:28
  Um, you're probably aware the sort of background story is that the Ferrari
• 13:33
  had this this bad marriage, but Italian divorce laws, he had a son with with with
• 13:39
  his wife, so he didn't want to leave her.
• 13:43
  Couldn't leave her even if he wanted to.
• 13:45
  During the war, he had an affair with a woman that worked in his factory,
• 13:50
  Lena Lardy was her name, um, and that affair led to a child who, um, is
• 13:57
  now the only surviving Ferrari heir.
• 14:00
  Now, for most of his life, his name is, um, Piero Ladi Ferrari, most of
• 14:07
  his life, he wasn't really recognized as, as the, the true air, certainly
• 14:12
  in, in Ferrari's within Ferrari's lifetime, because of, you know, just
• 14:18
  attitudes to children being born out of wedlock in, in Catholic countries.
• 14:24
  Totally out of order now you stop and think about it.
• 14:26
  But anyway, right.
• 14:28
  Um, the way that this translated to me is, is the on a visit to Italy.
• 14:34
  Can't remember where, I can't remember exactly what I was doing.
• 14:38
  I remember I was driving a white van at the time and I made a point of not
• 14:43
  just eating in the Cavalino restaurant across the road from, from the factory,
• 14:48
  but I made a point of driving from.
• 14:51
  The factory gates to where Lena Lardi lived because I'd read that
• 14:59
  Ferrari used to have lunch with her.
• 15:01
  You know, he would see her at lunchtime, um, you know, and see his son as well.
• 15:07
  If you, if you think of, uh, if you, if you think of, and so you imagine in the
• 15:11
  fifties when, when the boy is, uh, is, is growing out of this, you know, the boy's
• 15:17
  probably born in 45, something like that.
• 15:20
  Say, um, I don't know.
• 15:22
  You can look that up on Wikipedia, can't you?
• 15:24
  But anyway, um, for me, the, the drive, this is the, my passion, my, you know, my
• 15:32
  passion for Ferrari, um, the drive from the factory up to Lina Ladi's village
• 15:39
  is exactly the kind of road that it's awesome to drive a car like a Ferrari on.
• 15:45
  Um, you know, there's bends, but there's long straights, and there's
• 15:49
  beautiful scenery, and there's all different kinds of characters, and
• 15:53
  then characteristic of road surfaces, all that, all that kind of thing.
• 15:56
  There is only, you know, one, you know, one road.
• 15:59
  He must have driven that road.
• 16:02
  to see Lena those, those, those years ago.
• 16:05
  Um, the village itself is, is high on a hill.
• 16:09
  It has a beautiful view.
• 16:10
  Um, the whole experience is, is one of those experiences where people
• 16:16
  say, Oh, don't meet your heroes.
• 16:17
  You know, don't drive your hero, somebody.
• 16:19
  Um, I've, I've never found that to be true and never did I find that
• 16:27
  to be more magic, more of the magic that you, you know, what is this
• 16:32
  thing that makes Ferrari special?
• 16:34
  I'm telling you, it's magic.
• 16:35
  It was, I, I never felt it more than that drive from the factory up to the village.
• 16:41
  And then from that, I can't remember what the village is called.
• 16:43
  Google it, you know, it's around the week.
• 16:45
  It's on, you know, if you Google Lena Lardy, where she was from, you can,
• 16:50
  you know, you can do exactly the same archeology car key or whatever you want
• 16:54
  to bloody call it, you can do the same thing as, as I did, the road is, is a good
• 16:59
  road, um, And I often think of Ferrari driving down the hill leaning on the car
• 17:05
  in the extreme frustration of these two Women and two relationships and I thought
• 17:13
  of that before the movie so I i'm open to the idea of the movie Um emphasizing that.
• 17:20
  Um, I also think that you can underestimate the fact that how you
• 17:24
  know more isn't more When you've got women who you're in relationships with,
• 17:29
  more is less, you have less chance of preserving the either relationship, you
• 17:33
  have less chance of actually spending quality time with either of them.
• 17:38
  There's just no sort of contentment.
• 17:40
  I've not watched the movie, I've not read about fries, personal relationships.
• 17:43
  I'm just like, I just feel like that's pretty obvious from the You know, from the
• 17:48
  outside looking in and, and, and I don't think it's hard to believe that the guy
• 17:53
  spent a lot of time at the factory and had the kind of approach that he had because
• 18:01
  of what was happening domestically.
• 18:04
  So, uh, I, I'm really optimistic that the mute, that the movie's gonna, um, tell a
• 18:11
  story of somebody who, um, who I recognize from my own reading and imagination.
• 18:17
  If that doesn't.
• 18:19
  If that, if that makes sense, probably, um, so I've not read the Brock Yates
• 18:24
  book, um, at the time of recording this, I read the first chapter of it and I
• 18:30
  would urge anybody to, to read that foreword, um, it's Luigi Kineti, um,
• 18:39
  again, Wikipedia if you don't know who he is, it's Kineti in a big Renault 25.
• 18:46
  Bye.
• 18:46
  Maranello to fly back to New York and it's really, uh, it's, it's a, it's
• 18:54
  another one of these, you know, I just talked about Lena Ladi's village.
• 18:57
  It's a, it's another one of these pinch myself because this
• 19:01
  sort of feels really weird.
• 19:03
  faintly supernatural.
• 19:04
  It feels magical.
• 19:06
  It feels, you know, Ferrari famously wanted to be a journalist.
• 19:12
  You know, he wanted to be a sports writer.
• 19:14
  He wanted to be a racing driver or he wanted to be an opera singer.
• 19:18
  And I feel like he accomplished all of those things.
• 19:21
  The opera stuff is, is the tragedy, is the sense of fate, is the sense of something
• 19:27
  more than, you know, something spiritual.
• 19:32
  Even and that opening, uh, forward or chapter one or whatever with,
• 19:37
  with Kinetti, um, in the South of France and his big Renault
• 19:41
  is, uh, is, is all of that.
• 19:43
  So, so yeah, so I encourage you to get hold of, uh, Brock Yates
• 19:47
  book, um, whether or not you've, uh, you, you've seen the movie.
• 19:53
  Um, so part one is pre movie for me, part two, I'm going to do another like
• 19:57
  opinions thought after I've, you know, afterwards, why, why the devil not?
• 20:03
  Um,
• 20:07
  I guess the, the, the next thing that I wanted to think
• 20:11
  about was why does it matter?
• 20:13
  And, and I think that the answer to that is that in the years since Ferrari
• 20:21
  himself has died, everyone wants a slice of what Ferrari represents.
• 20:28
  It's winning.
• 20:29
  It's success.
• 20:31
  It's the best.
• 20:32
  If you ask people that that's what they'll say.
• 20:35
  And I feel like that's borne out in people's actions because
• 20:39
  if you own a Ferrari, you don't need a Ferrari key form.
• 20:43
  You don't need a Ferrari jacket.
• 20:44
  You don't need Ferrari shoes if you actually own one.
• 20:48
  So the people buying all of the Trinkets and I'm not knocking them for that.
• 20:53
  You know, I've done that myself, you know, my son has a cool Ferrari t shirt.
• 20:57
  Um, but those Everyone wants a slice when you buy the clothes you are saying
• 21:03
  I want a slice of this coolness Even if I can't own the car And that's fine, right?
• 21:08
  It's worked for Harley, why shouldn't it work for, why shouldn't it
• 21:11
  work for, for Ferrari as, as well?
• 21:15
  Before I do this, but like, you know, nine out of the top 10 most valuable
• 21:18
  cars ever sold have been Ferraris, right?
• 21:21
  So apart from the Eula Now Coupe, which is a 50s sports racing car,
• 21:26
  So, similar to the Ferraris, right?
• 21:28
  They have these massive values, um, or Ferraris, well, well, so this leads me to
• 21:37
  believe that in the centuries to come, you know, this is going to be the Caravaggio,
• 21:43
  this is going to be the El Greco, this is going to be, you know, in the year 2525,
• 21:51
  this is going to be the car brand, right?
• 21:53
  That people look back on and they're going to look back on the artisan and the
• 21:57
  craft and the whole like wow one minute.
• 22:00
  It was all horses and carts and the next minute people had actually harnessed,
• 22:05
  you know, things together and created.
• 22:07
  I mean, it's going to be, they're going to be like a symbol of
• 22:10
  the industrial revolution, I believe for future generations.
• 22:14
  And I think, you know, the names that I jotted down in my, uh, in my notes here
• 22:19
  were Stratafarius, Chesterfield, Picasso.
• 22:22
  It's like this sort of, you know, it, they're going to be there.
• 22:27
  Um, the great Ferraris will be already are great pieces of truly
• 22:37
  pieces of architecture, pieces of art, pieces of moving sculpture, um,
• 22:46
  should have used this sort of turn of phrase when I was talking about
• 22:49
  the movie, but before, but, but.
• 22:51
  You know, I'm, I'm jumping around and badly organized.
• 22:53
  It's me, right?
• 22:53
  Whatever.
• 22:54
  Um, you know, I I've, I've created in the, in my notes here, this sort of
• 23:00
  German style compound noun that the, I feel like this biopic is, is at the
• 23:06
  point in his life when life, death, love, sex, and cars were all like
• 23:12
  commingled together or came together in, in, in one place in this operatic way.
• 23:20
  Tragedy of, of, you know, the, the melee melee air in 1957.
• 23:28
  Um, So I do some work for Stanford.
• 23:33
  Um, when Stanford approached me and said, would I be interested in
• 23:39
  doing a lecture for, for a course that was called designing emotion
• 23:44
  for reactive car interfaces?
• 23:48
  I scratched my chin for a little bit and thought, what?
• 23:51
  Machine what car cars are designed what car or motorcycle what creates is going
• 23:58
  to create the most, you know, reactive emotion and and it's, it's Ferrari
• 24:05
  who comes to mind for that, isn't it?
• 24:07
  It's absolutely for Ferrari.
• 24:09
  Um, uh, so I want to frame my thoughts today around that presentation and even
• 24:20
  just rehash that that presentation.
• 24:23
  So to begin, let's talk a little bit about my thoughts on, on my terrible
• 24:28
  joys, because I feel like you can't understand what Brock Yates wrote
• 24:32
  without going to the primary source, what Ferrari himself wrote and thought.
• 24:38
  And I'm going to continually, uh, come back to that.
• 24:42
  And, and Throughout Ferrari's, uh, storytelling without throughout
• 24:51
  storytelling about Ferrari, there is this sense of mythmaking.
• 24:57
  There is this sense that it's a fable and, and it's important to
• 25:00
  note that this begins with the whole way that Ferrari was himself
• 25:05
  from the glasses to the writing in.
• 25:09
  Purple ink.
• 25:10
  So, you know, when he marked a document, it was very clear that it was, it was
• 25:15
  Ferrari that, that was, uh, that, that, that was writing, um, in my terrible
• 25:22
  joys, there's an early scene where he, he, he, he, there's this fully, you
• 25:30
  know, Opera, um, fully operatic tragedy where he has is a family of four.
• 25:39
  He's the, the youngest son, the, the, the war comes and, and in the war, his, his
• 25:45
  father and his elder brother both die.
• 25:48
  And he himself is, is nearly killed by a disease, but he recovers
• 25:55
  and when he's discharged from the army, he's given a letter to take
• 25:59
  to the boss of Fiat in Turin.
• 26:02
  And he takes the letter and the boss of Fiat sees him in a nice office and
• 26:06
  says, dude, we can't hire everybody.
• 26:08
  Sorry.
• 26:09
  And, and Ferrari leaves and tells a story of walking in a park in, in
• 26:15
  Turin and wiping the snow off a bench and sitting down and, and weeping.
• 26:22
  And no doubt it happened.
• 26:26
  But.
• 26:27
  That was a man in his early 20s and the man writing about it was in his early
• 26:34
  60s and was a successful industrialist who was writing for who, well, we, you
• 26:45
  know, the book itself talks about, you know, his motivations for writing, but
• 26:50
  he's, um, I have no doubt that the park bench really took place, but the way in
• 26:56
  which it's framed, this is, is, uh, has the feeling of, of, of opera for me.
• 27:04
  So this is Ferrari's low point.
• 27:06
  And then he talks about, um, his first, Grand Prix win when, uh, some Frenchman,
• 27:12
  I can't remember the racing driver's name, Wimil maybe, maybe Wimil, I don't know.
• 27:16
  Um, maybe I've mispronounced the name.
• 27:17
  I, I'm struggling with French pronunciation, don't, don't I?
• 27:20
  But anyway, long and short is, is, you know, after the first victory, he
• 27:24
  comes, Ferrari comes and he sits on the same park bench and, and now, you
• 27:30
  know, he feels, he feels different.
• 27:32
  Um, his date of birth, Is mysterious, right?
• 27:36
  And it's because there was a snowstorm and, and, you know, that for after he
• 27:41
  was born, they were snowed in for a few days before he was a before anybody was
• 27:45
  able to go in and register the birth.
• 27:49
  So, so even, even that has the feel of, of, uh, almost, um, Yeah, it has the
• 28:00
  feel of fable, it has the feel of myth making, it has the feel of something
• 28:04
  more than human, he doesn't have a normal date of birth like you or I, he has
• 28:09
  this, now maybe lots of people born in 1898 might have had that, but the fact
• 28:15
  that Ferrari himself in My Terrible Joys alludes to this snowstorm, it's, you
• 28:21
  know, the myth The origin of the smoke and mirrors was the old man Enzo himself.
• 28:30
  Now I have a postcard I bought at the Ferrari birthplace, and I'm not
• 28:35
  going to attempt the Italian, but the translation is, I am one who has
• 28:41
  dreamed of what it is to be Ferrari.
• 28:46
  I am one who has dreamed of what it is to be Ferrari.
• 28:53
  In other words, this Ferrari is an imagination, is an imaginative
• 28:57
  construct that I've built for myself from those fucking lows of that park
• 29:03
  bench in Turin, when you were sitting there thinking, what the devil.
• 29:08
  Am I gonna do what?
• 29:09
  What let's, you know, what did he do?
• 29:11
  He hung around coffee shops and got to be mates with, uh, a, a
• 29:16
  dude called Ugo Ce, who worked for Alpha Rome, Mayo, and he got a test
• 29:22
  driving job for a company called CMN.
• 29:25
  And, and, you know, just, uh, the enthusiasm and the passion.
• 29:29
  Began to pick up but I just love the fact that it was at the coffee shop in in in
• 29:35
  Turin I have on a trip some years ago I did sit around in a few coffee shops in
• 29:42
  in Turin in the area where where Ferrari met Sivocci in in that period And uh,
• 29:48
  yeah, it was uh an interesting experience just because italian society is is
• 29:52
  interesting to watch It wasn't it wasn't like I had any revelation into Ferrari.
• 29:57
  It was just an interesting.
• 29:58
  Uh Experience for me, um, The racing career ends.
• 30:04
  He's invited to the French Grand Prix in 1924, but something
• 30:08
  happens and he doesn't race.
• 30:10
  Now I had read one account that says nervous breakdown.
• 30:14
  Ferrari himself glosses over it in my terrible joys.
• 30:17
  I was sick, something like that.
• 30:18
  I can't remember what it is.
• 30:20
  It's clearly, it's just downplayed.
• 30:22
  If you're not reading very carefully, the end of his own racing
• 30:25
  career is sort of drifted over.
• 30:27
  Because that's obviously not how he sees himself now.
• 30:29
  Now he's the racing coach.
• 30:31
  Builder and the, you know, the puppeteer of racing drivers, isn't he?
• 30:35
  Um, so that whole end of his racing career, me personally, I want
• 30:39
  to do more research into that.
• 30:42
  Um, my other thought from the early part of my terrible joys, which is,
• 30:46
  um, shocking and a bit disappointing and speaks to, you know, the darkness
• 30:51
  of, of, of the character is this falling out the, the Ferrari had when
• 30:57
  he was at Alfa Romeo, um, with this Spanish guy, Wilfredo Ricart, Ricart,
• 31:04
  don't know how to pronounce it.
• 31:05
  I've only ever seen the name written down.
• 31:07
  Um, I, I just feel that the, you know, so in My Terrible Joys, he criticizes it.
• 31:15
  The Alfa Romeo 512, which is a 158, but it's rear engined.
• 31:20
  And of course we know that the 158 and 159, these are hugely successful racing
• 31:26
  cars in the post war period, dominant racing cars in the post war period.
• 31:31
  Um, one wonders if the 512, uh, had been properly developed, if perhaps
• 31:37
  that might have been, you know, Ferrari might have, it might have
• 31:42
  taken Ferrari a lot longer than 1951.
• 31:45
  Um had alpha actually developed that car properly.
• 31:48
  So I guess that showed me Um a blind side right arguably ferrari's
• 31:55
  blind side in this relationship that he had with with reichard
• 32:27
  I guess, um when you read my terrible joys, um, there is a
• 32:32
  sense that this is like a rambling personal You know, anecdote, right?
• 32:38
  More like the kind of thing that I'm doing now.
• 32:40
  And you do find yourself thinking, well, can I have some You know, it, it, it's
• 32:47
  very clearly not a biography, right?
• 32:50
  That you don't get, there's no like, table of results.
• 32:53
  There's not like other motoring books, you know, it's not like other motoring
• 32:57
  biographies in, in, in the least bit.
• 33:00
  It, it's this, um, selective memoirs, right?
• 33:05
  So, so he, he, so Ferrari talks about this dialogue in solitude yet.
• 33:12
  This is he's putting it down in a book, right?
• 33:14
  So there's this sense that there's almost something
• 33:18
  therapeutic about what he's doing.
• 33:21
  Um, and this is the only thing he wrote, right?
• 33:24
  There isn't anything else.
• 33:26
  There's no other, there was no, you know, he never went back later in life.
• 33:29
  He never had, and there must have been loads of people who
• 33:32
  wanted to do biographies of him.
• 33:34
  He never went back and did anything else.
• 33:36
  All he did was this thing early in, in, in the sixties and, and, you know, You know,
• 33:41
  I, I've written here that, that in, in.
• 33:45
  you know, the adjectives I've used, uh, in my notes here were raw,
• 33:50
  close to the bone and authentic.
• 33:52
  And, and that's kind of surprising.
• 33:54
  It's, and as I say, so in that sense, it's almost like a therapy session.
• 33:59
  Um, and again, right.
• 34:01
  I, this is my, do we need the lens of Brock Yates or, or can we
• 34:07
  drink straight from the spigot?
• 34:10
  And, and I think we can drink straight from the, the, the spigot.
• 34:14
  Um, The first paragraph is the business success and the dream of
• 34:21
  being a racing car constructor and a successful one at that fulfilled.
• 34:26
  The second paragraph is this crushing pain at the loss of his
• 34:31
  son, his legitimate son Dino.
• 34:34
  He never mentions the illegitimate son throughout the book, right?
• 34:38
  Again, right?
• 34:40
  I, you're, you're conscious that although it's raw and honest and
• 34:46
  authentic, it's not the whole story.
• 34:51
  It's, you know, yeah, it's, I guess that the social mores about
• 34:59
  what it's acceptable to talk about in a book or a memoir.
• 35:08
  What isn't acceptable to talk about those things have shifted and changed.
• 35:14
  And, um, in Catholic countries in the late 20th century, you could not
• 35:23
  acknowledge illegitimate children.
• 35:25
  As your own.
• 35:27
  Um, and I think it's unfair to judge for Ari for not doing that.
• 35:34
  Just as it's unfair to judge him as being a, you know, fascist collaborator because
• 35:39
  you know, he made ball bearings in the second world war for you know, the the.
• 35:44
  The Italian, well, first for the fascist cause and then I think for the Germans.
• 35:48
  I'm not, again, I'm not sure about that.
• 35:49
  It's, you know, he is a guy who did what he needed to, to,
• 35:54
  to get on down, down the road.
• 35:56
  And I'm not going to, uh, I'm certainly not gonna, gonna judge him for that.
• 36:01
  But look, right early in the book, reflecting on the very peak of his
• 36:07
  professional success, reflecting on the period, the fifties, the early sixties,
• 36:13
  that will absolutely cement the legend of Ferrari, that will create all the brand
• 36:19
  equity that's being mined today by these overpriced, fast luxury trinkets, both,
• 36:27
  you know, cars and handbags and shoes.
• 36:30
  He writes, Have I done anything really worthwhile, or even
• 36:35
  enough to make me satisfied?
• 36:41
  On the memoirs, he says, they are written from the heart.
• 36:45
  Of that, I can assure you.
• 36:49
  From the outside looking in, the two women, the two families,
• 36:55
  the sheer, like, stress.
• 36:57
  The fact that in 1958, He lost four drivers, 57, 58, four of his
• 37:07
  Formula One drivers were killed.
• 37:10
  Um, there was the upset of the Mille Miglia in 57.
• 37:14
  Um, that led to the Pope threatening to excommunicate him.
• 37:21
  So that had moved completely out of the realms of motor
• 37:24
  racing and into the realms of.
• 37:27
  Of the public and, and, and within that, of course, there must have been,
• 37:32
  you know, there must have been public hatred for him on the street people
• 37:36
  in, in his day to day social life.
• 37:39
  It must have been extremely hard in that period after, you know,
• 37:43
  in, in late 50, uh, in late 57.
• 37:47
  Um, I think the, the other thing to, to think about is that he has built.
• 37:56
  all of this stuff and he has a son, that son cannot inherit.
• 38:03
  He cannot acknowledge the son and the son cannot inherit.
• 38:06
  And, and that's must have, uh, been a very, very hard, I think
• 38:12
  this is a good metaphor, isn't it?
• 38:13
  Cross to bear, right?
• 38:15
  It was a, a difficult cross to bear and that's, uh, I think
• 38:19
  applicable, uh, uh, metaphor.
• 38:22
  Um, and I guess, you know, As a British motor racing fan, I had encountered some
• 38:29
  of this side of Ferrari before, because when, when you read about Formula 1
• 38:35
  history, um, a lot of the British writers or English speaking writers, they might
• 38:40
  be New Zealanders or Australian, but a lot of the English language writers
• 38:46
  will talk about, um, Ferrari having a special relationship with Peter Collins.
• 38:51
  When, uh, so this, so, and the, the, the feeling is that Collins became a sort of
• 38:59
  surrogate son for, for Ferrari with, and that thing only, only sort of soured off
• 39:05
  a little bit when, uh, when Collins fell in love and got married, how dare he.
• 39:10
  limiting Ferrari's ability to, to manipulate him in, in, in the same way.
• 39:15
  And I guess, you know, my, my thought on that is, is that Colin seems to have been
• 39:20
  very easygoing, likeable kind of guy.
• 39:22
  And if you put that in contrast with Mike Hawthorne, who was
• 39:28
  so committed to just beer and.
• 39:32
  Fuck you, living like I want to live, that there was no way that, I
• 39:37
  mean, when Ferrari met Hawthorne to sign him, they went to the Gavallino
• 39:41
  restaurant, and, and Hawthorne admits to ordering the most expensive
• 39:45
  whiskey, because he could, right?
• 39:47
  And I'm just, you're just like the worst kind of Englishman abroad.
• 39:51
  Right.
• 39:51
  Really the, the, the very, the very worst.
• 39:53
  Can you possibly, the contrast with Sterling Moths is incredible, right?
• 39:56
  Can you, you can't even imagine Sterling Moths ordering, I'm not the
• 40:00
  Sterling Moths ever sat in the Cavalier, you know, with, with, uh, Ferrari.
• 40:05
  Well, maybe he did, I don't know, but you cannot imagine him looking
• 40:08
  at the whiskey and deliberately ordering the most expensive one.
• 40:11
  All right, without further ado, let's go through this designing emotion.
• 40:22
  Presentation that I did.
• 40:24
  This is a few years old now.
• 40:27
  So what I wanted to do first with, with this presentation that was thinking about,
• 40:31
  um, Ferrari was position Ferrari, um.
• 40:36
  As I position Ferrari in the context of Formula One and Grand Prix, because
• 40:42
  the course that I'd done and the work I'd done in the past had been
• 40:46
  largely about Formula One and Formula One is a good conduit for people who
• 40:52
  maybe aren't into cars generally, or who see Ferrari as a luxury brand.
• 40:58
  Formula One's a good way to make money.
• 41:02
  People realize that there's, um, more to this luxury brand than there are
• 41:08
  perhaps to, to other luxury brands as a level of engineering integrity
• 41:12
  there, which, so I wanted to begin with this idea that the formula one is
• 41:17
  the most watched sport in the world.
• 41:20
  When there's not an event like the Olympics or the soccer world cup or
• 41:23
  something like that taking place.
• 41:25
  And although for, uh, in the, at the time when I put this presentation
• 41:30
  together, those numbers were actually declining since then, thanks to Formula
• 41:34
  One drive to survive the Netflix show, that that's that those figures of, of
• 41:38
  turned around and Formula One remains, uh, you know, has a unique global reach.
• 41:45
  That's the, the reality of it for, for brands.
• 41:48
  Those juices.
• 41:49
  No other environment that has this kind of global traveling circus,
• 41:55
  high technology, glamor, theater.
• 42:00
  You know, when, when formula one came to Vegas, that really seemed to be the,
• 42:04
  uh, the, the, the right home for it.
• 42:06
  And we're talking 200 or 300 million people watching.
• 42:10
  That's the, the raw, the raw numbers.
• 42:14
  Um, it's high tech, but it's gladiatorial at the same time.
• 42:18
  So, you know, we're, you know, wheel to wheel racing is something that, that we
• 42:22
  can all, uh, understand, you know, from the traffic light Grand Prix to the, to
• 42:27
  the slot cars and the PlayStation, we can all understand that, but when it's
• 42:31
  on this, when it's real cars and they're worth millions of dollars and it's on the
• 42:36
  sunset strip or it's around the Harbor side at Monaco, you know, this has all.
• 42:41
  Awesome 21st century gladiatorial feel yet the machines that we're using
• 42:49
  are these uber high tech, you know, missiles that are crafted of the, uh,
• 42:56
  you know, that are packed with the latest and greatest technology and
• 43:00
  thoughts and, and, and innovation.
• 43:02
  So, so this is exciting.
• 43:04
  I mean, it's an individual sport in the, obviously when we're wheel to wheel like
• 43:08
  that, it's about the drivers, but it's also a team sport and really more than I
• 43:14
  think people realize in terms of, of, um, not just at the track, you know, building
• 43:20
  the car, but also back at the factory, designing it and testing it and, you know,
• 43:25
  deeper than that, um, the relationships that, you know, You know, McLaren aren't
• 43:32
  building their own engines, are they?
• 43:33
  They're outsourcing that to Mercedes Benz or to Honda or to a large OEM carmaker.
• 43:42
  carmaker, um, is, is part of the team, you know, as, as well.
• 43:48
  So, um, in, in lots of ways it's, yeah, team and individual.
• 43:52
  The individual is the tip of the iceberg, but the icebergs, uh, the icebergs there.
• 43:57
  Um, Formula one, particularly motoration generally, but formula
• 44:00
  one particularly is contemporary and old fashioned at the same time.
• 44:03
  Right.
• 44:03
  And that we've got the latest and greatest technology and brands and all of that.
• 44:08
  Yet the rules and the way of, of being these.
• 44:13
  These are often, you know, 50 or, or a hundred years old.
• 44:18
  And the quote that I used in the presentation was, was the, the Formula One
• 44:22
  represented a pure engineering challenge.
• 44:25
  It represented a prototype and iterate in a hyper competitive, on a hyper
• 44:32
  competitive international stage with giant budgets, that's what I believe.
• 44:36
  I've said there, so, you know, um, I, in, in order to frame this stuff, you know,
• 44:46
  we all have pictures and sound, don't we?
• 44:48
  And, and, and, uh, I deliberately, uh, I would always use pieces of, of, of
• 44:54
  video Now in this podcast, um, video's not gonna work very well, is it?
• 44:58
  But, but this is a piece of film which I mostly used because of the sound.
• 45:03
  This is, uh, 19, Bossy 92.
• 45:47
  So my challenge with the modern Ferrari is, is the way that they've
• 45:51
  sort of evolved from this pure racing animal to, to be in, uh, You know,
• 45:59
  well, I did a flight from the East coast and, uh, many years ago now,
• 46:05
  and I happened to sit next to somebody who was, uh, a marketing manager.
• 46:10
  And we were talking about how she was buying a new car.
• 46:13
  And at the time she was really impressed because, uh, I was able to
• 46:19
  guess based upon what she told me she was driving at the moment, based upon
• 46:25
  the, the Sources that she'd used.
• 46:29
  I could guess quite accurately that the car that she was going to buy
• 46:33
  was the then new Lexus RX 450 H.
• 46:37
  So it was the first hybrid SUV that, that Lexus, that Lexus did.
• 46:43
  This must be 10 off.
• 46:44
  10 plus years ago at the moment.
• 46:47
  And they said, and then she said to me, you know, she was aspiring to,
• 46:51
  to, uh, uh, Tesla and I was still in that place with, with Tesla's where I
• 46:55
  didn't really think they were cars and, and, um, let alone as I come to terms
• 47:00
  with the fact that we're no proper instruments or anything like that.
• 47:03
  And you had to do everything through the, through the touch screen.
• 47:06
  Like that was, was, uh, So we, we butted heads over Tesla and she said to me,
• 47:12
  well, what would, what would you like?
• 47:14
  What would you go?
• 47:15
  And I said, Ferrari.
• 47:17
  And she said, well, you know, that feels like.
• 47:20
  You know, it's a car for, for golf club poses.
• 47:25
  And I'm like, wow, is that how the brand has, has evolved?
• 47:30
  And then, um, I, I had this slide here, which if I've done the video
• 47:35
  properly, you'll be able to see.
• 47:36
  And if I haven't, or if you're listening, you won't be able to see, but it's
• 47:40
  a Ferrari California or a Portofino, whatever the entry level one, and it's a
• 47:44
  convertible and you can fit the golf clubs in the trunk, there's like a special hat.
• 47:50
  like ski hatch kind of affair to allow you to fit the golf clubs in the truck.
• 47:55
  And I guess this is absolutely not the kind of Ferrari owner
• 48:00
  or driver which I wanted to be.
• 48:03
  The kind of Ferrari owner or driver that I wanted to be is summed up by this,
• 48:10
  uh, this Letter that was written to the magazine Motorsport in April of 1972.
• 48:21
  Sir, I cannot resist Mr.
• 48:23
  J.
• 48:24
  H.
• 48:24
  Thomas invitation to be classed as a quote, public spirited and
• 48:29
  knowledgeable member of the Ferraristi.
• 48:33
  I bought my 330 GT four years ago when it was already three years
• 48:38
  old and had done 24, 000 miles.
• 48:41
  It had been beautifully kept.
• 48:42
  I purchased it in Italy as, living abroad, I needed left hand drive
• 48:49
  and, incidentally, avoided the crushing English purchase tax.
• 48:53
  This amounts to 2, 000 on a new Ferrari, which is, of course,
• 48:57
  reflected in the used market price.
• 49:00
  The car has now done well over 40, 000 miles, which puts
• 49:04
  me into the category of Mr.
• 49:05
  Thomas's inquiries.
• 49:08
  The old joke that one drives this type of car with a mechanic permanently in the
• 49:12
  passenger seat proved to be just that.
• 49:16
  Parts renewed during my ownership have been points, condensers, a
• 49:20
  hose, a brake servo unit, steering pins and bushes, a dip switch
• 49:26
  assembly, and the routine brake pads.
• 49:29
  Girling, plugs and oil filters.
• 49:32
  The only serious mechanical trouble occurred last summer when the
• 49:35
  head gaskets had to be replaced.
• 49:38
  An expensive job.
• 49:40
  The silencers have needed welding and the door bases had to be
• 49:43
  treated for rust, though these were the only places so affected.
• 49:47
  The present set of very broad, high speed Cinturatos have done 13, 500 miles
• 49:53
  and still have plenty of wear in them.
• 49:55
  Which is just as well, since the last time I was in England, they cost me 20 each.
• 50:01
  In my view, for a car of this age, the above list is not scandalous.
• 50:07
  But spares are expensive.
• 50:10
  At least, they seem so to me, although not knowing the equivalent prices for
• 50:14
  English cars, I have no yardstick.
• 50:17
  I recall grunting sourly when charged 28 for a new brake servo and 10 for
• 50:23
  fitting, whereupon said brightly, Well, sir, if you will run a Ferrari.
• 50:30
  Spares are readily available for old Ferraris as the design of the car, and
• 50:35
  that includes the impressively elegant body by Pininfarina, has undergone
• 50:39
  no radical changes in many years.
• 50:42
  Naturally, one cannot slip into a corner garage for one, but when I took my car
• 50:46
  to Maranello Concessionaires on the Egham Bypass for attention to the steering
• 50:51
  and brakes, they had the bits in stock.
• 50:54
  All the bits in stock.
• 50:57
  Petrol consumption is heavy, Especially if full advantage is
• 51:01
  taken of that flashing performance.
• 51:03
  But what do you expect with 12 cylinders and three yawning double bore webbers?
• 51:09
  Oil consumption on my car is negligible.
• 51:11
  But periodic oil changes of 18 pints at a time fray the wallet at the edges.
• 51:20
  Cool as the proverbial cucumber at autoroute touring at well over
• 51:24
  100 miles an hour, it suffers from overheating in prolonged traffic
• 51:29
  dawdling, although it is perfectly tractable, despite the poor steering
• 51:34
  lock often found on this type of car.
• 51:37
  Initially, mine used to oil a plug or two, an ailment which gives the Ferraristi the
• 51:43
  chance to use the throwaway line, there I was cruising along at a ton, only on 10.
• 51:49
  To cruise this, I To cure this, I experimented with one or two well
• 51:54
  known makes of plug, including the one recommended by Modena, to no avail, until
• 51:59
  a letter from KLG put me on the right track, and I haven't had a misfire since.
• 52:05
  Ferraris seem to have a very individual reaction to plugs.
• 52:09
  Another Ferrari owner I know swears his will not run properly
• 52:13
  except on a certain Japanese plug.
• 52:16
  Despite the special plug spanner supplied in the toolkit, changing
• 52:20
  plugs requires a certain dexterity.
• 52:24
  If Mr.
• 52:24
  Thomas has read this far without being depressed and daunted, Let me assure
• 52:29
  him that if he still intends a Ferrari, he is in for a rare driving experience
• 52:35
  that is almost sensual in its appeal and may spoil him for other marks for life.
• 52:42
  I have not had such a thrill on years, look, I have not had such a thrill
• 52:48
  on wheels since I straddled my first motorcycle, a DR Douglas, at the age of
• 52:53
  14, and that, alas, was many years ago.
• 52:56
  I Even after four years of ownership, it still gives me rare pleasure to
• 53:01
  hear the distinctive mechanical sound of that V12 when it breaks into life.
• 53:07
  If I seem unduly impressed by the Commandatore's product, allow me to
• 53:11
  add that I did not graduate to it from some small box, but a Maserati 3500 GT.
• 53:19
  That I bought, used and ran for four years as my policy has always been, on
• 53:24
  limited funds, to buy a used quality car rather than a mass produced new one.
• 53:29
  I get more fun out of my motoring that way.
• 53:33
  I hope Mr.
• 53:33
  Thomas joins the club and I wish him luck.
• 53:37
  R.
• 53:38
  Hudson Smith, Antibes, France.
• 53:42
  Published in Motorsport.
• 53:43
  April 1972 and that was always the kind of Ferrari owner.
• 53:49
  I wanted to be.
• 53:51
  That's my kind of Ferrari owner.
• 53:57
  So the next part of my presentation covered something that we've talked
• 54:00
  about already, really, which is these 3 ambitions Ferrari had to be a racing
• 54:05
  driver, to be an opera singer, to be a sports journalist and and how we built it.
• 54:11
  Really achieved all of those things.
• 54:13
  Um, he refers to the passing of his brother as he was taken by one of
• 54:22
  those bouts of flu, which doctors can cure in a few hours today.
• 54:27
  And, and I think there you have a sniff of, uh, the bitterness of
• 54:33
  Ferrari in, in the sixties, looking back 40 years, uh, how his life
• 54:39
  was, um, during the first world war.
• 54:43
  And I'll also talk about the park bench in, in Turin.
• 54:47
  Now, the next thing I wanted to talk about was Francesco Baracca and, and the origin
• 54:53
  of, of the, the prancing horse badge.
• 54:57
  Um, so the yellow.
• 55:00
  Of the badges is Modena.
• 55:02
  It's the modernese city color.
• 55:04
  Um, the we know the flag appears on on the badge as well.
• 55:08
  And we know the flag appears on the badge, both in shield form, you know,
• 55:13
  if we think of it on the side of pre war Alfa Romeo's or we think of the
• 55:16
  badge on, you know, a fifties Ferrari Testarossa, it's a shield, isn't it?
• 55:21
  Whereas if we think of the badge on a You know, on Magnum's Ferrari 308,
• 55:27
  it's square, but in each case, it's on the Modena yellow, and it has the
• 55:33
  Ferrari, it has the Italian flag on it.
• 55:35
  And I think that's interesting.
• 55:37
  Um, you know, the, the Triumph badge doesn't have the British flag on it.
• 55:41
  Uh, you know, the Rolls Royce logo didn't have the British flag on it.
• 55:44
  The Renault diamond doesn't have anything to do with, um,
• 55:48
  you know, the French tricolor.
• 55:49
  Um, this speaks to what Ferrari was doing in that post war period, that
• 55:56
  he wasn't just building his factory.
• 55:58
  He was building.
• 55:59
  Italy, um, very much in the same way as, you know, when Toyota decided
• 56:06
  to pivot from making sewing machines under license to making cars, uh,
• 56:12
  the Japanese government renamed the city that they were based in.
• 56:16
  Toyota in, in honor of that.
• 56:18
  I always think it's a bit like Stalingrad, which is faintly macabre, isn't it?
• 56:22
  But, uh, that, that's the, uh, the kind of, of nation building.
• 56:26
  I feel like Ferrari was, was, was, was involved in.
• 56:30
  So the, the, the story that he tells in My Terrible Joys is that in the
• 56:34
  twenties, um, the mother of, of Baraka.
• 56:38
  Baraka was an air race in the First World War.
• 56:41
  An ace is somebody who's shot down five of the planes.
• 56:44
  Um, Baraka, um, is, is, is killed in the war.
• 56:50
  Um, his mother says, you know, you, uh, Ferrari, you
• 56:53
  personify after a plane crash.
• 56:54
  A race, a minor race in, in Italy after a win.
• 56:58
  She says, you personify the, uh, you know, the spirit of my son.
• 57:02
  Um, and I'd be honored if you carry his, his logo with him.
• 57:05
  Now what's interesting about this is that the logo doesn't actually appear.
• 57:10
  On the cars for some years later, so according to Ferrari's version
• 57:15
  of events, she talked to him in the twenties, but he didn't put it on
• 57:19
  a car for some 7 or 8 years later.
• 57:22
  Now, that's why I like this picture, right?
• 57:24
  Because in the picture, we can see Baraka standing by his plane.
• 57:28
  I'm afraid I don't know what it is.
• 57:29
  I'm not going to take it.
• 57:30
  If I had to guess, spat.
• 57:31
  It's a spat, but I don't know whether it is.
• 57:34
  But the, the point is that in the picture, and it's quite a well known
• 57:38
  picture of him, there is a prancing horse on the side of the plane.
• 57:42
  But we can see that the horse is on this white background, the white background,
• 57:49
  which is maybe not part of, of the plane.
• 57:53
  Now what.
• 57:55
  Um, a story I've heard from, uh, uh, let's credit where credit is due.
• 58:01
  Fred Kern, when I did a lot of work as a docent for the Blackhawk museum,
• 58:06
  easily the most well informed docent that we had over at Don Williams,
• 58:12
  his Blackhawk museum was Fred Kern.
• 58:14
  He was weird.
• 58:16
  He was kooky, but my word, the knowledge that the guy had was just.
• 58:24
  Um, his feeling is he's will always say this.
• 58:31
  He would always introduce the topic by saying that there are two cars with a
• 58:34
  black prancing horse on the badge Ferrari.
• 58:38
  But the other is Porsche.
• 58:41
  Porsche badge is of the city crest of Stuttgart.
• 58:47
  And if you look at the prancing horse on the Porsche badge,
• 58:51
  it's a lot closer to Baracus.
• 58:55
  prancing horse than maybe even Ferrari's later stylized prancing horse.
• 59:03
  Now here's an interesting thing that I learned quite recently.
• 59:07
  In the first world war, in order to prove a kill, you might shoot the
• 59:13
  other guy down, then land in the field next to him, And take part of
• 59:19
  the insignia of his plane as proof.
• 59:23
  Indeed, when you are, the photograph is taken of you, Francesco Baracca,
• 59:28
  Air Ace, you might display that trophy on the side of your plane.
• 59:34
  And Fred Kern believed, he's gone now sadly, believed that the prancing
• 59:41
  horse that we see here was taken from a fighter from Stuttgart's plane.
• 59:47
  Plain.
• 59:48
  And Baraka took it and, and really this was not Baraka's symbol at all.
• 59:54
  Fred thinks Ferrari in the 30s saw this picture like the
• 59:58
  prancing horse and decided that he would use the symbol there.
• 1:00:03
  I, I really don't know.
• 1:00:05
  I just love the stories.
• 1:00:07
  Um, Students who I, I did the presentation for, um, were fascinated
• 1:00:13
  by the evolution of, of, of the brand, um, that, that the racing cars have
• 1:00:18
  the shield with the S and the F and that the road cars have have the other.
• 1:00:22
  I guess there's a, there's a spirit of the age thing there
• 1:00:25
  isn't that fascinated by, by, by.
• 1:00:30
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  Now we will return to our regular scheduled podcast.
• 1:01:34
  So the next thing I wanted to think about was how important the
• 1:01:37
  circumstances of Ferrari's hometown were.
• 1:01:41
  And so he himself will will say that none of this would have been possible
• 1:01:45
  without the tradesman of Modena.
• 1:01:47
  Um, so it's, it's that.
• 1:01:49
  But, but there's a broader context that Ferrari's born into, which, uh,
• 1:01:55
  makes him the, the person that he is.
• 1:01:57
  So, so, um, you know, Italy had a fascist government Mussolini came along
• 1:02:01
  in 1921, um, in, in lots of ways, his brand of fascism was far more, uh, he's
• 1:02:07
  far more pure fascist and far better thought out and far more well established
• 1:02:11
  than, than, you know, what was going on in Germany in the, in the 1930s.
• 1:02:15
  And, and, and for, um, Both Italian and German fascists, the, the, the notion
• 1:02:23
  of modernity and speed and mechanical perfection, um, was, was really important.
• 1:02:31
  And, and so, um, You know, for my designing emotion presentation here, if
• 1:02:36
  you're looking at the slideshow, you can see that there's this fabulous sort of
• 1:02:40
  piece of futurist modernist art with this, like, blocky man speeding along in his
• 1:02:46
  blocky, uh, futurist cubist motorcycle.
• 1:02:50
  Um, similarly, this other slide here of, uh.
• 1:02:54
  of this racing car, um, which is done with all of these sort of organic,
• 1:02:59
  sweeping, contrasting shapes.
• 1:03:01
  Really incredible, um, pieces of, of modernist art.
• 1:03:07
  After the war, after the Second World War, Ferrari set up on his own and, and in
• 1:03:14
  My Terrible Joys, he talks about wanting to create cars bearing my own name.
• 1:03:21
  And, and this is, is, uh, you know, these, Deeply, uh, earthy, I think
• 1:03:31
  is the wrong term, but more, um, visceral, um, ways of, of, uh, yeah, of
• 1:03:42
  personifying, um, the, the automobiles.
• 1:03:45
  So, um, you know, he, he talks about, um.
• 1:03:52
  In an interview that he did late in life, um, Ferrari says that for me, uh,
• 1:03:58
  the racing car is like a son and, and.
• 1:04:04
  Yeah, I don't feel like I can add anything to that.
• 1:04:06
  I feel like all of that talk about Ferrari being enigmatic, it's solid.
• 1:04:10
  I hope he's not enigmatic at all.
• 1:04:13
  He just told you how it is for me.
• 1:04:15
  The racing car is like a son.
• 1:04:18
  The Ferrari brand, as we know, it begins when Ferrari himself was in his forties
• 1:04:23
  in middle age, the factory itself.
• 1:04:27
  At Maranello is a Phoenix rising from the flames because he couldn't be based in
• 1:04:34
  Modena because of wartime bombing even out at Maranello that factory is bombed right
• 1:04:41
  at the end of the war and and and so there is this sense that the Phoenix rises.
• 1:04:46
  Um, Yeah, the Phoenix rises in that factory in, in, in Modena, um,
• 1:04:55
  the V12 engine is very much associated with who Ferrari is and, and this,
• 1:05:01
  this begins in the first world war and Ferrari is involved in moving around in
• 1:05:08
  the factory that the, uh, distributes and, and builds the, um, Packard.
• 1:05:15
  V12 aero engines that are being, that are being made under license
• 1:05:20
  in Northern Italy at the time.
• 1:05:22
  And, and, uh, Ferrari says in, in this, in one of these interviews, I think
• 1:05:26
  you can still find knocking around on, on YouTube that I, I fell in love with
• 1:05:31
  the V12 and have never got divorced.
• 1:05:36
  So the real pivot point for the Formula One team was at Silverstone
• 1:05:41
  at the 1951 British Grand Prix.
• 1:05:44
  And, and this is where, um, Gonzalez, uh, Argentinian fellow in the four and
• 1:05:50
  a half litre Ferrari is able to overhaul and pass the Alpha drivers in their one
• 1:05:57
  and a half litre supercharged Alpha 158s and 159s and when, when Ferrari wins, he
• 1:06:05
  famously says, I have killed my mother.
• 1:06:08
  Um, for the presentation, I use this because of course, Alfa Romeo was the team
• 1:06:12
  that he worked with, you know, before the war, but how melodramatic again, right?
• 1:06:16
  All of this, all this talk about mothers and sons and they're not to him.
• 1:06:21
  They're not cars.
• 1:06:22
  Can you ever imagine Porsche or Hushka von Hanstein or somebody like
• 1:06:28
  Walter Rohr or Norbert Singer, Yeah.
• 1:06:31
  Talking saying, Oh, I've killed my mother.
• 1:06:34
  If you know, when Porsche beat Volkswagen in a race or something
• 1:06:37
  like it, it's just not imaginable.
• 1:06:40
  There's just, there's just this wonderful quintessential Italian passion, um,
• 1:06:49
  in the whole way that Ferrari is.
• 1:06:51
  That's the.
• 1:06:52
  That's where the magic is, right?
• 1:06:53
  If, if, uh, now in my image here, we see Ferrari overtaking Alfa Romeo.
• 1:06:59
  We see Maserati, um, in, in the pits there.
• 1:07:02
  I guess de Graff and Reid had a Maserati force a late CLT, um, and wound the
• 1:07:08
  supercharger right up and, uh, didn't expect to make the race, but it was
• 1:07:12
  the only way he could stay on pace.
• 1:07:14
  And, uh, the motor didn't make the race.
• 1:07:18
  We, we learn a lot about how Ferrari manipulated his drivers and, and it's
• 1:07:25
  hard not to see him as callous when, you know, he hires these young men who
• 1:07:30
  are full of hope and enthusiasm and, and they go out and race and they die.
• 1:07:35
  I want to highlight one particular story here, and that story is, is the, the
• 1:07:39
  death of Alberta was scurry, so you're probably aware that the, uh, a scurry in,
• 1:07:46
  in the summer of, of, in the spring of 1955 is, is killed in the spring of 1955.
• 1:07:51
  Um, he flips the 55 either way, doesn't matter.
• 1:07:56
  56, it might have been anyway, long and short.
• 1:07:59
  Uh, it was 56, wasn't it?
• 1:08:01
  Either way, he crashes the car into the harbor at Monaco.
• 1:08:05
  In the race, only car ever to go into the harbour, apart from,
• 1:08:09
  uh, Pete Aron in Grand Prix.
• 1:08:13
  Um, he's, uh, you know, only, uh, uh, Ascari crashes into the harbour.
• 1:08:19
  Um, he's rescued by divers, um, The following week, Isak Monza, for somebody
• 1:08:25
  else's sports car test, goes out.
• 1:08:29
  Tests and at the corner at Monza, now called Ascari, rolls
• 1:08:37
  the car in and he's killed.
• 1:08:40
  Um, the story goes that when they call from Monza to Maranello to tell the old
• 1:08:51
  man the score, they say Ascari is mortal.
• 1:08:57
  Ascari is dead.
• 1:08:59
  And Ferrari responds, Eh la macchina?
• 1:09:02
  And the car?
• 1:09:09
  On the face of it, Super Catalyst, looking deeper, we can see that He's
• 1:09:17
  not going to stop motor racing now.
• 1:09:20
  I'm not going to break down in tears.
• 1:09:22
  This has happened before.
• 1:09:24
  So we just move onward and upward.
• 1:09:27
  Keep calm and carry on wartime spirit.
• 1:09:30
  That's the, that's what I think is, is at work here.
• 1:09:35
  Um, the correspondence between Ferrari and, um, Ascari's wife tells
• 1:09:43
  us, sorry, not of, of callousness.
• 1:09:46
  Ferrari was, um, Yeah, Ferrari's own hero was Alberto Ascari's father,
• 1:09:53
  who was killed at Monza in 1925.
• 1:09:56
  So, um, if anybody would feel the poignancy of Alberto's passing,
• 1:10:02
  it would be, um, Ferrari himself.
• 1:10:07
  So the photographs here are not Ascari, they're taken from the D'Agostini, um,
• 1:10:14
  Biography of Farina, um, and it's, uh, so on, on the left, we have the, the, um, you
• 1:10:22
  know, Farina lying by the car and on the right, we have the close up of him and,
• 1:10:28
  and his Ascari, uh, and his Castellotti rather standing over and making sure
• 1:10:32
  that, that he's, that he's okay.
• 1:10:34
  I've, I've included, I included it, right?
• 1:10:37
  Cause here's a way to illustrate what happened to Ascari,
• 1:10:40
  um, without the, the actual.
• 1:10:43
  You know, without the macabre ness of actually showing the,
• 1:10:46
  uh, exactly what happened.
• 1:10:48
  So that was a little bit of, uh, of storytelling on my behalf.
• 1:10:54
  So I, I used these couple of quotes, which I'll, I'll read out, um, from
• 1:11:03
  My Terrible Joys, which I just, Just kind of eye popping, given the hero
• 1:11:09
  worship around Ferrari nowadays.
• 1:11:13
  I am convinced that when a man tells a woman he loves her, he only
• 1:11:17
  means that he desires her, and that the only total love in this world
• 1:11:21
  is that of a father for his son.
• 1:11:28
  It is the woman who chooses her mate, not vice versa.
• 1:11:32
  We think we have wooed and won.
• 1:11:34
  Whereas in reality, we're merely the slaves of our desire, on which the
• 1:11:38
  woman has played with consummate skill.
• 1:11:43
  Kind of incel, isn't it?
• 1:11:44
  Nowadays we'd call it that, but, you know, it's, it's, again, right, it's
• 1:11:48
  this sense of, there's a bitterness and a darkness, uh, about Ferrari.
• 1:11:55
  It's quite well known Ferrari sold the road cars in order to finance racing.
• 1:12:03
  Um, I don't think that's mythology.
• 1:12:07
  I think he had very little interest in the road cars.
• 1:12:11
  Um, what he says about Ferrari customers in My Terrible Joys
• 1:12:16
  is not that complimentary.
• 1:12:18
  Most of them seem to have been more interested in what the car looked like
• 1:12:21
  rather than, you know, they didn't want to know which carburettor jets had been
• 1:12:24
  fitted or What the back axle ratio was, they were more concerned about the colors.
• 1:12:29
  And, and, uh, you know, that obviously, you know, meant that Ferrari was
• 1:12:34
  less interested in them that he was in, uh, you know, in the guys in, in
• 1:12:38
  doing the, uh, in doing the racing.
• 1:12:42
  The, uh, the image that I used to, to illustrate for our, um, to, to illustrate,
• 1:12:48
  um, for our road cars here is of the Pebble Beach Concours d'Elegance from 2014
• 1:12:57
  and it's, uh, John Shirley's, uh, Ferrari.
• 1:13:00
  I think it's a 375 plus.
• 1:13:02
  I think that's what it is, but it's a special body car.
• 1:13:06
  It has what was, uh, Described to me by Mark Osborne at Bonhams.
• 1:13:11
  This is where I picked up the phrase from the the perfect storm of provenance.
• 1:13:15
  He wasn't talking about this car, he was talking about another car, but I just love
• 1:13:19
  that turn of phrase in that this car was not only a Le Mans winning car that was
• 1:13:27
  entered, it was a And presented in the Milli Milia driven by Roberto Rossini,
• 1:13:32
  and there's photographs of him with ink Bergman and the car, you know, at Rome,
• 1:13:37
  at the Rome control kind kind of thing.
• 1:13:40
  Um, then after the race, it was sent back to the factory and it had this
• 1:13:44
  awesome special body fitted to it, which if you're not looking at the
• 1:13:48
  photo of it, or even if you are, you really need to surf around and, and
• 1:13:52
  look a little bit, look, um, and look at the car a little more because it is.
• 1:13:57
  Absolutely.
• 1:13:58
  The definition of Pebble Beach elegance, as well as having the racing history,
• 1:14:02
  as well as having the celebrity history, as well as being a big capacity sports
• 1:14:08
  racing Ferrari is just absolutely the perfect storm of provenance.
• 1:14:15
  The aesthetics are about more than what the car looks like outside.
• 1:14:19
  They're also about what the car looks like inside.
• 1:14:22
  And for me, the interior of a 60s Ferrari, especially before they started doing this
• 1:14:30
  new fangled Formica, which looks so cheap and nasty now, but then was like premium.
• 1:14:36
  And you paid more for the wood and the leather, the wood, the leather.
• 1:14:41
  The shifter, the nardy steering wheel, this is it.
• 1:14:46
  This is all you need.
• 1:14:48
  The five gauge cluster.
• 1:14:50
  This, this is, this is what you need to drive a car.
• 1:14:54
  Anything more is superfluous.
• 1:14:58
  The 1963 Ferrari GTO, the world's most expensive car.
• 1:15:04
  It was when I put this presentation together.
• 1:15:06
  Numbers two, three, and four.
• 1:15:08
  I don't know about number five, but numbers are GTOs.
• 1:15:11
  They, they remain, you know, in the Eulenhaupt Coupe is not really, you
• 1:15:16
  know, there's not any more of those.
• 1:15:17
  There's not like another one's going to be sold.
• 1:15:20
  So we're not going to, you know, GTOs, the, the reason that Ferrari GTOs
• 1:15:27
  acquired this sort of Mona Lisa kind of status within the classic car world was
• 1:15:36
  specifically because of, well, because of a Number of factors, the perfect
• 1:15:41
  storm, if you will, 39 built 36 survive.
• 1:15:44
  So that's really important because it's enough to make a market, but it's not
• 1:15:50
  so many that anybody can have them.
• 1:15:52
  It creates a super exclusive club.
• 1:15:54
  If you want to rub shoulders with Rob Walton of Walmart, buy a Ferrari
• 1:16:00
  GTO, do a driving event, there he is.
• 1:16:04
  That's if you, if you know, it, it, it.
• 1:16:08
  Owning a car like this, let opens a door into a super exclusive club.
• 1:16:15
  Um, you should never underestimate with collector cars, how
• 1:16:19
  important the way they look are.
• 1:16:20
  If the shape isn't elegant, if it, if you can't sit on the Pebble
• 1:16:25
  Beach lawn and look elegant, it's never really going to be valuable.
• 1:16:29
  So Pebble Beach last year, they had Senna's championship winning.
• 1:16:35
  McLaren MP4, McLaren Honda MP4 stroke four.
• 1:16:39
  So for me, as a Senna fan, this is, you know, the ultimate racing car, the
• 1:16:45
  ultimate, this is Excalibur, this is the ultimate, you know, so what car
• 1:16:51
  on the lawn at Pebble Beach could be better than the car that Senna had
• 1:16:56
  used to win his world championship?
• 1:16:57
  Well, you know, the judges judged other cars because.
• 1:17:02
  Fundamentally, uh, 80s or 90s Formula One car is just not that elegant as a car.
• 1:17:10
  Despite Senna's achievements, the machine itself is not that elegant.
• 1:17:14
  Similarly, however beautiful a Seata is, it's never going to win Best in Show
• 1:17:19
  because a small car just cannot be as elegant as a big Packard or a Bugatti.
• 1:17:25
  You know, as a bigger car can be as this as John Shirley's Ferrari.
• 1:17:29
  You know that can win in a way that a Seata or an Oscar or something like that
• 1:17:34
  never could, even though you can argue that the design is is is as exquisite.
• 1:17:40
  Um, so the GTO it has it all right.
• 1:17:44
  It's the right it has those kind of it's it's.
• 1:17:48
  It's, it's a decent size.
• 1:17:50
  The proportions are perfect.
• 1:17:52
  It has that race history.
• 1:17:56
  Um, each one, I mean, like all Ferraris of this era, each one's individual
• 1:18:01
  has their own, have their own history.
• 1:18:03
  But that history is, is, um, thoroughly recorded.
• 1:18:08
  So there's a sense of, you know, exactly what you're getting.
• 1:18:12
  That's really what we're talking about.
• 1:18:15
  Now, I, I put on the slide here usability and it seems absolutely ridiculous for
• 1:18:20
  like a 50 million car that you should worry about whether or not it's usable.
• 1:18:24
  But, but what we mean is the, um, I'm Marco Schumacher Formula 1 car, enjoying
• 1:18:34
  that car, driving that car means renting a track and having a crew and planning
• 1:18:41
  and fiddling and farting around, right?
• 1:18:43
  That's a lot of hassle.
• 1:18:44
  If you think about, What that entails, you know, you can enjoy it without
• 1:18:49
  you rent a track or, you know, There's a very hard thing to enjoy.
• 1:18:55
  Whereas the Mercedes Gullwing or Aston Martin DB5, this is the car, which pretty
• 1:19:02
  much can keep up with modern traffic.
• 1:19:03
  You have to concentrate.
• 1:19:05
  So you can use it for cars and coffee.
• 1:19:07
  You can use it to take your kid to get ice cream, your grandkid to get ice cream.
• 1:19:12
  You know, you can actually use them.
• 1:19:14
  And, and the Ferrari GTO very much falls into that category that you
• 1:19:19
  could actually use it if you did use it, just like with a real, just like
• 1:19:23
  with Cobras, if you did use it, people would probably think it was a fake.
• 1:19:27
  People would think it was a fakie do and you could probably just fly under
• 1:19:31
  the radar, especially if you had a bit of a scruffy one in a not good color.
• 1:19:36
  Um,
• 1:19:40
  the other thing I wanted to say about them and really wanted to underline
• 1:19:45
  for for my students, a lot of whom are, uh, you know, design graduates, product
• 1:19:52
  Engineers, you know, marketing people, you know, people who are going to create
• 1:19:57
  the consumer products for the next, you know, over the next 5, 10, 20 years,
• 1:20:03
  um, was, was how the sheer coolness of Ferrari GTO, just the letters GTO, the
• 1:20:12
  sheer Coolness of that, um, was enough for that visionary marketing man, John Z.
• 1:20:22
  DeLorean and his sidekick, Jim Wangus sitting in Detroit to think
• 1:20:27
  to themselves, my God, if we can hot rod up this Tempest and give it the
• 1:20:33
  same name as a Ferrari, maybe just, maybe we might shift some steel.
• 1:20:38
  And of course.
• 1:20:39
  We know that the Pontiac GTO, named after the Ferrari GTO,
• 1:20:44
  the Pontiac GTO is considered by most people the first muscle car.
• 1:20:48
  So, so, uh, the, the influence, Ferrari's influence is far broader than you might
• 1:20:55
  initially, uh, initially anticipate.
• 1:21:00
  But this car, chassis number oh 6 2 5, I did a, a motoring event,
• 1:21:04
  um, in it with, uh, Aland Cadney.
• 1:21:07
  Um, and, uh, yeah, it's the only, uh, vintage Ferrari that
• 1:21:11
  I would say I know intimately.
• 1:21:13
  Uh, for a week there I was the mechanic.
• 1:21:16
  I checked the oil, I checked the brakes.
• 1:21:19
  I, I, uh, and it was, uh, and deca, they drove it.
• 1:21:23
  Really hard as well.
• 1:21:24
  I've, uh, Highway 33, um, just near Santa Barbara, Southern California.
• 1:21:31
  He had that car in full on four wheel drifts, like the kind of four wheel
• 1:21:35
  drifts that Ari Vartanen would have been, uh, would have been proud of.
• 1:21:39
  Um, I remember watching his foot go from, uh, backwards and forwards
• 1:21:43
  from the brake to the throttle.
• 1:21:46
  Um, sitting next to him.
• 1:21:48
  He had no seatbelts.
• 1:21:53
  Ferrari describes himself as an agitator of many.
• 1:21:56
  He does it repeatedly.
• 1:21:58
  Um, that's important for two reasons, right?
• 1:22:02
  It's that he doesn't see himself as a great engineer.
• 1:22:04
  He doesn't see himself as a great racing driver.
• 1:22:06
  He simply sees himself as somebody who motivates other people to do it.
• 1:22:11
  So, so this is his, he's so, he's one of these leaders who hires better people
• 1:22:17
  than, than him and, and makes them.
• 1:22:20
  Work, work together.
• 1:22:21
  But I think this term of agitator is, uh, is interesting because it
• 1:22:25
  speaks to the way that he would pit drivers against each other.
• 1:22:28
  He speaks to the way that throughout Ferrari's existence in the classical
• 1:22:32
  period, there were two V12 engines, the Colombo and the Lampready, and
• 1:22:38
  he would alternately develop one and then the other, depending upon his
• 1:22:43
  relationship with the designer of Ferrari.
• 1:22:47
  You know, with first with Columbo, then with, with Lampready, but when he fell out
• 1:22:51
  with one, he would go back with the other.
• 1:22:53
  And then you would see that engine being developed over ever greater capacities.
• 1:22:58
  In fact, I was just talking about the cat in there in the, uh, um,
• 1:23:03
  and that motoring event, that, uh, Mille Miglia North America thing
• 1:23:06
  that I, uh, that I did with him.
• 1:23:07
  He told me that you can tell the difference between a Lampradian
• 1:23:10
  and a Colombo unit based upon where the spark plugs are.
• 1:23:16
  I can't remember which one has them high and which one has them low, but that's how
• 1:23:20
  you, you tell the difference between them.
• 1:23:24
  We talked about how in, after the Mille Miglia in 1957, there was talk
• 1:23:30
  of Ferrari being excommunicated.
• 1:23:34
  In June 1988, not long before Ferrari died, the Pope came to Maranello.
• 1:23:41
  Um, that papal visit is huge.
• 1:23:45
  And it speaks to all of this business of, um, Ferrari not just being a car
• 1:23:50
  brand, but being somehow synonymous with or part of what it is to be Italian.
• 1:23:59
  In the newspapers, the Italian newspapers, they call Ferrari La Rossa.
• 1:24:03
  It's Not Ferraris.
• 1:24:05
  The Red.
• 1:24:08
  Interesting, interesting, very different from how the Germans see
• 1:24:13
  Mercedes or how, um, you know, we Brits saw, um, our brands, Norton
• 1:24:20
  or, you know, Velocet or whatever.
• 1:24:23
  I was talking about Senna's.
• 1:24:25
  McLaren MP4 stroke four.
• 1:24:27
  And how I thought that was like the Excalibur, you know, the, the, the
• 1:24:30
  greatest weapon by the used by the greatest driver, if you like, if that,
• 1:24:35
  if you think Senna's the greatest driver, you know, you would be, that's
• 1:24:38
  what it would be that that would be the Excalibur, um, that year in 1988,
• 1:24:45
  Senna was at McLaren with Prost and, and the two of them were unbeatable all
• 1:24:51
  year, um, except for one race, 16 races.
• 1:24:56
  Between them, they won 15.
• 1:25:01
  The weekend of the Italian Grand Prix at Monza was the weekend
• 1:25:06
  after old man Ferrari died.
• 1:25:10
  Ferrari dies.
• 1:25:13
  Italian Grand Prix is the next race.
• 1:25:18
  Just like every other Formula One race of the season, the McLarens just peed off
• 1:25:25
  at the front and nobody else was in it.
• 1:25:28
  On this occasion, Senna was faster and was doing his usual business of carving
• 1:25:33
  through the backmarkers very aggressively.
• 1:25:37
  And as we can see from my slide here, one of these backmarkers, who is a
• 1:25:41
  sports car driver by the name of Jean Louis Schlesser, who the young, the
• 1:25:47
  younger me felt shouldn't have even been sitting in a Formula One car in the
• 1:25:51
  first place, He didn't see Senna coming.
• 1:25:56
  Whatever, the two came together.
• 1:25:58
  And as you can see from the slide here, Senna got airborne and that was
• 1:26:02
  enough to take him out of the race.
• 1:26:04
  And guess what?
• 1:26:08
  Ferrari won too.
• 1:26:10
  Because they'd been running 3 4.
• 1:26:11
  I don't know what Prost.
• 1:26:13
  But the two Ferraris won the race.
• 1:26:17
  So you've this sense that Ferrari dies.
• 1:26:20
  And then against hope, At Monza, the Ferraris come through and, and, and win.
• 1:26:27
  So it's this again, right?
• 1:26:29
  Ferrari's whole life.
• 1:26:30
  He made the myths, right?
• 1:26:31
  He was the smoke machine, but my word, there's some strange
• 1:26:35
  coincidences, uh, going on.
• 1:26:40
  So what I wanted to wrap up with for my, uh, for my students was,
• 1:26:44
  was the thought that, you know, a company like Audi has brand values.
• 1:26:50
  Ferrari, Has as a brand has a sense, a deep sense of identity based
• 1:26:59
  upon what's happened in the past.
• 1:27:02
  And I think that's really where I should stop.
• 1:27:27
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