Thornley Kelham has revealed the first new project in its bespoke ‘European’ program: The Jaguar XK European. The ‘European’ program "weaves together concours-quality restoration skills, industry-leading design and motorsport-grounded engineering and mechanical expertise to reimagine key automotive icons from some of Europe’s leading brands," according to TK PR minions. Credentials? The XK European has been reinterpreted inside and out by ex-McLaren designer (P1, 720S) Paul Howse. An all-new lightweight alloy body is combined with a fuel injected 340HP 3.8-litre XK engine, redesigned suspension and gearbox, uprated brakes and electrics to deliver modern levels of performance, and move the original XK experience into the 21st century. This is the first new Thornley Kelham project in its ‘European’ range of reimagined automotive legends since their Lancia Aurelia Outlaw. How much work is involved? The restoration and modification process took around 5000 hours. Most of the work is carried out in-house by Thornley Kelham, together with a small number of trusted and talented partners. As well as its work in concours restoration, the in-house team of craftsmen is expert in race-winning classic motorsport engines, and numerous previous projects have involved bespoke enhancements from uprated suspension, steering and brakes, to conversion to fuel injection, and the design and execution of convenience features such as air-conditioning and high end ICE. In the ‘European’ programme, all that experience comes to bear to create the ultimate incarnation of a number of European sports cars of the golden era, including the Jaguar XK. Howse’s vision celebrates the original beautifully aerodynamic lines in a way that remains true to the car’s original intentions, echoing the kind of work applied to the E-Type Lightweight. The first major task was to lower the roofline so that the proportions become more elegant and purposeful. The next was to add some curvature to the sides; all the body sections now have an acceleration to them which adds sculpture and muscle but also lightness. The arches are wider both at the front and more significantly at the rear with wider alloy wire wheels filling them out nicely, giving that ‘road racer‘ stance. The brightwork was also removed and instead a subtle crease was introduced down the bonnet which follows the split screen into the roof and washes out over the roof, which is more smoothly integrated into the overall form, as are the rear arches. At the rear, the tail now sweeps up to create a more teardrop form. The rear lamps are nestled into the bodywork and the headlights have had the chrome bezels removed, cleaning up the appearance. Other improvements? A completely revised and detailed interior including new electronic instrumentation, electric windows and a discreet rollcage. Air-conditioning, power steering, Bluetooth connectivity and a number of in-car entertainment options ensure that every European will combine the thrill of a classic with the convenience and everyday drivability of a modern car. More? The Jaguar XK 3.8-litre straight-six engine is thoroughly re-engineered to deliver the performance akin to a modern sports car. The all-alloy engine is equipped with direct injection, a bespoke camshaft and rebored cylinders for either 300HP or 340HP depending on specification. Power is delivered through a redesigned five-speed manual transmission. The handling has been enhanced with reconfigured suspension all-round, employing double wishbones at the front, coilovers, tuned Bilstein shock absorbers and Eibach springs. It’s a far more modern package than the original car, which featured basic leaf springs on the rear axle. In fact, the rear axle set up has been completely redesigned, and now incorporates a limited slip differential. Four-piston vented disc brakes equip each wheel. Development of the first Jaguar XK built to ‘European’ specification is already underway, with the first commission secured. Numbers will be strictly limited, with prices from £550,000 - plus donor car - depending on specification. Editor-in-Chief's Note: This thing is drop dead gorgeous. That is all. -PMD
Editor-in-Chief's Note: Genesis premiered the Genesis X Speedium Coupe at Genesis House New York. The concept "incorporates Genesis’ DNA, while looking ahead to the next wave of EVs and highlighting Genesis’ future as a luxury electric vehicle brand," say the Genesis PR minions. The Genesis X Speedium Coupe was born out of a “freestyle” design exercise based on the Genesis X Concept and led by Luc Donckerwolke, Genesis Chief Creative Officer. The name Speedium was inspired by the Korean racetrack in the city of Inje and the passion for motorsport it inspired in Genesis designers. The name also encapsulates Genesis’ belief that the emotional value of driving will remain strong in the era of electrification. The addition of the word “coupe” further accentuates the enjoyment of driving through aesthetic designs (Huh?). And now it's time for the Bullshit Alert: “This car is an open-door moment in Genesis’ journey towards our future EV design,” said Donckerwolke. “This isn’t a show car — it’s a look into our design processes as we explore ideas for the next wave of EVs, one that incorporates Genesis’ DNA.” Alrighty then. I've seen the comments roiling around, and "it looks better in person" is not necessarily a good sign. The Speedium Coupe is flat, not distinctive and just plain boring but, I'm glad Donckerwolke & Co. are continuing to listen to the dulcet tones of their own thought balloons. It indicates that self-delusion is still alive and well in this business. So, there's that. -PMD (Note: Speedium rhymes with Tedium. Coincidence? We think not. -WG)
The Chrysler Airflow Concept made its debut at the 2022 Consumer Electronics Show (CES) in Las Vegas, but with the new Graphite, Chrysler offers "a reimagined look at the brand's journey to a fully electric future," according to Chrysler PR minions. The Chrysler Airflow Graphite Concept "embodies Chrysler’s new contemporary, tech-forward design, showcasing a sleek, sophisticated Galaxy Black exterior body color paired with Cyprus Copper accents inside and out," the PR minions continued. Editor-in-Chief's Note: This is the Vaporware part of Chrysler's message: "All-electric Chrysler Airflow Concept integrates leading-edge drive-system technology with intuitive AI and connected-vehicle technology that delivers up to 400-mile range and fast-charging functionality." That means it's a giant "we'll see." Chrysler is committed to launch its first battery-electric vehicle (BEV) by 2025 and full battery-electric portfolio by 2028. That's a giant "we'll see" Part II . -PMD
Mercedes-Benz is getting its electric thing on. The German manufacturer has taken its VISION EQXX to the roads to demonstrate its progress in delivering EV range and efficiency. Traveling from Sindelfingen across the Swiss Alps and Northern Italy, to its destination of Cassis on the Côte d'Azur, the VISION EQXX effortlessly covered more than 1,000 km (621 miles) in everyday traffic, on a single battery charge. The journey started in cold and rainy conditions, and was undertaken at regular road speeds, including prolonged fast-lane cruising at up to 87 mph on the German autobahn and near the speed limit elsewhere. The battery's state of charge on arrival was around 15 percent, amounting to a remaining range of around 140 kilometers (87 miles), and the average consumption was a record-breaking low of 8.7 kWh per 100 kilometers (7.1 kWh per 62 miles). The VISION EQXX "has thus taken electric vehicle efficiency to a whole new level – in real-life conditions and with independent proof," according to Mercedes PR minions. The long-distance drive was completed with the charging socket sealed and accompanied by an independent expert from certification body TÜV Süd. The technology in the VISION EQXX will be deployed in upcoming series-production Mercedes vehicles.
Ford has introduced its Ford GT Holman Moody Heritage Edition, which pays tribute to the company’s 1966 Le Mans sweep and the race team that innovated the capability of the GT40 MK II to deliver a brake setup matching the race car’s 200 mph-plus speeds. The livery features exclusive Holman Moody Gold exterior paint, contemporary touches of exposed carbon fiber, plus signature Heritage Red and Oxford White accents. The gold and red livery of the limited-edition supercar includes signature Oxford White roundels with No. 5 stamped on the doors, hood and rear wing – all matching the appearance of the 1966 Ford GT40 raced by Holman Moody. The Holman Moody team played a critical role in the GT40’s race success. Following the 1965 Le Mans race, Ford’s newly formed Le Mans committee tasked Holman Moody (and Shelby American) to rework the GT40 MK II. Driven more than 265 laps over eight days in January 1966, chassis No. P/1016 became a laboratory on wheels as the teams worked to redesign brakes, suspension and tire setups to be more competitive, even trying an experimental automatic transmission. They had one goal – to win at the 1966 Le Mans race. Editor-in-Chief's Note: A race that was botched at the end when Ford operatives tried to be too clever by half by ordering a 1-2-3 formation finish, which ended up costing the Ken Miles/Denis Hulme No. 1 Shelby American Ford Mk II the race win. The formation finish caused the organizers to note that the No. 2 Shelby American Ford Mk II driven by Bruce McLaren/Chris Amon started further back on the grid, which meant it was classified as the winner. The No. 5 Holman & Moody Ford Mk II driven by Ronnie Bucknum/Dick Hutcherson finished third. Miles, who was greatly responsible for Shelby American's early success as a racer and development driver, won the Daytona 24 Hours and 12 Hours of Sebring in 1966. He was robbed of the 24 Hours of Le Mans win by Ford's monumentally stupid decision. Miles remained bitter about it, and he was killed testing the Ford J-car prototype at Riverside International Raceway, on August 17, 1966. -PMD
Walking on, walking on broken glass
Walking on, walking on broken glass
You were the sweetest thing that I ever knew
But I don't care for sugar, honey, if I can't have you
Since you've abandoned me
My whole life has crashed
Won't you pick the pieces up
'Cause it feels just like I'm walking on broken glass
Walking on, walking on broken glass
The sun's still shining in big blue sky
But it don't mean nothing to me
Oh, let the rain come down
Let the wind blow through me
I'm living in an empty room
With all the windows smashed
And I've got so little left to lose
That it feels just like I'm walking on broken glass
And if you're trying to cut me down
You know that I might bleed
'Cause if you're trying to cut me down
I know that you'll succeed
And if you want to hurt me
There's nothing left to fear
'Cause if you want to hurt me
You're doing really well, my dear
Now everyone of us was made to suffer
Everyone of us was made to weep
We've been hurting one another
Now the pain has cut too deep
So take me from the wreckage
Save me from the blast
Lift me up and take me back
Don't let me keep on walking
I can't keep on walking, keep on walking on broken glass
Walking on, walking on broken glass
Walking on, walking on broken glass
Walking on, walking on broken glass
Walking on, walking on broken glass
"Walking On Broken Glass" by Annie Lennox, from the album "Diva" (1992)*. Written by Annie Lennox. Publisher: Universal Music Publishing Group. Lyrics licensed and provided by LyricFind. Watch the very cool Official Music Video (with John Malkovich and Hugh Laurie) here.
*Contrary to the lilting melody, the lyrics describe a woman who is anguished over a breakup. The guy in the song has smashed her to pieces, which now feel like broken glass beneath her feet.Lennox had been through some rather intense relationships, including a short-lived marriage in 1984, but in this song she was likely playing a role. In later years, she cited Diva tracks like "Why" and "Precious" as being very personal, but "Walking On Broken" glass doesn't fit that category. Explaining how she could get into character, she told Q in 1992: "I've always loved R&B and I had that in mind when I was singing. In fact, I'd think of myself as a very old black man - and I know I've got no right to imagine I know what that is - but, in my way, I stepped into that persona." The video was based on the 1988 movie Dangerous Liaisons, with elaborate costumes inspired by film, which was set in France during the 1700s. John Malkovich, who starred in the movie, also appeared in the video, as does Hugh Laurie, who went on to star in the TV show House. With the string section and baroque sound, the music fit the theme. The MTV audience had little interest in Lennox or Dangerous Liaisons, but VH1, which went on the air in 1985, played it in heavy rotation.The Diva album was Lennox' first as a solo artist; throughout the '80s, she was in Eurythmics, her extremely successful and inventive duo with Dave Stewart. In early 1990, Eurythmics split; Lennox took time off to work on charitable endeavors and focus on her home life. She got married in 1988, the same year her first child was stillborn. In December 1990, her daughter Lola was born. Work on the album was done at a studio constructed in her home so she could spend time with her. A lot of people believed in her, including Stewart and her manager Simon Fuller, but Lennox never seemed to believe her hype and often questioned her considerable talents. Fuller teamed her with up-and-comers who would be patient and nurturing: producer Stephen Lipson and keyboard wizard Marius De Vries. It worked: the Diva album was a critical and commercial smash, establishing Lennox as a solo artist. Released as a single following "Why," "Walking On Broken Glass" earned considerable airplay on Top 40 and Adult Contemporary radio. The elaborate photography on the Diva album was done by Anton Corbijn, who also worked with U2 and Depeche Mode. Annie Lennox recalled the song's video in a blog promoting her 2009 greatest hits album: "This was a wonderful video to create. There were some wonderful people involved - John Malkovich and Hugh Laurie (before he had an American accent)! That was tremendous fun. The idea of it being a period piece, like Les Liaisons Dangereux. The alternative title for 'Broken Glass' could easily have been 'Hell hath no more fury than a woman scorned.' The video is very wry and tongue-in-cheek. People can take me a little seriously sometimes, but I do actually have a rather radical sense of humor." (Knowledge courtesy of SongFacts.com)
