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Petrolicious

Drive Tastefully® We celebrate the inventions, the personalities, and the aesthetics that ignite our collective lust for great machines. We are Petrolisti.

We are fans and fanatics, collectors and racers. At Petrolicious we seek to inform, entertain, and inspire our community of enthusiasts and pique the interest of those who have been missing out. Join the Petrolisti. Entertain your passion. Drive tastefully®.

04/09/2026

Every livery on a vintage race car is a decision somebody either made or dodged. Vinyl is how you dodge it. Print it tonight, stick it on tomorrow, peel it off when the car changes hands and let the next owner not decide either. Bailey Clayton is the other option.

When a shop in South San Francisco sent Bailey Clayton a folder of black and white photographs of a 1956 Ferrari 500 TR, the ask was to put it back the way it left Reims. That meant reading brushstrokes off a 70-year-old print, catching a crest that had changed years, and putting down paint that isn't coming off. He calls it the pursuit of perfection within human reason. Some owners would call it a risk. He'd call that the point.

Directed by: Paolo Lekai https://instagram.com/paololekai

Watch the film: https://petrolicious.com/blogs/films/one-shot-hand-painting-a-1956-ferrari-500-tr

Read the article:
https://petrolicious.com/blogs/articles/one-shot-hand-painting-a-1956-ferrari-500-tr

31/08/2026

His father had already chosen his future. He was expected to take over the family business. There was an interview arranged to make it official.

He never showed up.

Dinner got quiet after that. His father stopped talking. She cried when he bought the car. He missed her entrance ceremony because he was off somewhere racing, and eventually she stopped staying awake to wait for him.

Everyone else became respectable.

The man never existed.

He’s a Japanese rally driver from the 1960s who came out of the head of Polish artist Pawel Kalinowski, and the only place his memory exists is in ultraviolet paint on the shell of a Porsche 356 that will never live again.

Pawel Kalinowski calls the installation Ghost Layer.

Under normal light, eleven jars sit inside the ruined 356. Sand, rust, soil, ash, a bolt, broken glass, a torn corner of a map, a family photograph with the faces blurred out, a child’s drawing.

Then the lights change.

Under ultraviolet, the jars disappear and eleven sentences emerge from the bodywork.

My father had already chosen my future.

She cried when I bought the car.

Everyone else became respectable.

Another night choosing this over home.

Silence after the engine stopped.

That last one is the sentence Pawel stops on.

The driver isn't a man who chose rallying over his family once. He's a man who chose it again on Tuesday, and again the Tuesday after that, understanding the whole time what it was costing him.

Whether the car ruined his life is a question Pawel answers twice.

“Probably.”

Then, a beat later:

“No.”

A car doesn't do that to anyone. The person does it, and the car is just what he reaches for.

The word Pawel eventually finds for all of this is transience. Things come, things go, and the things that mattered most to somebody eventually go with them.

“The objects themselves mean nothing,” he wrote, “until we decide they do.”

Read the full story on Petrolicious.com.

Photography:

reframed

28/08/2026

At 14, Jim Glass talked his mother into signing a permission slip so he could go racing.

He grew up in a racing family in Kingston, New York. Decades later, he found this 1967 Camaro, a real period Trans-Am car that had spent years sitting under white Rustoleum. Beneath it was the car Jocko Maggiacomo raced in 1972.

Glass brought it back with an original DZ302, factory-book Corvette brakes, and a fresh set of period-correct graphics from Maggiacomo himself, 40 years after he had first lettered it.

At Lime Rock, there are no assists. “You have to drive the car,” Glass says.

Watch Film:
https://petrolicious.com/blogs/films/the-permission-slip-jim-glass-1967-trans-am-camaro

Then join us and Lime Rock Park for Historic Festival 44, September 4–7.

Tickets and information:
https://limerock.com/events/historic-festival/

Drive Tastefully®

27/08/2026

Only two Mercedes-Benz C292s were ever built. Neither got the chance to race.

At Ultrace Düsseldorf, writer and photographer Jathu Thillai found one sitting alongside the cars that came before it, the C9 and C11, and began tracing a complicated period in Mercedes-Benz motorsport history.

“Having been lucky enough to see the C9 and C11 in action at historic racing and at Goodwood Festival of Speed, my eyes and attention went directly to the C292.”

Mercedes had been absent from motorsport for more than 30 years following the 1955 Le Mans tragedy when the success of Peter Sauber’s C9 helped coax the company back. The C9 and C11 went on to dominate the World Sportscar Championship, but their successor, the C291, struggled.

The C292 was supposed to put things right for 1992. Rising costs and a championship falling apart meant Mercedes withdrew before the car even went testing.

“Standing in front of one of just two cars ever built was surreal to say the least.”

Elsewhere at Ultrace were more pieces of that history: the 1937 W125, a CLK GTR Straßenversion and the CLR, whose disastrous 1999 Le Mans would once again bring Mercedes’ sports car racing ambitions to an abrupt end.

By Friday evening, the writer found himself looking at decades of Mercedes racing history gathered under one roof and wondering where it might go next.

“For a company steeped in motoring and motorsports, it will always be difficult to stay out of motorsport, especially sports car racing.”

“I wondered about this as I clinked glasses with a few of the HWA staff as we chatted about the future of Mercedes in racing while admiring the past parked right next to us.”

Read the full story on Petrolicious.com.

26/08/2026

It’s noon on Thursday, May 4, and I’ve just finished loading my 997.1 Carrera S for a long weekend of driving and camping with friends at the 2026 DWA! Camping While Awesome Rally. First stop: Cayucos, California, by way of Big Sur and the Pacific Coast Highway.

Somewhere between a road trip and summer camp, DWA! events are built around long days on great roads, late nights around dinner tables, and the kinds of conversations that only happen after hours behind the wheel together.

Our first day took us through Santa Margarita, Pozo, and the Carrizo Plains before eventually crossing Highway 58 toward California’s Central Valley.

The morning pace was relaxed. At least at first.

A few hours in, I found myself tucked in behind Art’s newly finished K24-powered E30, followed by a pair of 993s and a tiny Peugeot dancing in the mirrors behind us. The roads emptied. The foothills approached. The relaxed rhythm of the morning disappeared instantly.
Left. Right. Crest. Compression.

The kind of road that pulls your entire focus through the windshield.

Adrenaline narrowed my vision. Every braking point, every camber change, every corner exit became crystal clear. The 997 came alive beneath me. Crisp downshifts. Steering feeding information through my fingertips. The nose settling into each turn before seemingly endless grip carried me out the other side.

I had entered driving nirvana.

The following days brought more of the same: incredible roads, late-night conversations, dirt driving, and new friendships formed. Even now, I can still picture the faded yellow lines of Highway 58 rushing toward the windshield. The smell of dry grass. The heat rising off the pavement. The sound of Art’s K24.

Thank you to Lane, Warren, and Art for creating something that continues to bring enthusiasts together in such a genuine way. And thank you to V6 Ranch in Parkfield, Ca for hosting us.

If you ever have the opportunity to join a DWA! rally, take it.

Photography by: Paolo Lekai

24/08/2026

There is a decal on the console behind the shifter that reads, in part, “must operate on fuel having a minimum of 103 research octane and 95 motor octane or engine damage may result.” In 1969 that meant racing fuel, bought separately, forever. Chevrolet put the sticker where a driver could not help looking at it.

Zora Arkus-Duntov wanted privateers running Corvettes at a point when GM was officially out of racing, and both SCCA A-Production and FIA GT required that whatever showed up on the grid be something the factory genuinely built and sold to the public. So the L88 went onto the order form at $1,032.15 for the engine alone, priced and equipped so that as few people as possible would ever tick the box.

What you got with it was the heavy stuff you needed if you were going racing: better suspension, Posi, heavy-duty brakes, transistor ignition, and almost always the M22 Rock Crusher four-speed. What you did not get was anything that made the car pleasant on the street. No radio. No air conditioning. Want to pay $105 for power steering? Too bad. Just 116 people ticked it that year.

The rating did most of the work. L88 was listed at 430 horsepower at 5,200 rpm, five under the tri-power L71. Anyone who walked in and asked for the most powerful Corvette got pointed at the L71. That was exactly what was supposed to happen. Dyno pulls and period drag times put the real horsepower numbers somewhere between 550 and 580.

This one was ordered by the son of the owner of Melton Motor Company in Belleville, Kansas, to work as a dealer demonstrator during the week and a drag car on weekends. In 1971 it set two AHRA world records at Manhattan Raceway Park, an 11.77 and then an 11.39.

It set both of them before anyone’s name was on the title. That did not happen until 1982.

Photography by: Paolo Lekai

23/08/2026

Your dose of Sunday Serenity featuring a Jaguar XK120.

21/08/2026

Steve Theo has been making photographs since 1970. Sheet film under a black cloth, everything printed by hand with the seconds counted in his head. He shoots digital now because the work demands it. "It's like driving an electric car," he says. "It does everything for you."

He wants the same thing from a car. A red 1965 Mustang fastback with three pedals and nothing clever about it. He picked it out in a cinema in the 1960s and didn't have one until 1988. This one arrived three years ago and has just done 1,200 miles to France.

Directed by:

Watch the Film via the link in bio.

20/08/2026

It’s 1979. Two companies don’t know it yet, but they’re about to spend the next decade fighting to survive.

One is a four-year-old startup running on the Apple II. The rainbow logo is current. The Bandley Drive campus is new. The IPO is still a ways away, and so is the Lisa, the Mac, the IBM PC’s arrival, and the day in 1985 when Steve Jobs gets pushed out of the company he started.
The other is a sports car company in Stuttgart with a new flagship grand tourer called the 928 that it's been quietly suggesting will replace the aging 911.

Both stories meet in a service bay in Mountain View, California.

The version of this story that’s been repeated for the last decade goes something like this. Steve Jobs was a Porsche fan. He took his 356 to a service shop in Mountain View. One thing led to another and Apple ended up on a race car. It’s not exactly wrong. But it’s not exactly right either, and it’s missing the actual story.

By 1979, Garretson Enterprises was the place engineers in the Valley took their Porsches. Including three customers from a small computer company just a few miles down the road in Cupertino.

Steve Wozniak’s 928 was the car coming in for service. Bob remembers Wozniak as the active Porsche customer of the two founders. Steve Jobs had a 356 but, in Bob’s words, “never drove it or anything like that.”

The deal came from the third Apple customer in the shop. The one nobody remembers.
He was an art director. He had a 911 that came in regularly. He was, in Bob's words, "the guy that designed all the brochures and ads and stuff like that." He was the visual identity of Apple. He was also the person Bob credits with closing the sponsorship.

The art director was the one who actually pushed it through. He got the founders to commit. He designed the livery and the color scheme. The rainbow that everyone remembers is his. The popular version of that story credits a famous founder. The real version credits a service shop, a co-founder who actually drove his Porsche, and an art director nobody remembers.

Read the full story by Kris Clewell on Petrolicious.com. Originally published in Issue 006 of The Petrolicious Post.

https://petrolicious.com/blogs/articles/made-in-mountain-view-the-true-story-of-the-apple-porsche-935-livery

19/08/2026

Every shape on an air-cooled 911 is the residue of a decision somebody made about hardware. The hips got wide because the tires got wide. Porsche hung a whale tail off the back of the first turbo to keep the rear right side up at speed.

Nobody drew either of those shapes and then went looking for something to put underneath. The hardware moved and the bodywork followed it. That order is the whole reason a 911 looks like anything at all.

Function then form.

Singer started out answering a real question, and answered it well. A 964 is still a car built in 1989, and 1989 came with a crackly radio nobody wants, blown out seats, air conditioning that feels like a fan blowing over a melted ice cube, and oil on the garage floor that everybody has agreed to call character.

So Singer took the analog car and deleted every reason you ever had to apologize for it. They gilded the lily of course, but that was what reimagined meant. It wasn't for me, but it was worth doing.

Until the two Louis Vuitton cars.

The craftsmanship is not what I want to argue about. Nobody on earth was going to execute better than these two companies just did. Form has taken over for function as an exercise in excess. They gave every gram saved by carbon fiber back by installing stuff you look at. Wood is not light and neither is luggage.

This is not a car with luggage in it. It has become luggage.

Singer's own site says their pursuit often begins with a simple question. What if we pushed the chassis further. What if we brought in Formula 1 people. What if we turbocharged it. What if we reimagined the reimagining of the reimagining.

Every answer becomes the floor for the next question. It is a JPEG getting copied and pasted and copied again, and eventually you lose resolution. Imagine that.

And maybe it’s just that this thing just isn't for me, and never will be. It's for someone else entirely. Someone who likes the idea of driving, but wants the car to match his wife's purse.

Read the full story by on Petrolicious.com.

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