Bradley Price (Founder of Autodromo)¶
Published on Mon, 17 Jun 2019 10:00:14 +0000
The Autodromo founder shares how he turned a country drive in a vintage Alfa Romeo into a line of watches and eventually a full-fledged lifestyle brand.
Synopsis¶
In this episode of Hodinkee Radio, host Stephen Pulvirent sits down with Bradley Price, founder of Autodromo, to discuss the evolution of his automotive-inspired watch brand from its 2011 launch to today. Bradley shares the origin story of Autodromo, which began when he was driving his Alfa Romeo GTV6 through Harriman State Park and realized there were no affordable, well-designed automotive watches on the market. What started as quartz gauge-inspired timepieces has grown into a full lifestyle brand encompassing watches, accessories, and more. The conversation covers Bradley's approach to design, his commitment to creating products with historical automotive references as "Easter eggs" for enthusiasts, and his hands-on role in every aspect of the business—from product design to photography art direction.
The episode also delves into Bradley's personal journey as a car enthusiast and vintage racer, including his ownership of a Ferrari Dino GT4 purchased on Craigslist and his experiences racing a 1959 Giulietta Spider Veloce. They discuss the early days of micro-brands, the glory years of the Salon QP show in London, and how the watch enthusiast landscape has evolved since 2011. Bradley emphasizes the importance of working for others before starting your own venture, advice he received from designer Karim Rashid. The conversation touches on Bradley's latest release, the Corsica Blue Dial Group B Series 2, and his philosophy of creating products with "implied narrative" through thoughtful photography and design details that elevate the brand beyond typical watch marketing.
Links¶
Transcript¶
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| Unknown | Today we take it totally for granted that the watch landscape is populated by a healthy crop of micro brands in addition to all of those big traditional players. But when Bradley Price started Autodromo back in 2011, this was very much not the case. American enthusiasts were not dreaming up their own watches, quitting their day jobs, and launching collections online. A lot has changed since then, but Autodromo is still around and stronger than ever. I've known Bradley since the early days of Autodromo, and he was even one of the earliest Todinky collaborators. Growing a watch brand is no easy task though, and it's been really interesting watching Bradley take Autodromo from a single collection of automotive gauge-inspired quartz watches, to a full-fledged lifestyle brand with watches, accessories, and more. It's sort of a microcosm for what's been happening on the enthusiast side of the watch industry more generally, and in this episode we get into all of that and more. We talk about the glory days of the Salon QP show in London, the joys of doing things the old-fashioned way, and why, even as someone who knows very little about cars, I still find myself drawn to Autodromos watches. Plus, there's plenty of nerding out about vintage cars from Bradley and our own Cole Pennington while I sit and listen and try to keep up. These guys really know their stuff. I'm your host, Stephen Pulverin, and this is Hodinky Radio. This week's episode is presented by Zenith Watches. Stay tuned later in the show for a look at how Zenith has continued to use the El Primero as a platform for innovation for the last 50 years. For more, visit Zenith-watches.com. Thanks for joining us, Bradley. Thanks for having me. Good to see you too, Cole. I know you were out running around uh appointments all day. Yeah, yeah. It's good to be here though. Yeah, we got some good stuff coming. Oh yeah. Perfect. Bradley, we're we're doing this uh, you know, for people who who may or may not know you, you're the founder and proprietor of uh Autodroma. That's right. And uh we're doing this the day after you launched your latest watch. Yeah, the Corsica Blue Dial of the Group B series two. Nice. Uh can you maybe describe we have a story about the watch on the site that James wrote, so we'll uh we'll link that up in the show notes, but can you maybe describe the watch for people? Sure. I me |
| Unknown | an to put it in a nutshell, it's uh very light kind of teal blue with pink indexes. Um and I just thought, you know, we're very focused on motorsport history with everything that I've done in the past and or watch history, whatever, that things usually have a very specific reference point from an automotive standpoint. And I just thought it would be fun to do something where we just step away from that a little bit and just have a fun summer watch that speaks to the kind of 80s vibe that the watches had from the beginning because it's obviously a an 80s inspired design. And I just wanted to, you know, why don't we just have fun with that and just do a cool dial color that that's really speaks to the summer, summer kind of Aaron Powell Yeah, I don't think I've ever seen a dial quite this color combo before. Yeah, neither had I. But but I mean it's it's actually it's a you know it's a it's sort of a pink loom and then uh you know just this teal dial. And we'd had a lot of success with the the monoposto azzurro, which was another uh light blue dial that we had done, and I felt like people still kind of wanted to see more of those type of light blue dials. It's not the same color that we did before, but it I just felt like there was there was still a lot of interest in that. People really liked that dial. Nice |
| Unknown | . actually has very little to do with the watch itself, um, which is the art direction you took for the the photos you shot, the like campaign behind this. Um everything had this like pink and purple light. It was super 80s. Uh it kind of felt like stills from a film instead of like a campaign selling a watch |
| Unknown | . I mean I always try to go for a bit of a a film still feel with a lot of the the visual um collateral that goes with the brand because I'm really a bit I I wouldn't call myself like oh I'm like a Cinephile but I I I really enjoy movies. I always I always dreamed of being a director even though I it wasn't something I ever pursued. I I was like, you know, a frustrated car designer first and then probably frustrated film director second. Okay. Um, but this kind of checks all those boxes running this company because um I get to design really cool car car oriented stuff and then I also get to art direct all the campaigns that we do. And so um with this one, you know, I love I love the idea of implied narrative. You know, I I like when a photo kind of draws you in and you would like to know more about what happened directly before or after it and rat rather than just saying, you know, here's a watch on some guy's wrist in a car, which I think is the kind of typical, you know, watch photo, you know, uh that's so prevalent in the industry. Or or even worse, the guy with the wrist shot and he's holding the watch next to his face so that it all fits in the ad, which I think should be just banned forever and nobody should ever be allowed to do that ever again because it's so lame. But I I watch makers take note. Yeah that's uh that's some that's some solid advice right there. Yeah. Usually have to pay for that kind of advice. Yeah. I I I mean and but even more so it would save those people money because they wouldn't have to pay uh high-paid spokespersons to hold the watch next to their face. They could just have anonymous people with watches on their wrists. So anyway, um I just I just really enjoy the idea of implied narrative and and and how the the photography tells the story of the watch, it puts it into a time and place. And uh all of my designs are really about time and place. Um, and every one of them you can kind of locate into a historical context, even though they're all new. And some of them are more directly historical than others, but they all they all have a time and place background story to them. |
| Unknown | Aaron Powell What I hear you saying, and and you know, we've known each other a long time, so I kind of knew this coming into this, but you know, you're doing so many different things for the brand. You know, when we think of like a big watchmaking company, you know, you have a marketing department and you have a product team and you have a sales team, like you're doing all of this, right? Yes |
| Unknown | . So yeah. I mean, yeah. Yeah. Um and I have, you know, some good collaborators, you know, um m first of all my wife um helps me a lot and she's kind of my editor in a way. She she really uh I show her everything and run things by her and she kind of like is my sounding board. Shout out to Valeria. Yes. And uh I also have some so worked with some really great photographers. Um but I've always done all the art direction myself. Um and it's it's something I really enjoy doing and and um I I think it really given that we have limited resources that we're not able to do many shoots per year, it's kind of like a one and done and then maybe a few you know then we have Instagram of course, but that's more like kind of snap snapshots of things. But as far as the campaigns, I try to get a a really significant or interesting car, and we've gotten some amazing cars over the years that we've been able to access, you know, from uh a real Launcha O30 sorry, a real well, real Lancha O thirty seven Stradale, a real Launcha Delta S4 group B car. Uh and then lately, you know, we we did a launch of D50 Formula One car, which is basically on Obtainium. There's only one real one, and this one is the closest second thing to a real one. It's actually made with the original drivetrain of the car, but they recreated the body. But the car basically don't exist anymore. So we got one of those. Uh we got a real GT40, not a fake one, uh, but a genuine real one with history that we used in our GT campaign. So it's really important for me that the cars, because of our audience and because of my passion for cars, like I always want to have really, really sweet cars that are interesting and significant in our campaigns. And we got a Lamborghini Kuntoch Turbo, not just a Kuntouch, but a Turbo Kuntoch. Yeah, that's the uh which was uh from Rally Road, which is down on Lafayette Street. Uh they allowed us to uh shoot in that car. Um, and we we did have Phil Collins playing uh on stereo. Yes. Very glad to hear that state, Phil. Nice touch. And we set up the lights and everything. So it was really a fun, you know, we created a kind of atmosphere in there, and they have a very cool space so it's easy to get into the case. Do you wear a blazer with the sleeves rolled up? I mean that is me in the car. So yes I was the hand model for that shot. Yeah it's actually usually me. Um and it's challenging to I know it sounds so stupid to a lot of people that haven't actually done it, but it's very hard to actually be the model and art direct at the same time because you have to constantly be looking at what the photographer is shooting and also kind of holding your wrist whenever you shoot wrist shots, you have to be really precise about the angle exactly that your wrist is in. And you adopt these weird stress positions to try and like make sure the reflections don't wash out or whatever. So y you get kind of it's you kind of keep going back and forth between holding these positions and then looking at the photography and then going back again. It's it's annoying, but it you know, it's just part of what what we do. So what what'd you do to kind of get in the Miami Vice mood? Um and uh yeah, no, I had the you know, I had a linen a white linen suit on and uh a like a powder boo blue uh sweater under that. So it it it it was easy to get in the in the vibe. So that'll do the trick. Yeah. And then we we had the lighting on and you know and uh then there was this moment where we had I wasn't planning to put a cigarette in the ad or in the campaign, but then we were sitting there and we were photographing the w the watch still life on the ashtray lid. There's this big ashtray lid just right in the middle of this white leather transmission tunnel. And I said, man, you know, this this really could use a cigarette in the ashtray because it would just add a lot more atmosphere to this shot and it would really like continue that period feeling and that kind of you know cinematic feel that that this has. So I went and bought my first ever pack of cigarettes that I ever bought. I don't smoke. But I but I always loved tobacco ads as a kid. Like I I was like part of the Joe Camel generation of like I literally cut all those ads out. I saved them. Like I I thought they were the quickness. Not as a smoker. You just thought they were cool. I mean they're I mean supposedly they were aimed at kids and I guess that I was their target market and I I loved those ads. So I I cut all of them out. I had all of them like saved. Um and they were they were really cool to me as a kid. Um but I you know I never took up smoking ever. Um but anyway it just kind of like I wanted to kind of remind people of that time period when you would see ads in magazines that had cigarettes in them and that was kind of like a thing. And that that was part of my childhood. Reading car magazines and seeing cigarette ads is just kind of, you know, again, I I like a certain amount of irony in my work. Like it's not all super serious. So that was that was kind of the thinking behind it. And I I think it it ended up working well in terms of the again the atmosphere and taking that a step further from just a a normal photograph of a watch on a wrist and kind of saying that this is a this is actually a person in a car going somewhere. Maybe he's at a stoplight and he's taking a moment here at the stoplight to like, you know, enjoy his cigarette before he's off to do whatever he's going to do. So that's that's kind of the stuff I like to do when I'm um art directing. N |
| Unknown | ice. I mean you've you've touched on it a couple of times in in kind of light ways, but I want to really dig into it. You started Autodromo because you're a car guy. Like you're you're an enthusiast who decided to kind of take your passion and make it your business and your and your life, right |
| Unknown | ? Yeah, that's that's correct. Um I have been a car enthusiast from the cradle basically. Um my parents have have said that they don't know I mean my father is a car enthusiast as well, so but my brother is not. So it it's it's a mystery as to why it passed to me and not to him. But uh I I've always loved cars from an extremely young age where I I can't even tell you when I saw something that triggered that. But my dad had an Austin Healy when I was little and I used to, I used to just love just, you know, I think one of the things I I I find interesting when you think about your experience of a car as a child, it's on a totally different scale from as an adult. So you walk around a car more in an architectural scale when you're a child. You look straight into the grill, straight into the headlights at eye level. And when the door opens, you you know it's it's the interior is revealed in the way that a room is. It's not you don't look down and through the window into the interior. You you so everything is experienced in a very different way as a child. And I felt like I still have these vivid memories of like my when my dad was like washing that car, walking around it and touching the chrome and it's hot in the sun and you kind of burn your hand on the chrome. And uh the little uh sparkly bits in in the Lucas tail light lens on the Austin Healy as the sun is glinting on it, you know, and and just all these little and the texture of the the curly wool uh carpeting on the transmission tunnel. All those things are like really, really powerful sensory memories for me. And and um, so that's just kind of uh how how far back this this passion of mine goes. It's just very uh it's a very hardwired. Aaron P |
| Unknown | owell What what was the evolution like? I mean we all have all car guys, there's the curve that you follow. What was your |
| Unknown | Well I mean I was obsessed with uh mainly European cars my whole life. I I really followed F1 heavily when I was in high school, but then by the time I was out of college, uh in my early twenties I kind of went away from it a bit. And I was became more of like a design buff at in college. Like I became more you know interested in mid-century furniture, collecting furniture. Um I was that was also coincided with the time when Apple really had its like rebirth as a design leader. So, you know, because I was in college basically when I was a freshman, like the the iMac came out and then you know what I'm saying? Like the it was like from the the the the colorful plastic era of Apple to the super pure white era. This was before the aluminum era, but the the super pure white era was kind of when I graduated. So like this was like really exciting to be an industrial design student at this time and see that kind of stuff happening. And then also all the things that were going on in the furniture world at the time. So it was like a really cool time around the turn of the millennium to be a designer. And that's why I kind of got really into that and moved away from the cars a bit. Uh, and then but as I was approaching 30, I was I kind of felt like a pang of wanting to go So my first job out of school, I was working at the RNL group, which is a now defunct branding agency, which actually did some pretty significant work at the time. Um they created the DKNY brand originally for Donna Karen. Okay. Peter created the RBK brand for Rebock. He also, I believe, at least he was credited with um bringing uh Jay-Z in to do the S. Carter stuff, uh, which was the first ever like shoe for a hip hop star which had never been done before. And I think he was sort of like, hey, like if athletes can have shoes, why can't like a hip-hop star have a shoe? And that's like a so you stop and step back. That's a big freaking deal. So so I mean so he so it was a really cool agency to work at that was doing all this kind of stuff. That that the stuff I named was before I was there. But I'm like, when I arrive, it's already kind of like floating on the coattails of those great successes. Um and uh I was just working in Soho doing, I was doing a lot of stuff for beverage and food. And we were doing all sorts of uh crazy concepts of it was a really fun place to work at the time. It was very stressful, but it was fun because you you were really being challenged to think of the craziest things that you could think of, not just like what can be engineered, what can be manufactured, but like no, like what like what is a Mountain Dew gonna be like in ten years? You know, what what kind of crazy things could Mountain Dew Please tell me you designed some Mountain Dew stuff. I did. I didn't none of it actually went anywhere, but I had I got a lot of cool ideas. Was it ten years ago? This was uh in like two thousand four. All right. Okay. So was there three and a half years. Everything that I worked on there was very, very conceptual, so none of it was really super oriented towards production. Although they did end up doing the Pepsi rebrand, which is not something I worked on because I was an industrial designer, not a graphic designer, but that agency did the current Pepsi logo branding and the ill-fated Tropicana rebrand was also by them. Okay. A whole part-and-parcel thing. Interesting. But it was it was a cool place to work. It was it was exciting. It was very creative, but um draining as well. Yeah. Yeah. So from there I went to another firm which was more of like a quote unquote serious industrial design firm where they they did things that you'd actually have to understand how to mold things, how metals formed, et cetera. Like you know, you actually had to learn and understand production processes. So that was actually really good for me as well. I I had some background in that, but to actually deal with engineers on a daily basis and figure out how to produce things was uh you know that was that was a great challenge and uh I learned a lot there and it certainly as I began the watch brand um it stood me in a lot of good stead to learn how to deal with factories overseas and and how to communicate with them effectively and uh what things to expect, etcetera. So that was really uh a great education |
| Unknown | . So you're approaching 30, you're working as an industrial designer, and you have this desire to go back and do something related to cars, but you end up launching a watch brand. Trevor Burr |
| Unknown | us But you also probably did buy a car too. Trevor Burrus Well there there was a one in-between step which we're leaving out, which is that I started a website called Automobiliac, which is a a blog back Yeah. And it it actually had a pretty good following actually. It wasn't like you know it wasn't hodinky. But uh flattery will get you everywhere, man. Everywhere. But it was of a similar generation as Hodinky in the sense that it was around the same time as that started and it was the same thing. It was like a guy who just really into stuff stuff and you know wanted to write about what he thought about the industry and, you know, history, et cetera. So so it was in some ways like that, but it just didn't, you know, it was like a hobby, you know, it didn't so um so I was running automobiliac and I was posting every day or every few days about cars and actually the site's still up if you want to check it out. I I haven't updated it in years, but it's still there. It's it it was a way for me to have a way to talk about cars and I actually met a lot of people who are now friends because of that site. So it was a real great thing for me as a as a non-own non-car owning New Yorker at the time to kind of be able to reconnect with that passion for cars. After running that site for a couple of years, it kind of overlapped with the beginning of starting AutoDromo. And Auto Dromo was basically an idea I had one day. I was driving, so I had an Alpha GTV six. That was the first car that I ever bought in when I lived in New York. It was an 83 Alpha GTV six. And it was a fantastic car. Um and I was driving through Harriman State Park at the time, and I was like really I really loved driving enthusiastically. And I was having just this great day. I was driving through the woods, it was awesome, and I just was looking at the gauges and I thought, you know, why the hell is there no cool automotive watch that I could afford? Because at the time, you know, that would have been, you know, something was under a thousand dollars, something was like even under $500 that wasn't like with flames painted on it. Wait, that's not that's not your look? Not my look. But you know, there was like really like nothing there at the time. Like nothing. It was like you either bought, you know, I didn't even know about vintage Hoyer at the time really, but that which was probably the at the time the low-hanging fruit for like a real automotive watch. But you know, it was like either, you know, if you were looking at new stuff, it was like either you bought a tag Hoyer Monaco or Showpared Mil Emilia or that was or you know that was the those are the two things you had to choose from basically and those were both like way beyond my means at the time. So I just that was a kernel of thought that started the whole thing of saying, why isn't there not something like this that is for people who like design, who are car enthusiasts, and they want something that's gauge inspired? Um and so I started working on that. I was, you know, a designer. I just in my spare time I started doing uh drawings and 3D CAD of these concepts. And then eventually I said, okay, I I think I I should actually make this. This this thing could be really cool. And I had no idea what to expect. I just thought, okay, at worst I'll if if it's a failure, I'll just sell eventually all the stuff that I made and I'll go back, I'll continue being a designer basically. And at best, you know, maybe it'll actually be a business for me. So that was kind of the the way that it started. And that was what year? That was 2009. Okay. Okay. And uh twenty eleven is when we actually launched in November of twenty eleven, but it was about a two year process from the that drive through the woods to the the point where I actually had a commercialized product. Okay. Do you still have the GTV6? No, I sold it. It was uh it was a bittersweet moment to sell it, honestly, because it it it started to need more things and I I just needed I it was my only car, so I kinda needed it to be reliable. It couldn't be like, Oh, it doesn't want to start today, I'll just leave it in the garage. It was like, no. If it breaks and I basically I I had a thing where the engine just quit on the um Hutchinson Parkway and I managed to coast onto an exit ramp. Uh and I thought, you know, I think I need a car that I have a bit more of a i I I hate to to to say this at this point because that car was actually really reliable. I drove it to Watkins Glen, I caned it for two days at the track and I drove it home without a single issue. It's not like it was an unreliable car, right? But with any car that's old, things start to go and you need to maintain them. And the car had kind of reached a point where it needed a bit more TLC than I could really justify at the time, like giving it. So I ended up selling it. They were 2009, 10. They were pretty cheap actually. They were really cheap. Now really cheap. Actually I I managed to have the only car that did not jump in value during the like uh classic car movement. That's how it always works Thank you very much. I I should have bought it that I also thought of buying a nine twelve at the time, but then the the ones that I that were in my budget at the time were such complete re rusty, crappy cars. So I'm glad I didn't buy them because they would have been trou The GTV6 was awesome. And the guy who bought it, it went to a great home and it and the guy repainted it and it it looks beautiful now. I still keep in touch with that guy. And uh it it's it's great. And it's funny too because the car was in San Diego for most of its life. It was bought by a guy in Maine who drove it from San Diego back to Maine. Then I bought it from him. He was like kind of a sort of a dealer, uh like he bought it to resell. So it was in Maine for like probably less than a year. Then I bought it, I had it for five or six years, and then now the guy who bought it it's back in San Diego. Oh no. Car was meant to be. Yeah, the car just was like I'm I'm done with this east coast thing. I'm I'm I'm going I'm going home. So that's kind of like I found it very poetic that the guy that bought it actually lived only a few miles from where the car was registered before. That's cool. So it's it's kind of neat. Is that guy an autodromo customer by chance now? |
| Unknown | I think he has some of our gloves. I don't know I can't remember if he bought a watch or not. That's cool though. It's cool that the car inspired the brand and then uh you know the guy who owns the car is now connected. Yeah, yeahah.. Ye Yeah, for sure. So it's two thousand eleven. Yeah. You launch Autodromo. Yeah. How do you how do you launch a brand? Like what what I think people take for granted today that you know there's micro brands and they pop up constantly. Yeah, it was a very different time. It was a very different time. I mean back back then It was a very different time. Yeah no but nobody was launching their own watch brands in especially Americans were not launching their |
| Unknown | own watch brands in 2011. Yeah ye.ah You hit it at a good time. And if you did launch in 2011, chances are it didn't stick around. And you're still here. Yeah, |
| Unknown | I'm still here. Um Well, I mean, so Hodenki was the first post ever that was it was the official like exclusive uh story. Uh new brand alert, I remember with the headline. Uh nice. And uh that day we it was like a massive amount of orders and I thought, oh, this might actually work out. You know, and and and um and also at the time, you know, Uncrate was another one that uh just it was like a juggernaut site that generated a huge amount of uh interest for us. And um that kind of kicked the ball off rolling and then that kind of fed into all these other sites and that was a the time it was so it wasn't before Instagram and it wasn't before uh Kickstarter, but those things were not commercially important the way they are now, to put it the I don't know how else to describe it. So in a larger sense it was before those things, but they they did exist. Um like that pebble watch, I don't know if you remember the pebble Wchat. Like that I was bef that was before the Pebble Watch came out after Autodromo launched. That's how long ago. That was like the first big, big like major watch launch on Instagram on um sorry, on Kickstarter, which you know generated over a million dollars and that was like, whoa. And that was you remember, I mean that that was a big deal at the time. Yeah. So absolutely huge. So that was like kind of when the Kickstarter, I think, became more of a thing in in like starting a watch brand, but um I didn't even know it existed when I when I started. Um and um same thing, I didn't have an Instagram account until like years later. Um so it was really about and I didn't so I was like just sending out press releases to everyone I could think of and um contacting all of my favorite car magazines and saying like, hey you, know, maybe this would be of interest to your readers because this is uh under $500 and it's really cool and it's you know it's a vintage inspired uh Italian inspired brand. Um and and so uh I think people that because there again there was not this type of uh oversaturation that we have today, editors were really interested. They were like really taking notice because this was new and it was different. Um so so at that we were really benefiting from the uh the time that we launched at. |
| Unknown | And then do you do you remember at what point you kind of made the decision like, okay, this is this is gonna work. Like, this is now what I'm doing full-time. This is this is my brand, this is my job, I'm I'm in |
| Unknown | . Yeah, I mean, I recouped my initial investment in the first six months, and I thought, okay, like so now I'm kind of in the black. And um I had gone down to three days a week at my job, which was really nice of my boss to let me do that. I mean, I took a pay cut, but I mean it was still nice of him to let me like stay on and have that safety net of a basic uh you know rent paying income. Yeah. And um and and and basically after six after after six months of being on three days a week and having recouped the initial investment, I thought he and I sat down and he was like, Listen, I think I think it's I think you're gonna be okay, like and I need someone full time, so I think it's time for you to go and like spread your wings basically. So um so you could say I got fired, but you could also say uh you know he he kicked the bird out of the nest and I think it was it was it was the right thing to do with the both of us and uh you know that was uh that was when I went full time on on on the on the brand. And I always tell people like, don't quit your day job, like that's a terrible thing to do. You have to just find a way to do both things for a period of time. Because I I I I think if I had quit my day job before starting the brand, I would that would have been insane. Yeah |
| Unknown | . It's funny because it feels like such a like great romantic story. Like, oh I quit my job. I went and did this. It worked. I believed in myself, whatever. But it's like it could have very easily gone the other direction |
| Unknown | . Yeah. But you gotta, you know, then you have to work twice as hard, but that's um you know, it's just what what happens. And what what year was that? Uh that was like twenty twelve, I guess. So you've been doing it full time since twenty twelve. Yeah. Wow. And then when we launched the monoposto, that was in twenty twelve, uh November of twenty twelve. Yeah. That was when we kind of the monoposta was our first automatic watch. Right. And um that watch really, I think, is the one that kind of made the name for us. And and and you know, it wasn't like orologically significant in any way. But it it was again, it was a it was a watch that people people really took notice of. It was it's still our most collectible watch to this day. Um it's the one that people are always emailing me, like asking about when are you gonna make more of them or fine words? Yeah, yeah. Everything up until then was quartz. Yeah. The original collection was quartz. I didn't really know how much people wanted automatic watches. But again, this whole like internet culture about around watches was still kind of uh obviously there were forums for m for a long time, but that was really like a subculture. But I think as far as like a quasi-mainstream interest in automatic watches, that was kind of again driven by sites like Hodinky and um that interest in, you know, uh so so it didn't occur to me to launch with an automatic movement. It just I just didn't think there was a demand for that uh in twenty eleven. But then, you know, we started getting emails like, oh, I would have I would love to buy this if you made something with automatic, so he moved in that direction. Um now I I have a much more um nuanced and accomplished view of these things, but at the time I was still learning a lot, you know, so that was just kind of how it went. |
| Unknown | And now I'll look at this week's sponsor. When it was first introduced in 1969, the El Primero Chronograph Caliber was nothing short of groundbreaking. It was the very first high-speed automatic chronograph, and it arrived during a critical time in the history of watchmaking. While a 5Hz automatic chronograph is still plenty impressive 50 years later, Zenith has continued to innovate in the world of high-speed, high-precision timekeeping, using the El Primero as a jumping off point for new creations. One notable evolution of the El Primero is the striking 10th. This watch has a central chronograph hand that makes one rotation of the dial every 10 seconds, with markings around the outer edge that let you measure time precisely down to 1 tenth of a second. This takes the mechanical advantages foundational to the El Primero and puts them front and center. Pushing things even further is the El Primero DeFi 21. This watch uses a special caliber fitted with two escapements. The first beats at 5 Hertz and tells the time, and the second beats at 50 Hz and is used just for the chronograph function. This means you can measure events down to one one hundredth of a second right on your wrist. The most exciting thing about all of this, though, is that 50 years after unveiling the El Primero, Zenith is far from done. As we celebrate the first five decades of this incredible movement, it's easy to get excited about the next five, too. To learn more about the ElPromero, visit zenith-watches.com. Alright, let's get back to the show. Were you using you know obviously you had the inspiration from the car world itself, but were you looking at things like old dash timers and vintage hoyers and that kind of like the the sort of like historical connection between cars and watches as as a place to kind of mine uh information or to mine kind of ideas, or were you really trying to kind of stay away from that |
| Unknown | ? No, I was interested in mining it and in making references. I find it interesting and fun to make historical references as kind of like Easter eggs that people who know they get it and they know they know and other people don't know, but it's okay. And um so I was interested in vintage Hoyer. I mean our our prototipo chronograph obviously was very much a Hoyer slash Omega slash is a barrel case chronograph. There were every brand had a barrel case chronograph in like nineteen seventy-two. The idea was that was the prototype era of racing, so it's called the prototipo or the prototipo. That that watch was meant to reference that time period in motorsport and who what would a driver have worn in 1972 other, than a barrel-cased chronograph. So that all kind of that's that's the watch that kind of is the most referential to other watches that I've done. But that one, again, it was it with it did draw on historical watch references but it also was meant to be like kind of a an artifact that could have existed at the time even though it was quartz but it it it kind of again at that time there weren't any other manufacturers pretty much I think Oris may have been the only manufacturer when we launched that that was making a barrel case chronograph. Interesting. You can think now how many people have made barrel case watches since then that are reissues. Yeah. Speedmaster mark two reissue had not been done yet. You know, again, it was something like I where I was like, oh, why is nobody making this kind of cool sunburst brushed you know barrel case anymore like that's so sweet so that's why I did that it was because I couldn't find a new watch that had that look to it uh and again in a certain price point. Um so I made it. And uh it it was a very again, a very popular piece. Uh and again the the Vic Alford version of that was now our kind of cult classic that we only made 224 and that's other other than the Monoposto, then the most kind of sought-after autodroma watch is the Vic Alford edition uh prototipo |
| Unknown | . Yeah. You you mentioned launching the Monoposto in 2012. Did you launch that at Salon QP in London? The Monop |
| Unknown | osto? Or was that earlier? The Monoposto was just sort of launched online. Okay. There was no we had a little actually no. We had a party at Modern Anthology in Brooklyn in Dumbo, which was my first brick and mortar retailer. And uh they they very kindly hosted a nice little party for us. Um and that's where we launched the monoposto. Okay. And then the prototipo, I think we just launched online. Okay. Salon QP we launched the the group B there. Okay. But that was later. Okay |
| Unknown | . Because I think the first time we met was still on QP in twenty twelve. Um twenty twelve. 'Cause Q P |
| Unknown | we launched the second year we were at Q Q P. You're right. The first year I was at Q P we were just representing our brand with our UK retailer Paige and Cooper. They had a booth that was s I think three or four brands and we were one of those four that they you know, we had like a multibrand booth. Yeah. And yes, so that that's right. We were promoting the prototipo that year. Okay. |
| Unknown | But it was already out. Okay. Because we've we've talked about this before, but uh I think it's worth bringing up now is that that that era is kind of right on the edge of when smaller brands were starting to launch and kind of this like connoisseur culture around not just Paddock and Rolex and and the big, big guys, but around kind of other things was starting to really ramp up. I mean, we were seeing it on the Hodinky side and you know, shows like Salon QP where there was you know, which for people who don't know is is an annual sho uh consumer facing trade show in in London was kind of a really special place back then and and offered a really interesting chance for brands and press and collectors to all kind of mingle and interact. And I just have very fun |
| Unknown | memories of that. Yeah, it was definitely a very like pre-Brexit frothy Monday. Uh you know, everyone was very I just felt like it was a time in London where it just seemed like everything was like way on the upswing in a very f yeah frivolous, like |
| Unknown | yeah, frothy way. Yeah. And the community was so excited. Like I just remember getting there and like the New York Watch community has has always as as long as I've been involved has always been great. But I I just remember getting to London with with Ben and you know, you were there and a bunch of other folks who are kind of st still in the the community in the industry today. I just remember getting there and being like, Hol holy shit, like people here love this stuff too. Like this community is really global. |
| Unknown | We we had a lot of love from the the uh British watch collectors um because they again I think particularly uh gear heads or petrol heads as they would like to be called in England they they really know about vintage watches as well uh they collect them. Um I'd say more so than here. Like the average guy in in uh at that show who had a cool car, he had like vintage hoyers at home. He had all the stuff. You know, he knew all the drivers. He grew up watching them race. So they would they were getting all those Easter eggs. They were immediately getting all the citations and references and like they're like, oh this is like speaking to me. And and it was great. You know, it really it was probably one of the most gratifying show experiences I've ever had of just, you know, if you have some people that actually get your work and they like really love it, and on top of that, they're they're these people are generally not price sensitive either. So they they were just like, Oh, you have like three colors of the prototipo? Like how much are they? Oh, I'll just buy all three. These are I love these. These are great. And they would just buy them. And and it was not a big deal and and I I found I was very, very flattered and humbled by that um because they these were people that could afford like maybe not any watch they want, but they could afford a lot of very nice things. And the fact that they were willing to buy like a $600 quartz watch and buy three of them just because they thought it was so darn cool, that was really I I to me that's like the biggest compliment is ever is when I get people who either own or can afford extremely fine watches that also like our stuff because it's just fun and it it checks boxes for them and they love the design and they recognize the quality. And those are the things that for me are the biggest uh compliment. That or when somebody on the other end is saving up money to buy one of our watches is also like very humbling that someone would save up for months to buy an autodroma watch. It means a lot to me. And so I always have to I always want to make sure that person isn't let down either that they're they're they're they're valued just as much as a customer as the the guy who has tons of stuff. But those are the two extremes of our our uh our customer base. And uh I like to try to as much as I can keep both of those people happy |
| Unknown | . So you experience some success and you're on the rise, but the G T V six isn't in the picture. So I understand you do do some vintage racing and so forth. Now your brand's on the upswing, you gotta get back into cars. And that's obviously going to inform and fuel your watch design and so fort |
| Unknown | h. Yeah, yeah. What do you do? Uh well the first car I bought, I still had the GTV6 at the time. Um I was I really wanted a Fiat Dino, actually. Ooh, wow, that's a good one I wanted a Fiat Dino coupe. All right. And I was I was cer which are they were actually like they were about twenty grand at the time. Really? The twenty four hundred. So anyway, I wanted one of those. I was searching on Craigslist. Again, Craigslist was a bit more of a thing back then than it is now to buy stuff. But anyway, I was searching Craigslist uh and I would always keep my search terms very general because you would, you know, sometimes people misspell stuff and like you need to find like Alpher Romero, you know, kind of stuff. And there were cool stuff that would come up. So I just searched for Dino by itself. And um this Dino GT4 shows up and it's in New Jersey and it's black and it's a series one Eurocar, and I thought, holy crap, I I I always wanted one of these, but I always said if if I was ever gonna get one, it had to be a dark color, it had to be European model, and it had to be a series one, and it had to be Dino badge. Sounds perfect. And this car was every single one of those things. And it and it was really reasonably priced. You know, again, those cars were were really not uh popular or desirable uh at the time. And uh I thought it the price seemed so low that I was like, I I I I bet it's a scam, but you know what, I'll just I'll just email the guy and see what happens, you know, like let's see like if it turns out to be real. Yeah. And sure enough, it was a real guy. He was in Montclair, New Jersey. He was an older guy. That's where I grew up and oh really? Yeah, uh Caldwell, right around. No, that's the the thing. And thing is, growing up, I did have tabs on every decent car. Did you ever see a yellow Intermechanica um Itala spider? No. Okay. Same guy. But anyway, he had he had some oddball Italian cars and um he was very, very nice and he ended up we ended up you know, I went out and saw the car, it was great and and but I remember thinking at the time, like, you know, wow this is a Ferrari, like yeah oh my god like that's like a big deal. It's a big deal. I like and it you know they we're talking we're still talking under twenty thousand dollars here guys. This is not like a I mean, I know that's a lot of money to some people. I'm not meaning a dick. I'm just saying it it was it was still like an affordable car in the bigger scheme of things, okay? But I was just saying, like, oh my god, like I can't believe I'm getting into this. Like, what if this happens? What if that happens? You know, it was so intimidating to buy such a car. Right. Um and and I was like, oh, I don't know if I should do this. And, you know, and thankfully like it all worked out. The car's actually been great and it's been reliable. And um. Yeah, yeah, I still have it. It's been repainted since then. And uh That's the car with the autodromal license plate. That's the autodromo license plate, yes. And that's in the we did a petrollicious video with that car car. That that was before the respray. Um that was again uh one of the early one of the early generation of petrelicious videos. That was another site that early on. Um I was one of the first sponsors of that site back in the day. Yeah, yeah. That was me and Haggerty were the first advertisers. Uh bad company. Yeah. Yeah. Um and uh yeah, it's been a really great love affair with that car. And um unfortunately this gentleman that sold it to me has since passed away, but he was uh And you probably reckoned. Yeah, he saw that I was really passionate about it. And um yeah, it's been it's been awesome. I just love that you bought a Ferrari on Craigslist. Yeah. Yes. That's awesome. That is so cool. Yeah, I'm sure there's still Ferraris on Craigslist. I'm sure, yeah. But uh I |
| Unknown | just I just love that. |
| Unknown | You find a find a Ferrari. Well I always like to deal locally if I can. Yeah. I think you can get into deep trouble buying cars sight unseen um on the internet and and uh even if the photos look good and you know it's just it's just so risky. Um so you're not you're not on bring a trailer every night then? No I look at bring a trailer. But it's yeah. I have bid on a few things, but that's another thing is that, you know, dealing locally or dealing with a private seller, you don't have to compete against um some super rich guy who's like, I I'm gonna buy that sixteen thousand dollar car before breakfast just because I can, you know. And then they sell it like four months later when they've had their fun with it. That's a big problem on bring a trailer is that you have a certain audience of people that are like really rich and they they just buy stuff on a whim. And then there's a lot of other people that are like, I would really have liked to have had that car. Yeah. But you know, it's hard to outbid people that have unlimited resources. So it it's a bit of a challenge. I mean, sometimes you you see stuff sell for really great prices there, but um unfortunately nothing I've ever bid on is sold for a really great price |
| Unknown | . It's hard to find those deals. It's har |
| Unknown | d to find those. It is harder to find them. I always jokingly say to my friends in the auction business, I'm like, yeah, I bought the car. You know, the way people used to buy cars. They actually knew the guy and they like went and saw it and they exchanged photos and they talked about it and then they made a deal and they handshake. You know, like that whole romance of buying a car face to face with someone is is uh it's a bit rarer to today. It still happens, but um I try to do that when I can um because y you do end up generally at least you're not in a competitive |
| Unknown | process. Yeah. Do you also enjoy that process or is it just about kind of having the easiest transaction experience? |
| Unknown | No, I like I like that process. I mean I think when you're when you're the seller, you want to have a wider audience to see what you're selling and so on and so forth. But you know, when I sold the GTV six, it was through the Alpha Bulletin board and uh there's a local guy in who lived in Dumbo. He came to see the car in in a, you know, I had it in a parking garage and Dumbo at the time and he came over and saw it and we took it out and drove it and you know it was the old way and uh he you know it was great. And I I sold I had an Alpha Montreal at one point and I sold that sold that through uh Hemings and but again it was the sort of the old school way where you you put an ad and guy comes and sees it wasn't an auction site or anything. So that was a good experience. And he actually did he he has bought a watch that guy. Nice. That guy is a big fan of the the brand now. Perfect |
| Unknown | . Cole Cole touched on it, but I want to make sure we don't don't let it slip. Uh you actually race vintage cars too. You're not just a guy who kind of like takes it out cruising uh |
| Unknown | on the weekends. I I would love to do more racing. It's it's very time consuming and expensive. But uh yeah, I uh about five race weekends a year. Um I take out I have a fifty nine Giulietta spider veloce race car. Super beautiful. Yeah, and I've I've taken it on the Copper State 1000 twice. So it's done two thousand mile rallies in Arizona. And uh And for people who don't know that car is open top. Yeah there's no there is no top. The top has been removed from the car. There's no windshield frames so there's no need for a top uh because it has a plastic windscreen that's cut down. Uh so and my wife, who's an amazing person, uh comes with me on these rallies and we put on for not for style, but we actually wear vintage sort of polo helmet style helmets because they keep your head dry and they keep the wind from buffeting your ears and they keep the sun off the back of your neck. Um and they actually do a great job of keeping you uh comfortable. And uh so yeah, we we've done that rally twice, and then I I do yeah I mainly race at Lime Rock um and I do a couple other uh I try to do one long distance event every year. So one year we went to Pittsburgh for the Pittsburgh vintage Grand Prix which is amazing. Um One year I've took it to Mossport, which is where the Canadian Grand Prix used to be held back in the day and Can Am races in Ontario. And then we also did uh Mont Tremblanc, which is in uh in Quebec. That was great. So I I try to do like once a year, I'll I'll like bring the car to somewhere a bit further away. I have not yet done any west coast though. So that someday coming soon. Well, maybe not soon, but I would love to do the Monterey Historics one day. I think that would be a really amazing event. And I I know people have done it and they say it's it's awesome. Um and uh I did with a friend uh in his car, we did we did a race down at Seabring, which was super cool, and it was my first time racing at night, which was awesome. And uh just just to be at Seabring at night, it the the atmosphere is just incredible, and it just you really feel like the sense of history of the place and um the way the headlights shake over all those terrible bumps that they have all over the place. It's it looks just like you could be in back in the day, you know, the 1960s and it i it's just really really cool place. That's awesome. |
| Unknown | Well one thing I'll I'll uh come clean about right is I am not a car guy. Okay. Like not at all. I I know enough that I can Ste |
| Unknown | ven should we tell the story about how you uh you re decline to learn how to drive manual on a certain vehicle? Yeah, we won't say whose car |
| Unknown | it is, but uh someone I know offered to teach me not just to drive manual, but to drive. I've had my driver's license for a year. Okay. Is that true? Yeah, I got my driver's license a year a year. Yeah. I'm also from Texas. I'm not like a city kid. Yeah. Um Yeah, I had somebody offer to like full-on teach me to drive um in a uh in a nineteen sixties V twelve Ferrari. We'll leave it at that. Yeah I was thinking of how specific to be but yeah we'll leave it at that. Actually, I I probably would turn that down too. Yeah, exactly. It is very intimidating. My response was like I don't need to be responsible for wrapping this around a tree. Um also we'll both die if I wrap this around a tree. Did it have a gated shifter? Yeah. Yeah, of course. Alright, cool. The reason I set myself up like that is uh I actually, despite not being a car guy, have always really connected with autodroma's products for whatever reason. A design guy. Yeah, definitely a design design. Because I'm a design guy. And and I think the thing that makes the product so compelling to me is that while like you said, if if you're a car guy, you get all these little Easter eggs, I feel that way about being a a sort of like design person looking at these products is the sort of attention to detail and the way everything is is considered and balanced and the way that colors play with one another and the finishing, these aren't these are very clearly not products designed by committees who are worried about like maximizing efficiencies and maximizing, you know, well, if we make the bezel this way, we can make half a percent more profit on each watch versus if we make the bezel this way, we'll make half a percent less profit on each watch, but the product will be better. Yeah, that that's certainly not |
| Unknown | true. Often the product is more expensive. This little extra thing I want to do is gonna cost X dollars more. It's like if I think it's gonna make the product, I just do it. And of course, sometimes that actually does really hurt the bottom line and turn because sometimes people like they they compare our products to let's say other uh automotive inspired watches in our general price range and they they say well autodrum was more expensive than X brand and um the reason for that is is not like that I'm greedy. It's that there's a lot of there's a lot of stuff that I do that is actually pretty expensive to make. Like the folded aluminum boxes for the group B, which that's a pretty expensive box, frankly, uh to make. And uh there's there's other stuff like that. Uh whether it's a feature of the watch or a feature of the packaging, that I just felt like it was necessary for the product and I really, really wanted to do it a certain way. Um and uh I have to charge more to make a profit on it. And the customers that I have appreciate those things. So that gentleman, ladies and gentlemen, is why our products are a lot more expensive sometimes than competitor brands that are kind of, you know, aping what we're doing. So |
| Unknown | yeah. Yeah. Well cool. We're uh we're starting to get the sign from the booth that we have to start wrapping things up. So I think we're going to transition to the Hodinky questionnaire and then we'll do uh some cultural recommendations at the end and get out of here. So I've got a couple of quick fire questions for you, Bradley. Oh god, quick fire questions. Yeah, sorry, man. |
| Unknown | Well it's not really a watch, but something that caught me by surprise is a clock actually. It was a dash clock. But out of a car I did not expect to be impressed with and it was just uh there was a guy with a first generation Japan uh Japanese market supra at a car show I went to recently, and the dash clock was totally sick. It was really, really minimal and it was just like a black dial with like an just an orange hand, but the proportions of it, it just looked so good. I was like, oh, I I had no idea this car had a cool dash clock. It I always felt like the interior on those cars was n kind of whatever, just nineties blah kind of uh design, but it was very cool. So super dash clock. That that counts. That's a that's a unique answer, but we'll we'll count it. Yeah, I wish I had a better answer for you. I wish I I I could give you something that would make uh all of your audience go, hm. |
| Unknown | But All right, next question. What's the best place you've traveled in the last year |
| Unknown | ? In the last year? Uh I recently went to Bermuda. Oh, nice. And we went there for a baby moon because it's actually only an hour. It's an amazingly close place. It's an hour and a half flight from New York. You would think it's like you know, hours away. Never thought of it. And um it's it's I can't think of a more foreign unusual place to go in such a short amount of time, uh that it just feels like you're very far away and like the cars are right hand drive and the roads are really narrow and it's very, very yeah, the accent's different and it is a foreign country, you know. So it it's a that was a really I can't say it was like a cultural voyage going there. I mean it's still a resort place and I've been to much more quote interesting places, but I think it was it was really eye opening also how old everything is there. It actually has, you know, been inhabited for for a very long time relative to the quote new world. Um and so there is a ton of history there and it's very interesting history and you know with pirates and everything. And yeah, it's it's a it's a cool place. Nice. Yeah it was definitely wick way more interesting. I I thought it was just gonna be a bit more uh I I'm not a beach destination guy so okay we just went there because you know baby moon let's just sit on a beach and do nothing and there's no Zika virus there but you have to think about when your wife is pregnant. And Nice. Yeah. What's the best piece of advice you've ever been given and who gave it to you? The best piece of advice I ever received uh was from uh designer named Kara Mersheed. Okay. And I worked with I worked as an intern for him when I was in college. And uh he was at the time like a big hero of mine. You know, I was a kind of a design nerd in nineteen ninety eight and nineteen ninety nine and he was really uh doing a lot of interesting stuff at the time and he's a very controversial figure. Some people love him, some people hate him. But anyway, I I was a big fan at the time. B basically him and I was a big Mark Newson fan as well. They were both kind of super famous at the same moment for slightly different you know different reasons, but they were both had, you know, their monograph and all that stuff. Anyway, so I worked for Caram in in New York. Um and at the end of my internship I he sat me down and talked to me for a while and I sa he said, you know, what do you want to do with your life basically and and uh I said well I really want to be a furniture designer I want to start my own studio and he said oh Bradley like you gotta work for someone for like 10 years man you you can't just go out like right out of college and start your own company like that. Like you gotta learn like lots of stuff. And uh he said, and and eventually you're gonna have your studio, but like go work for someone for like 10 years. And I I was kind of disheartened by that at the time. Yeah. But he was 100% right. And I always say that to people like college students I meet, that like are like brimming with enthusiasm and can-do attitude and we want to be very entrepreneurial, which I think is awesome. And you know, I respect that. And of course I've, you know, all for entrepreneurship. But it's true that when you graduate from any kind of training, it's the beginning of your path of of learning and knowledge, not the end. And and and he explained that to me basically very succinctly. And um he was right. If I had started a design studio as a twenty-four-year-old, I would have failed definitely. And I certainly didn't have the idea to start a watch brand then. But my point is, I learned so much in the intervening 10 years of working in a studio environment that put to shame anything I learned in design school. Gre |
| Unknown | at. Last question. Uh what is your guilty pleasure |
| Unknown | ? Buick Grand National. Yeah. Oh man. Couldn't have answered that better. Yeah. Among other things, but |
| Unknown | that's a pretty good one, I think. Perfect. All right. Let's wrap things up. Cultural recommendations. What do you think, Bradley, is something that people should go check out when they're done listening to the show. It can be basically anything |
| Unknown | . Go on YouTube and listen to David Lynch talk about the eye of the duck. The eye of the duck. Yeah. I think David Lynch explains this aesthetic thing. He calls it the eye of the duck, okay. And um how much time do we have? We got you got a little time. Oh okay. A minute. I'll give it a quick summary. I think the eye of the duck is basically the key to understanding proportion and design. And he kind of talks about it in terms of cinema, but the same is true of any aesthetic pursuit or any kind of creative pursuit. And basically he's talking about the duck has this eye that's like a jewel, right? And if you move the eye to the tip of the beak, there's all this shininess at the tip of the beak and and it's kind of like too much going on, and it's too too too much what he calls fastness going on. And if you move the eye down to the body of the duck, it'd be lost in all the feathers and it'd be kind of insignificant and meaningless. But the way it's placed exactly at the sort of belt bulging of the head of the duck, it just perfectly sets off the whole thing, and the duck becomes this thing that's a duck. And it looks right. And I think that when you look at a piece of art or architecture or anything like that and you uh you know it's good instinctively, it's because it has the eye of a duck. And like Mies van der Row put it like he said, an interesting plainness is the most difficult and delicate thing to achieve. And I think he was talking about the exact same thing. An interesting plainness is the eye of the duck. So you know, that's what separates like good modernism from like terrible modernism. Yeah. And why you know, it's detailing and proportion and also just that little thing that just sets it off just a certain way. I now know exactly what I'm doing when this episode's over. Same, same Okay. When I watched that interview, it just blew me away because I just thought this guy like totally gets it. This is exactly, he's put into words something I instinctively felt but never could quite explain. And it's also what kind of separates, I think, professional designers from general people is is having the instinctive sense of how to create that effect or how to like bring that to something that you're doing as opposed to just making something that's generally pleasant or nice or whatever you want to call it. Um so yeah, go check that out. Uh I'm sure you can find the right keywords to put in for that. But perfect. It's a good interview |
| Unknown | . Cole, how about you? Uh we don't have much time, so I'll just say go find the trailer for Ford vs Ferrari. Oh yeah, watch that's an appropriate one. Yeah, I watched that. And as a bit of a patriot and a Ford guy, I think uh I'm excited about it. Yeah, I think it's gonna be great. I think it's gonna be great. And it's a huge moment in automotive history. And they couldn't have picked better cast, you know. Yeah, and if you want to wear a really co |
| Unknown | ol Ford themed watch to go see that movie, we make the official watches for the Ford GT, which are available on our website. Nah, we'll link it up. Yeah, yeah. But I mean I was excited when they they announced that because I was like, oh, this is perfect. And it looks like it's going to be awesome. It's funny that I've seen like Anaract people like already nitpicking about like what brand of tires are on the car. Matt Damon not looking like Carol Shelby is a much bigger thing to kind of nitpick about. Uh maybe, yeah. But uh you know, I think he'll be awesome. Yeah, I'm not worried about it, but yeah, he doesn't look remotely like Carol Shelby. But that's fine. That's it. |
| Unknown | Sweet. I'm gonna recommend a photography show that's uh opening in New York the day after we record this. Uh this photographer, uh Gail Haliban, um, who's amazing. Uh this is her first show in New York City, um, first public show in New York City. Um she it's a mix of her work, but she really has become known for these uh large format photos she does uh shooting out of windows uh in cities kind of almost voyeuristically uh looking into other windows. Uh they're shot kind of wide angle. Some of them are partially staged, some of them are totally just like uh it's not photojournalism, but they're they're real, I guess. Candid. Um they have this sort of like haunting cinematic quality to them. A friend got uh her book about Paris uh maybe two years ago, and since then I have not been able to stop thinking about this work, so I'm I'm hoping to go to the opening tomorrow night. Wow. It's it's really impactful and it's a very simple idea. It's the kind of photography that you think sort of like anybody could do just looking out their bedroom window. And it has this just really powerful kind of human element to it that I I find extremely captivating. So we'll link up the exhibition and uh for people who can't see it, we'll link up uh the book too. Yeah. Sounds great. I highly, highly recommend it. So awesome. Well thank you guys. This was fun. Thanks, Bradley. I know we've been trying to make this happen for a while. So it's |
| Unknown | really a pleasure. I'm really thrilled to be on here and I thank you for inviting me |
| Unknown | . This week's episode was recorded at Mirror Tone Studios in New York City and was produced and edited by Grayson Korhonen. Please remember to subscribe and rate the show, it really does make a difference. Thank you and, we'll see you next week. Well, |