WEBVTT - Shimoyama

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<v Speaker 1>Pushkin. If I were to give you a blindfold and

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<v Speaker 1>I line up, UH, the LC and three of your

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<v Speaker 1>competitors Mercedes s l Uh. I don't know what the AUDI?

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<v Speaker 1>A eight? Who you know? You name them? What they

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<v Speaker 1>whatever they may be? UM, could you and I sit

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<v Speaker 1>you inside the car? Can you tell? Can you tell

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<v Speaker 1>them apart? Do you know which one is the LC?

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<v Speaker 1>If you? If you have your h if you if

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<v Speaker 1>I give you a blindfold, yes, I'm confident I will

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<v Speaker 1>know LC right away from Lexus and Pushkin Industries. This

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<v Speaker 1>is go and see. I'm Malcolm Glabba. In the last

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<v Speaker 1>two episodes, we investigated the sound of the Lexus LC

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<v Speaker 1>sports car. In this episode, we're heading to the track

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<v Speaker 1>and in preparation we got a briefing from Yessushi Muto Mutusan,

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<v Speaker 1>the chief engineer of the LC, in his fifties, salt

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<v Speaker 1>and pepper hair, a little bit of an athlete's swagger.

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<v Speaker 1>It was the day before we went to the track.

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<v Speaker 1>We were at the main Lexus building in a conference room.

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<v Speaker 1>Mutusan came early. The Lexus people were always early, remember

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<v Speaker 1>O Mutanashi, mindful hospitality. These are not people who would

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<v Speaker 1>dream of inconveniencing their guests. Mutosan spent years working on

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<v Speaker 1>the LC, obsessing over every detail. So I asked him

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<v Speaker 1>if he would know whether or not he were sitting

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<v Speaker 1>at an I'll see if he were blindfolded. He said absolutely,

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<v Speaker 1>and of course he would. Mutosan knows how the car

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<v Speaker 1>sounds and moves and feels, but that wasn't his point too. Yeah,

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<v Speaker 1>it's explained to me the meaning of the of the

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<v Speaker 1>drawing on the whiteboard. Halfway through our briefing, Mutosan stood

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<v Speaker 1>up and drew a simple stick figure of a seated

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<v Speaker 1>driver on the whiteboard, both legs extended. He wanted to

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<v Speaker 1>demonstrate how designing a car at a place like Lexus works.

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<v Speaker 1>You don't design the car then fit the driver in it.

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<v Speaker 1>You do the opposite. You start with the driver yea

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<v Speaker 1>from the side. So when we decide on the package,

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<v Speaker 1>we first decide on a driver's position. It's a heel

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<v Speaker 1>point of the axel point to your hip point. Heel point,

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<v Speaker 1>Mutosan drew a line between the hip point of the

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<v Speaker 1>stick figure driver and the floor of the car. The

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<v Speaker 1>heel point meaning the position of the foot on the pedal.

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<v Speaker 1>In every car that distance is different. In a big

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<v Speaker 1>sedan like the Lexus LS, it's two hundred and forty

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<v Speaker 1>five millimeters from the driver's hip to the car's floorboards.

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<v Speaker 1>In an LC, it's two hundred so two inches lower,

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<v Speaker 1>which changes the angle of your hips, a subtle difference,

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<v Speaker 1>which in turn changes the entire geometry of the car

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<v Speaker 1>and the driver's position. And from there we went deep,

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<v Speaker 1>deep into the weeds, until I felt like I too

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<v Speaker 1>could climb blindfolded into an LC and know exactly where

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<v Speaker 1>I was. You may remember from two episodes ago that

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<v Speaker 1>the origin of the LC came when the head of Toyota,

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<v Speaker 1>Akio Toyota, went to a product launch at the legendary

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<v Speaker 1>Concourse to Elegance in Pebble Beach, California, and an auto

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<v Speaker 1>writer told him in front of everyone that Lexus was fine,

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<v Speaker 1>but boring ta and never boried, never boried. At least

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<v Speaker 1>one well respected journalists you know was was doing an

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<v Speaker 1>interview with doctor sonn mentioned his feeling that the Lexus

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<v Speaker 1>brand was boring, and that was both a surprise and

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<v Speaker 1>a shock Tokyo son And so when he came back,

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<v Speaker 1>he said to all of these guys here, you don't

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<v Speaker 1>never want to hear that maybe he has a very

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<v Speaker 1>Step one in the anti boring campaign was making a

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<v Speaker 1>sports car that sounds exciting. This episode is about step two,

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<v Speaker 1>a sports car that feels exciting to drive, which is

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<v Speaker 1>a far more involved process than you might think. Lexus

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<v Speaker 1>has six test tracks, most of them in Japan. There's

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<v Speaker 1>one at the main facility in Toyota City, another in

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<v Speaker 1>the Gulf of Nagoya, one in Higashifuji, one way up

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<v Speaker 1>north near Sapporo where they do winter testing. There's one

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<v Speaker 1>more in Whitman, Arizona, outside Phoenix, a massive track that

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<v Speaker 1>Lexus shares with Toyota that's ten miles around, the biggest

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<v Speaker 1>test track in the world. You can land a jumbo

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<v Speaker 1>jet in the middle of it, and every morning the

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<v Speaker 1>sweepers have to go out and get the rattlesnakes off

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<v Speaker 1>the tarmac where they gathered for warmth during the night.

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<v Speaker 1>But the crown jewel of Lexus test tracks Ishimoyama, about

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<v Speaker 1>half an hour up into the hills outside of Toyota City,

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<v Speaker 1>brand new, sixteen hundred acres across two mountaintops. Eventually there

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<v Speaker 1>will be ten thousand people working there. The whole thing

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<v Speaker 1>is so hidden away you'd never find it without directions.

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<v Speaker 1>It's not on Google Maps. You can't get in unless

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<v Speaker 1>you work for Lexus, and you can't drive on the

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<v Speaker 1>track unless you're certified Lexus driver. Lexus let Us in

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<v Speaker 1>Shimu Yama is inspired by the most famous racing course

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<v Speaker 1>in the world, the Nordschleifa at the Nurburgring in Germany's Rhineland.

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<v Speaker 1>The Nurburgring is not a flat oval like the Indie

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<v Speaker 1>five hundred. It's a road course twelve point nine miles

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<v Speaker 1>of twists and turns, a thousand feet of elevation, changes,

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<v Speaker 1>dense forest, medieval villages, the Eiffel Mountains. Current lap record

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<v Speaker 1>is held by a Lamborghini Aventador. Second place is a

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<v Speaker 1>portion of nine eleven g T two rs. Race and

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<v Speaker 1>sports cars are perfected here. Every curve is numbered and mythologized.

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<v Speaker 1>The Nurburgring Nordschleifa is petrol Head Nirvana, former course record holder.

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<v Speaker 1>By the way, the Lexus LFA Bananas Limited Editions supercar

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<v Speaker 1>that Lexus made back in twenty eleven. So Shimo Yama

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<v Speaker 1>is Lexus's answer to the Nordschleifa, a European style road

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<v Speaker 1>course in the hills of southern Japan. It's insanely beautiful.

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<v Speaker 1>The road cuts through the side of the mountains, surrounded

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<v Speaker 1>by tall Japanese pines. When we first got there, we

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<v Speaker 1>stood out on the observation deck of the visitors center

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<v Speaker 1>and all you can hear our birds chirping, and insects buzzing,

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<v Speaker 1>and a blue sky above. Until Sweet Jesus is every

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<v Speaker 1>curve a replica of a curve. Our pre track briefing

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<v Speaker 1>came from our guide, Paul Williamson. They're not direct replicas,

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<v Speaker 1>but they kind of said, hey, you know, I really

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<v Speaker 1>like to turn seventeen A, and then they go out

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<v Speaker 1>and measure it and figure out what the grade change

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<v Speaker 1>and how the road is cambered, and they say, okay, yeah,

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<v Speaker 1>we can do something like seventeen A and so so

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<v Speaker 1>basically they took kind of thirty eight of their favorite

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<v Speaker 1>spots of the Nervagring and built them in here along

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<v Speaker 1>with all these other European type road surfaces. And you

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<v Speaker 1>saw some of those undulations as we're driving in. I

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<v Speaker 1>pointed that out, so you can see some some big

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<v Speaker 1>areas where you know, if one more careless with speed,

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<v Speaker 1>you can get everyonere and careless with speed. Classic euphemism.

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<v Speaker 1>It's what you say when the highway patrol officer pulls

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<v Speaker 1>you over. Officer, I got careless with speed. So we've

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<v Speaker 1>got some fifteen degree ascents, twelve degree descents, pretty steep areas.

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<v Speaker 1>Some of the track is perfectly smooth asphalt. And by

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<v Speaker 1>the way, I'm not sure why, but Japanese asphalt doesn't

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<v Speaker 1>look like American asphalt. It looks like a putting green,

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<v Speaker 1>if that makes any sense. So this country road course

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<v Speaker 1>that you'll experience today simulates many different kinds of European roads.

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<v Speaker 1>It has seven unique road surfaces. So some is perfect smooth,

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<v Speaker 1>gorgeous Japanese asphalt or probably closer to Germany fault like

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<v Speaker 1>an autumn but others, and we'll ask Osakisan to do

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<v Speaker 1>some lamps for you where it uses the off lane,

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<v Speaker 1>and then the off lane will have little ripple surfaces.

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<v Speaker 1>It'll have kind of a bolden block. Osakisan, he's Alexis

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<v Speaker 1>master driver who agreed to take us out on the course.

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<v Speaker 1>He's driving Alexis LC five hundred and in fact, as

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<v Speaker 1>you're being briefed by Paul I see Osakisan down below.

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<v Speaker 1>In the off ramp area, taking three helmets out of

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<v Speaker 1>the back of a gleaming white LC. I asked Paul

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<v Speaker 1>if Osakisan and his fellow drivers keep a record of

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<v Speaker 1>the fastest times around the course, like they do at

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<v Speaker 1>the Nrburgring. He said no, not officially, because of course

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<v Speaker 1>you know they do, like a secret list stashed away somewhere.

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<v Speaker 1>We go downstairs to meet Osakisan. He's slender, light on

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<v Speaker 1>his feet, like an athlete. He's a surfer late forties,

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<v Speaker 1>early fifties, although he seemed younger. He's what a Lexus

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<v Speaker 1>is called takumi, a master, only one of two Takumi

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<v Speaker 1>masters of driving. Feel in the entire Alexis company? You

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<v Speaker 1>joined Lexus or Toyota? Yes? What did you think? You?

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<v Speaker 1>What did you go into? Nineteen eighty five? So how

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<v Speaker 1>long does it take to be certified as a Takumi driver?

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<v Speaker 1>How many years needs you going? In June? Approximately about

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<v Speaker 1>twenty five to thirty years. Oh wow. Kasaki San's job

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<v Speaker 1>is to drive prototypes as they're being developed and provide feedback.

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<v Speaker 1>He's a frequent visitor to the Nrburgring, typically drives two

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<v Speaker 1>hundred laps at a visit. Did I did I read

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<v Speaker 1>somewhere that you you spent two years arguing about for

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<v Speaker 1>a change in the angle of the steering wheel. Yes, yes,

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<v Speaker 1>that's actually he was involved in that. What model was that?

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<v Speaker 1>So we started that discussion from GS, but then h

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<v Speaker 1>LC was the actual first car that we're able to

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<v Speaker 1>apply that change in the angle. What was the how

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<v Speaker 1>much of a change in angle did you wanta? Angle?

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<v Speaker 1>Two degrees? Two degrees? Was it hard to convince people

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<v Speaker 1>to change the angle of the string ways? Yeah, so

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<v Speaker 1>you know, not only with the LC, but changing the

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<v Speaker 1>steering angles actually also affixed the platform of other vehicles too,

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<v Speaker 1>so you know, to really make any evolution as far

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<v Speaker 1>as mindset, you know, that was that certainly took a

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<v Speaker 1>lot of determination to change. Twenty five years to get

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<v Speaker 1>certified as at Takumi, two years of arguing to get

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<v Speaker 1>the engineers back at Toyota City to tilt the LC

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<v Speaker 1>steering two degrees forward because the proposed steering wheel angle

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<v Speaker 1>just didn't feel right. Osaki San is a student of EI,

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<v Speaker 1>which is one of the Japanese martial arts. At one

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<v Speaker 1>point he took out his cell phone and showed us

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<v Speaker 1>the photos of him working with his instructor Ei is

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<v Speaker 1>the art of drawing a katan a sword in a smooth,

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<v Speaker 1>controlled manner. I A I EI. So listening there you go,

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<v Speaker 1>let's see that. Yeah, it's an art to basically sword

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<v Speaker 1>um um. So yeah, it's a form of art. Have

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<v Speaker 1>you been doing this six years? Then Osaki San went

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<v Speaker 1>into a long soliloquy about how similar the philosophy of

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<v Speaker 1>EI was to the philosophy of Lexus savagery and elegance,

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<v Speaker 1>abandon and control. Meanwhile, all I could think about is,

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<v Speaker 1>even though I've been a carnet all my life, I've

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<v Speaker 1>never driven with a race car driver on a closed

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<v Speaker 1>course before. I take that back. Once years ago I

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<v Speaker 1>did a bunch of slalom runs around traffic cones at

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<v Speaker 1>the Consumer Reports Test track, Consumer Reports, they test minivans.

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<v Speaker 1>This is the real deal. I'm in full nine year

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<v Speaker 1>old boy mode. Yeah, let's not been there. Lee. Let's see.

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<v Speaker 1>So this is a we got a what what models?

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<v Speaker 1>This is the twenty nineteen you say, dune in them?

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<v Speaker 1>What they do? Yet it's cosy and this is a

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<v Speaker 1>special edition we called Inspiration Edition. So you'll notice when

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<v Speaker 1>you get inside is a three color interior. Yeah, so

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<v Speaker 1>it's a white orange and navy interior. Um there's only

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<v Speaker 1>a few extra colors that work well with that combo.

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<v Speaker 1>Pearl white is one of them. And then the Inspiration

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<v Speaker 1>Edition in the US is also coupled with a luned

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<v Speaker 1>slip differential and some other performance features. So it's a

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<v Speaker 1>great handling, great driving, and beautiful style car. So this

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<v Speaker 1>is I'm forgetting it. This is the one with with

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<v Speaker 1>a this is the So this is a gas V eight.

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<v Speaker 1>If you've never driven at full speed around a race

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<v Speaker 1>track before, let me explain a few things. Logically, you

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<v Speaker 1>would think it's a bit scary. Some of the curves

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<v Speaker 1>at Shimoyama are hairpins, and there's not a lot of

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<v Speaker 1>straightaways between them, so Asaki Song would come screaming out

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<v Speaker 1>of a curve, hit the gas, the LC bolts forward,

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<v Speaker 1>you get up, sometimes over one hundred pounds an hour,

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<v Speaker 1>and then right in front of you, almost immediately is

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<v Speaker 1>another curve, which in theory sounds a bit unnerving, except

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<v Speaker 1>first of all, there's a Takumi driver behind the wheel,

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<v Speaker 1>cool as a cucumber, in fact, giggling. And secondly, you're

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<v Speaker 1>in a sports car. I mean, if you were to

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<v Speaker 1>take an suv out on the Shimayama. Each of those

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<v Speaker 1>turns would be terrifying. That's because suv sit up high.

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<v Speaker 1>They have a high center of gravity, as much as

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<v Speaker 1>three feet in a big suv. At high speeds, an

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<v Speaker 1>suv would pitch violently to one side in a corner

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<v Speaker 1>like a ship in rough seas, and if you went

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<v Speaker 1>too fast, it could spin out or even tip over.

0:15:07.236 --> 0:15:10.836
<v Speaker 1>The center of gravity on Alexis LC, by contrast, is

0:15:10.836 --> 0:15:15.796
<v Speaker 1>super low even by sports car standards. Planted on those corners,

0:15:15.916 --> 0:15:19.276
<v Speaker 1>there was almost no body roll at all. We never

0:15:19.356 --> 0:15:23.396
<v Speaker 1>felt anything close to being out of control. There's a second,

0:15:23.676 --> 0:15:25.836
<v Speaker 1>more subtle thing, and for that we have to leave

0:15:25.876 --> 0:15:29.156
<v Speaker 1>shimo Yama for a moment. I promise will return back

0:15:29.196 --> 0:15:31.916
<v Speaker 1>to Toyota City and Muto San stick figure of a

0:15:31.996 --> 0:15:35.956
<v Speaker 1>driver because the way a car handles also comes down

0:15:35.996 --> 0:15:42.036
<v Speaker 1>to its center of gravity and our anatomy from the side.

0:15:43.076 --> 0:15:46.076
<v Speaker 1>So when we decide on the package, who first decide

0:15:46.116 --> 0:15:56.196
<v Speaker 1>on driver's position detailed point of the axel to your

0:15:56.316 --> 0:16:00.196
<v Speaker 1>hip point a heel point. To make a car handle perfectly,

0:16:00.636 --> 0:16:02.716
<v Speaker 1>you want the driver's hips to be as close to

0:16:02.716 --> 0:16:05.516
<v Speaker 1>the center of gravity as possible, so you feel like

0:16:05.556 --> 0:16:08.636
<v Speaker 1>the car is turning with you. Like, imagine for a

0:16:08.676 --> 0:16:11.316
<v Speaker 1>moment that you have to carry a fifty pound package

0:16:11.356 --> 0:16:14.396
<v Speaker 1>on your bicycle. You could put it in a basket

0:16:14.516 --> 0:16:17.316
<v Speaker 1>over the handlebars, but then the bike would be really

0:16:17.316 --> 0:16:20.156
<v Speaker 1>hard to control because the center of gravity, the bulk

0:16:20.196 --> 0:16:22.956
<v Speaker 1>of the weight would be over the front wheel way

0:16:23.036 --> 0:16:25.956
<v Speaker 1>ahead of your hips. But if you strapped those weights

0:16:25.996 --> 0:16:29.276
<v Speaker 1>around your waist, the bike would be much easier to

0:16:29.276 --> 0:16:32.236
<v Speaker 1>control because now all of that weight would be over

0:16:32.276 --> 0:16:36.356
<v Speaker 1>the center of the bike. During our briefing with Mutosan,

0:16:36.596 --> 0:16:39.476
<v Speaker 1>he talked about how hard Lexus worked to bring those

0:16:39.516 --> 0:16:43.836
<v Speaker 1>two points, hips and center of gravity as close as possible.

0:16:44.716 --> 0:16:52.716
<v Speaker 1>This is a twenty millimeter aviation almost same. How unusual

0:16:53.156 --> 0:16:56.436
<v Speaker 1>is that in a in a sportscar sometimes with a

0:16:56.516 --> 0:17:00.836
<v Speaker 1>two seater two hundred to three hundred millimeter gap. Oh well,

0:17:01.676 --> 0:17:04.156
<v Speaker 1>they got a three hundred millimeter gap down to a

0:17:04.276 --> 0:17:08.476
<v Speaker 1>twenty millimeter gap. Then I asked Mutosan why they couldn't

0:17:08.476 --> 0:17:11.876
<v Speaker 1>get that numbered down to zero? What was stopping you

0:17:11.956 --> 0:17:14.476
<v Speaker 1>for having the center of gravity and the hippoint be

0:17:14.596 --> 0:17:24.116
<v Speaker 1>absolutely perfect? I don't know. Does it bother you? Though

0:17:28.436 --> 0:17:30.716
<v Speaker 1>you didn't say no sleep was lost over you didn't

0:17:30.716 --> 0:17:33.036
<v Speaker 1>wake up in the middle of night saying, if only

0:17:33.116 --> 0:17:39.876
<v Speaker 1>it was perfect. He's lying, of course, he totally loses

0:17:39.876 --> 0:17:43.636
<v Speaker 1>sleep over those twenty millimeters. Then there's what happens to

0:17:43.676 --> 0:17:47.356
<v Speaker 1>your feet. In a typical small car, like a sports car,

0:17:47.676 --> 0:17:50.756
<v Speaker 1>the engine intrudes into the middle of the passenger cabin,

0:17:51.076 --> 0:17:53.356
<v Speaker 1>so you have to bring your ankles a little closer

0:17:53.396 --> 0:17:57.516
<v Speaker 1>together to account for the size of the transmission. Muto

0:17:57.596 --> 0:18:00.916
<v Speaker 1>San and his team didn't like that. It didn't feel

0:18:00.996 --> 0:18:04.076
<v Speaker 1>natural to them, so they pushed the engine just a

0:18:04.116 --> 0:18:07.716
<v Speaker 1>little bit forward and the front seats a little bit back.

0:18:08.276 --> 0:18:12.036
<v Speaker 1>They wanted to create more space in the footwell. Mutasan

0:18:12.156 --> 0:18:15.676
<v Speaker 1>drew the difference for us on the whiteboard. Two legs

0:18:15.716 --> 0:18:23.276
<v Speaker 1>angled slightly inwards, two legs extending straight. That's incorrect. How

0:18:23.316 --> 0:18:27.276
<v Speaker 1>subtle is the difference between correct and incorrect on foot position?

0:18:29.196 --> 0:18:35.196
<v Speaker 1>Twenty really made or two so maybe an inch? An inch?

0:18:36.116 --> 0:18:39.516
<v Speaker 1>Now would most of us even notice that smaller difference,

0:18:40.156 --> 0:18:44.356
<v Speaker 1>Maybe not explicitly, or at first, you wouldn't say to

0:18:44.436 --> 0:18:48.236
<v Speaker 1>yourself when you sit in an LCOH, the angles of

0:18:48.236 --> 0:18:51.636
<v Speaker 1>my legs feel just that much better. But there are

0:18:51.676 --> 0:18:55.156
<v Speaker 1>twenty or thirty subtle little variables like that, and when

0:18:55.236 --> 0:18:57.796
<v Speaker 1>you combine them all then you really can sense that

0:18:57.916 --> 0:19:01.796
<v Speaker 1>something's different. The point is that as Osaki San drove

0:19:01.836 --> 0:19:04.676
<v Speaker 1>around the Shima Yama, the way he sat in the car,

0:19:04.956 --> 0:19:07.436
<v Speaker 1>the way it felt to drive, the way I felt

0:19:07.636 --> 0:19:12.076
<v Speaker 1>as he careened around corner wasn't an accident. It was

0:19:12.076 --> 0:19:24.316
<v Speaker 1>a feeling engineered and created by the car's designers up

0:19:24.356 --> 0:19:27.476
<v Speaker 1>without any of the electronics. It's the end of our

0:19:27.516 --> 0:19:30.796
<v Speaker 1>test drive. I thought we were going really fast, but

0:19:30.876 --> 0:19:34.596
<v Speaker 1>Osakisan says that we had driven at about sixty percent

0:19:34.716 --> 0:19:40.116
<v Speaker 1>of our capacity because we had four people in the car, Osakisan, me,

0:19:40.476 --> 0:19:44.156
<v Speaker 1>the translator, and Jacob with his sound equipment. Now, who

0:19:44.156 --> 0:19:47.276
<v Speaker 1>wants to drive at sixty percent capacity? I want to

0:19:47.276 --> 0:19:50.396
<v Speaker 1>go faster, I want to drift, and to do that,

0:19:50.436 --> 0:19:53.756
<v Speaker 1>the driver has to turn off all the electronic monitors

0:19:53.756 --> 0:19:56.316
<v Speaker 1>that are built into modern cars to make them behave

0:19:56.676 --> 0:20:01.236
<v Speaker 1>like responsible citizens. So I'm asking can we turn them off?

0:20:01.996 --> 0:20:06.916
<v Speaker 1>Asaki San says that's not allowed. Basically it requires a

0:20:06.956 --> 0:20:11.116
<v Speaker 1>certain permit to actually drive around in that mode. So

0:20:11.276 --> 0:20:14.476
<v Speaker 1>you know, maybe we could try like in specific point,

0:20:15.196 --> 0:20:19.036
<v Speaker 1>but apparently today we basically obtain a permit to basically

0:20:19.156 --> 0:20:22.236
<v Speaker 1>run in like basically not to overlap the lanes, but

0:20:22.396 --> 0:20:24.476
<v Speaker 1>in order to do so with everything off, you kind

0:20:24.476 --> 0:20:26.876
<v Speaker 1>of need to use the full track, full width of

0:20:26.876 --> 0:20:30.596
<v Speaker 1>the track to cross over both lanes, so that apparently

0:20:30.756 --> 0:20:34.516
<v Speaker 1>requires a different permit application. He wasn't supposed to leave

0:20:34.556 --> 0:20:38.276
<v Speaker 1>tire marks. It's a brand new track, blah blah blah.

0:20:38.316 --> 0:20:41.836
<v Speaker 1>But then we kicked Jacob and his fancy recording equipment

0:20:42.236 --> 0:20:45.476
<v Speaker 1>out of the car, and Osakisan thinks about it a

0:20:45.476 --> 0:20:50.836
<v Speaker 1>minute longer, and he says, Okay, let's go for it,

0:20:50.876 --> 0:20:54.756
<v Speaker 1>because Lexus isn't supposed to be boring, not anymore, And

0:20:54.836 --> 0:20:57.156
<v Speaker 1>so I have something to boast about at dinner parties.

0:20:57.516 --> 0:21:05.116
<v Speaker 1>I record what happens next on my phone. Oh yeah, baby,

0:21:05.716 --> 0:21:09.636
<v Speaker 1>one of the top ten moments of my life. Oh wow,

0:21:10.956 --> 0:21:31.836
<v Speaker 1>serious drifting line. Yeah yeah, that's great. That was That

0:21:32.156 --> 0:21:35.596
<v Speaker 1>was fantastic. That was one of the most fun I've

0:21:35.596 --> 0:21:48.036
<v Speaker 1>had as a passenger in a car maybe ever. Go

0:21:48.196 --> 0:21:51.796
<v Speaker 1>and See is produced by Jacob Smith with Emily Rosteck

0:21:51.956 --> 0:21:56.876
<v Speaker 1>and Carly Migliari, edited by Julia Barton. Evan Viola composed

0:21:56.876 --> 0:22:00.436
<v Speaker 1>our theme music and mixed and mastered our episodes. Special

0:22:00.476 --> 0:22:03.836
<v Speaker 1>thanks to Jacob Weisberg had of fame, Paul Williamson, the

0:22:03.996 --> 0:22:08.596
<v Speaker 1>Mark Levinson engineers, and all the Lexus executives, engineers and

0:22:08.636 --> 0:22:13.436
<v Speaker 1>designer who participated in our recordings. Go and See is

0:22:13.436 --> 0:22:18.236
<v Speaker 1>a production of Lexus and Pushkin Industries. I'm Malcolm Rapin.