Forgotten ONES - In the world of luxury cars, certain names resonate with history and passion. Just as Facel Vega once stood as a symbol of French automotive prestige, another name briefly flickered in that same realm—Monica. Named after the wife of its creator, industrialist Jean Tastevin, this car was poised to carry on the legacy of luxury French cars. But unlike many long-standing names in the industry, Monica’s time was tragically short, marking an interesting yet brief chapter in French automotive history.
Jean Tastevin, known for his company that manufactured rolling stock for French railways, had a deep admiration for the luxurious creations of Facel Vega, a French luxury car maker that ceased production in 1964. Tastevin saw an opportunity to revive the spirit of French luxury motoring, and within two years, his thoughts were centered on building a new car that would fill the gap left behind by Facel Vega. This decision would eventually lead to the creation of the Monica, but the road to production was filled with challenges.
Monique Tastevin posed along with the GT car that bore her name. (Picture from: RareComponentCars)
Unlike the Facel Vega models that were powered by large Chrysler V8 engines, Tastevin’s new car needed to comply with French tax regulations, which meant a smaller engine. The answer came in the form of a 2.6-liter Triumph TR4 engine, developed by Chris Lawrence, a skilled engineer and racing driver.
The LawrenceTune/Standard-Triumph 2.6-liter engine, as seen here in a Morgan +4. (Picture from: RareComponentCars)
Lawrence was initially contracted to supply these engines, but soon, he found himself at the heart of the project, offering his expertise not just in engineering but in car design as well. By 1966, work had begun on the new luxury saloon that would carry the Monica name.
The original Monica prototype, styled by Maurice Gomm. (Picture from: RareComponentCars)
As the development progressed, the Monica featured innovative engineering for its time. Its suspension system was sophisticated, with a double-wishbone setup at the front and a Panhard rod at the rear. The car was equipped with disc brakes all around, ensuring it could stop as gracefully as it accelerated.
The second Monica prototype, styled by Williams & Pritchard. (Picture from: RareComponentCars)
Although the prototypes used an unassisted steering system, the production models were planned to include power-assisted steering for a smoother driving experience. The exterior design drew inspiration from iconic cars like the Maserati Indy and Lotus Elan, with a sleek and elegant front end that gave it a striking presence on the road.
A sketch of the Monica prototype made by Carrozzeria Vignale. (Picture from: Hagerty)
Inside, the Monica was no less impressive. Its interior was a blend of craftsmanship and luxury, with finely finished wood accents that gave the cabin a classic GT feel. The green scripted Veglia gauges added a touch of sophistication, while the dark blue leather upholstery paired with parchment-colored carpets created a comfortable and inviting environment. Rear seating was particularly plush, with thick padding and ample legroom, making it a true luxury saloon.
The third Monica prototype, styled by Carrozzeria Vignale. (Picture from: RareComponentCars)
However, as the prototypes were built and tested, it became clear that the Triumph engine lacked the refinement necessary for a car of this stature. This led to a significant change in the powertrain. Lawrence, recognizing the need for a more refined engine, convinced Tastevin to switch to a 3.0-liter V8 designed by Ted Martin. Although the new V8 was smoother, it lacked low-end torque, prompting the decision to increase its displacement to 3.5 liters, which boosted power to 240 bhp when fitted with Weber carburettors.
A preproduction Monica 350 prototype powered by a Ted Martin's 3.0-liter V8 engine. (Picture from: RareComponentCars)
Despite these improvements, the Monica’s journey was far from smooth. A series of prototypes were built over the following years, with various engineers and companies lending their expertise to the project. Renowned coachbuilders such as Chapron and Vignale, along with body builders Williams & Pritchard, contributed to different aspects of the car's development. This collaborative effort resulted in multiple body designs, engine configurations, and transmission setups, all while costs continued to rise.
A Monica prototype on public display for the first time in Paris. (Picture from: RareComponentCars)
The Monica finally made its public debut at the Paris Salon in October 1971, under the name Monica 350. However, the car still lacked the performance to truly compete with its rivals, leading to another significant change. The decision was made to replace the 3.5-liter V8 with a more powerful 5.6-liter Chrysler V8, producing 285 bhp and 333 lb-ft of torque.
The Monica 350, powered by a Ted Martin's 3.5-liter V8 engine, made its public debut at the Paris Salon in October 1971.(Picture from: DrivenToWrite)
This revised version, now called the Monica 560, was unveiled at the Geneva Salon in 1973. It was billed as the world’s fastest four-door saloon, boasting a top speed of 150 mph and a host of luxury features including air conditioning, electric windows, and high-end leather trim.
Interior view of the 1973 Monica 560 V8 GT. (Picture from: GordonMercedes9 on X)
Yet, despite its impressive specifications, the timing of the Monica’s release could not have been worse. The global oil crisis of the early 1970s made large, thirsty V8 engines far less appealing, and the Monica struggled to find buyers. By 1975, just as production was starting to gain momentum, Tastevin made the difficult decision to shut down the project.
Rear three-quarter view of the 1973 Monica 560 V8 GT. (Picture from: GordonMercedes9 on X)
Although Panther Westwinds briefly considered continuing production in the UK, the plan ultimately fell through, leaving the Monica as a rare footnote in automotive history. As Jean Tastevin had envisioned a production run of 400 Monicas per year, but in the end, only 35 cars were ever built, most of which were pre-production prototypes.
Today, the Monica stands as the last independent French luxury car, joining the ranks of forgotten brands like Facel Vega and Delahaye. Though its time was brief, the Monica’s story remains a fascinating chapter in the history of luxury motoring—a testament to ambition, craftsmanship, and the ever-changing fortunes of the automotive world. *** [EKA | FROM VARIOUS SOURCES | CURBSIDECLASSIC | HAGERTY | BRINGATRAILER | GORDONMERCEDES9 | WIKIPEDIA | DRIVENTOWRITE | RARECOMPONENTCARS ]
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Forgotten ONES - The tale of the Hispano Alemán Vizcaya is a captivating chapter in automotive history, marked by ambition, cross-cultural collaboration, and ultimately, unfortunate legal setbacks. Conceived by Werner Bernhard Heiderich—known as Ben Heiderich—a former U.S. Air Force serviceman who had relocated to Spain, the Vizcaya was his ambitious attempt to create a refined alternative to the Porsche 914-6.
The Hispano Alemán Vizcaya was born from Ben Heiderich's vision to fill Spain's gap in luxury cars by creating an elegant, high-performance vehicle. (Picture from: CarsThatNeverMadeItEtc)
At a time when luxury cars were scarce in Spain, Heiderich saw potential in designing an elegant, high-performance vehicle that would appeal to both foreign and local audiences. Driven by his passion for cars and his strong connections within the automotive industry, Heiderich launched the Hispano Alemán brand in 1969. His vision for the Vizcaya took shape when he decided to enhance the Porsche 914/6, a model that was often criticized for its somewhat boxy appearance.
The Hispano Alemán Vizcaya took shape from Ben Heiderich’s vision to transform the often-criticized, boxy Porsche 914-6 into a more refined and elegant model.(Picture from: CarsThatNeverMadeItEtc)
Heiderich’s goal was to transform the car into a more sophisticated design, one that could compete visually with other European sports cars. For this ambitious reimagining, Heiderich initially approached Italian designer Giorgetto Giugiaro, but the project eventually fell into the hands of his friend, Pietro Frua, a respected name in Italian automotive design.
The Hispano Alemán Vizcaya unveiled at the 1971 Geneva Motor Show, showcased a sleeker, more Italian-inspired elegance to the car, giving it smooth lines and a refined profile that set it apart from its Porsche counterpart. (Picture from: HeartBoomCars)
The resulting design, unveiled at the 1971 Geneva Motor Show, was a stunning transformation of the 914/6. Frua’s expertise brought a sleeker, more Italian-inspired elegance to the car, giving it smooth lines and a refined profile that set it apart from its Porsche counterpart. Named the Hispano Alemán Vizcaya, the vehicle quickly attracted attention at the show, standing out as a beautiful fusion of German engineering and Italian artistry.
The Hispano Alemán Vizcaya was designed by Pietro Frua who succeeded in making this car have a beautiful fusion of German engineering and Italian artistry.(Picture from: CarsThatNeverMadeItEtc)
Interest in the Vizcaya grew significantly when even Porsche showed enthusiasm, placing a considerable order with the intention of introducing the Vizcaya to a broader market. However, as the project gained momentum, it encountered legal obstacles. A dispute arose between Heiderich and Frua, which led to the car being seized by Swiss authorities shortly after its Geneva debut. While Heiderich fought to recover the Vizcaya in court, the legal proceedings dragged on for years.
Beneath its sleek exterior, the Hispano Alemán Vizcaya boasted a tuned engine, producing an impressive 225 horsepower, ensuring exhilarating acceleration and dynamic handling characteristic of a true sports car.(Picture from: Carrozzieri-Italiani)
By the time Heiderich finally won the court case in 1976, the window of opportunity had closed. The Porsche 914 was discontinued that same year, making the prospect of resuming the Vizcaya project unfeasible. Despite the legal victory, the timing was unfortunate, and Heiderich had to abandon his dream of bringing the Vizcaya into full-scale production, and left only one unit ever made.
The Hispano Alemán Vizcaya was built on the chassis and drivetrain of the Porsche 914-6 which was produced from 1969 to 1976.(Picture from: CarsThatNeverMadeItEtc)
The Hispano Alemán Vizcaya remains a symbol of Heiderich’s bold vision and his willingness to take risks. Though it ultimately faced a premature end, the Vizcaya still stands as a testament to the unique blend of Spanish and German automotive passion, driven by an individual who sought to create something truly special. Today, the Vizcaya is remembered as a rare gem that showcases what might have been, embodying a story of creativity and ambition halted by fate but cherished by car enthusiasts who value its legacy. *** [EKA | FROM VARIOUS SOURCES | HEARTBOOMCARS | BURRITODETODO | BLOG.TARANEA.ES | CARROZZIERI-ITALIANI | UNDISCOVEREDCLASSIC | CARSTHATNEVERMADEITETC | AUTOPASION18 ]
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Forgotten GEMS - In the world of car design, the 1960s and 1970s were a period of bold experimentation and creative freedom. During this time, automakers explored unique collaborations, leading to vehicles that pushed the boundaries of what was considered conventional. One such collaboration was between Fiat and the renowned design house Zagato, resulting in the Fiat 132 Aster. This car, although not widely produced, remains a fascinating example of design and engineering, merging the practicality of Fiat with the artistic flair of Zagato.
These two Fiat 132 Aster prototypes crafted by the talent and craftsmanship of Carrozzeria Zagato, a Milan-based coachbuilder famous for its custom designs. (Picture from: Story-Cars)
The roots of the Fiat 132 Aster lie in the talent and craftsmanship of Carrozzeria Zagato, a Milan-based coachbuilder famous for its custom designs. In an era when sleekness and individuality were highly sought after, Zagato’s approach to car design was nothing short of revolutionary. They had already made their mark on models for Lancia and Alfa Romeo, and the Fiat 132 Aster was another attempt to reshape automotive style.
The Fiat 132 Aster designed by Giuseppe Mittino, and made debut in 1972, showcased at the Turin Auto Salon. (Picture from: Story-Cars)
Designed by Giuseppe Mittino, the Fiat 132 Aster first made its appearance in 1972, showcased at the Turin Auto Salon. This green model quickly caught the attention of car enthusiasts for its unconventional looks. A year later, an orange version of the Aster was unveiled at the Geneva Motor Show, further cementing its reputation as an eye-catching, avant-garde creation. Although both cars were built on the same platform, each came with its own unique details, reflecting Zagato’s dedication to bespoke craftsmanship.
The sleek, lightweight aluminum body gave the Fiat 132 Aster (in pictured the 1st prototype) a more futuristic look, aligning with the forward-thinking design principles that Zagato was known for. (Picture from: Carrozzieri-Italiani)
What truly set the Fiat 132 Aster apart was its exterior. Unlike many cars of the time, which relied heavily on steel, the Aster’s body was crafted from aluminum. This choice of material was not only innovative but also aimed at improving both the car’s performance and aesthetics. The sleek, lightweight aluminum body gave the Aster a more futuristic look, aligning with the forward-thinking design principles that Zagato was known for.
This choice of material was not only innovative but also aimed at improving both the Fiat 132 Aster’s performance and aesthetics. (Picture from: Carrozzieri-Italiani)
However, the use of aluminum also made production more expensive, which contributed to the car’s limited numbers. Underneath its distinctive bodywork, the Fiat 132 Asterwas built with the same mechanical components asthe regular Fiat 132. It came equipped with a 2.0-liter four-cylinder engine, a reliable choice that provided solid performance.
The Fiat 132 Aster Zagati (in pictured the 1st prototype) provided enough room for two and made out of various fabrics, dominating is the dark green Alcantara. (Picture from: Zwischengas)
While the mechanical aspects were not groundbreaking, they allowed the Aster to deliver a driving experience that was dependable, if not entirely thrilling. The focus of this car was always more on its design than its power. Despite its eye-catching looks, the Fiat 132 Aster did not receive universal praise at the time.
The Fiat 132 Aster Zagato (in pictured the 2nd prototype) came equipped with a 2.0-liter four-cylinder engine, a reliable choice that provided solid performance. (Picture from: Carrozzieri-Italiani)
Some critics felt that its design resembled the popular styling of Japanese cars from that period, which detracted from its intended originality. The high cost of production, due to the use of aluminum, further prevented the Aster from entering mass production. As a result, only two prototypes were ever built, making it a rare piece of automotive history.
The high cost of production, due to the use of aluminum, further prevented the Fiat 132 Aster Zagato (in pictured the 2nd prototype) from entering mass production. (Picture from: ArchivioPrototipi.it)
Today, the Fiat 132 Aster stands as a reminder of a time when automakers were willing to take risks in design and materials. Though it never reached the production line, its bold design choices and the collaboration between Fiat and Zagato make it an interesting chapter in the evolution of automotive design. | NVOIXOfyT0Q |
Each detail of the car, from its aluminum body to its unique appearance, reflects the spirit of experimentation that defined the 1970s. The Fiat 132 Aster may not have changed the car industry, but it remains a symbol of the creative potential that existed when art and engineering came together. *** [EKA | FROM VARIOUS SOURCES | CARROZZIERI-ITALIANI | STORY-CARS | ARCHIVIOPROTOTIPI.IT | ZWISCHENGAS ]
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Forgotten ONES - In the world of automotive history, certain cars manage to capture our attention not just because of their performance, but because of the stories behind their creation. One such car is the Soviet-era 'Laura'. While Soviet automobiles were mostly known for their practical, sometimes uninspiring and boring designs, the Laura broke away from the norm, offering a glimpse into what might have been if innovation had taken center stage in Russia’s automotive industry. This story is a tale of passion, ambition, and a dream to create something that could stand alongside global competitors.
The first iteration of the Laura prototype, a sports car that defied the limitations of Soviet engineering and aimed for something exceptional, was created by Dmitry Parfenov and Gennady Hainov in 1985. (Picture from: RussiaBeyond)
Unique ONES - The Italian coachbuilder Bertone has long been recognized for pushing the limits of automotive design, not only with sleek sports cars but also with vehicles that step outside the conventional boundaries, such as minivans. Bertone's legacy includes the unforgettable 1985 Lamborghini Genesis, a groundbreaking study in what a minivan could be. Almost two decades later, Bertone revisited this idea, but this time for an American company—Cadillac.
The Cadillac Villa was a bold minivan concept designed and built by Bertone that broke away from traditional design norms. (Picture from: Carrozzieri-Italiani)
In 2005, at the prestigious Geneva Motor Show, Bertone unveiled the Cadillac Villa, a bold concept that broke away from traditional design norms. Built on the SRX platform, the Villa immediately captured attention with its distinctive design, which was far removed from the ordinary. Although it is road legal, as a show model the Villa has only a small engine mated to a single-speed gearbox. It is not very fast so it is suitable for mobility in urban areas.
The Cadillac Villa built on the SRX platform, and immediately captured attention with its distinctive design when showcased for the first time at the prestigious Geneva Motor Show 2005. (Picture from: Carrozzieri-Italiani)
The doors, as well as the roof, were crafted entirely from plexiglass, giving the vehicle a futuristic and innovative aesthetic. Unlike conventional car doors, the Villa’s front doors and roof sections opened upwards towards the front, while the rear doors swung upwards towards the back. This unique opening mechanism created an almost theatrical entry experience that was both bold and futuristic.
The
Cadillac Villa has a unique features such the doors, as well as the
roof, were crafted entirely from plexiglass, giving the vehicle a
futuristic and innovative aesthetic. (Picture from: Carrozzieri-Italiani)
Stepping inside the Villa was equally remarkable. Bertone had crafted an interior that embodied luxury and extravagance, leaving no doubt that this was not just a functional vehicle but a statement in automotive design. Despite the lavish interior and the awe-inspiring features, the Villa was never meant to enter mass production. It remained a concept vehicle, serving as a canvas for Bertone’s creative expression and a showcase of what could be possible when the boundaries of design were pushed.
The Cadillac Villa’s front doors and roof sections opened upwards towards the front, while the rear doors swung upwards towards the back.. (Picture from: Carrozzieri-Italiani)
For Bertone, the Cadillac Villa represented more than just a vehicle; it was a symbol of the potential to challenge and transform the status quo. The design philosophy behind the Villa was driven by a desire to break free from the homogeneous designs that dominated the automotive world at the time. It aimed to redefine the emotional connection between people and the vehicles they drove. The Villa was not about fitting into the existing mold, but rather about reshaping it, questioning what a car could be and how it could make drivers and passengers feel.
The Cadillac Villa has an interior that embodied luxury and extravagance, leaving no doubt that this was not just a functional vehicle but a statement in automotive design. (Picture from: Carrozzieri-Italiani)
A standout feature of the Cadillac Villa was its striking "crystal bubble" doors, crafted from laminated glass with a triple curvature that created a mesmerizing visual effect. These doors did more than just allow entry into the car; they transformed the very concept of vehicle design, emphasizing transparency and creating a fluid relationship between the car’s interior and exterior. This design choice was a bold step away from traditional automotive forms, highlighting Bertone’s innovative approach.
The Cadillac Villa featured a minimalist interior inspired by contemporary architecture, with advanced onboard systems like modern LCD displays replacing the conventional dashboard and cameras substituting rearview mirrors. (Picture from: Carrozzieri-Italiani)
The exterior of the Villa was complemented by a minimalist interior inspired by contemporary architecture. This minimalist ethos wasn't about stripping away luxury, but about redefining it. In the Villa, luxury was found not in opulence but in the simplicity of sleek lines and functional design. Every element inside the vehicle was carefully considered to enhance well-being, making the experience inside the Villa more about comfort and innovation than mere speed.
The Cadillac Villa's cutting-edge design, combined with its avant-garde aesthetics, challenged conventional ideas and sparked conversations about the future of mobility. (Picture from: Carrozzieri-Italiani)
Bertone’s vision for the future extended beyond the physical aspects of the car. It recognized the increasing role of technology in vehicles, and the Villa reflected this with advanced onboard systems. Traditional dashboards were replaced by modern LCD displays, and rearview mirrors were discarded in favor of cameras, further pushing the Villa into the realm of futuristic automotive design. These features enabled passengers to stay connected to the world outside the car, whether for work or entertainment, seamlessly blending travel with the digital age. | CrPmYaJkzIk |
The Cadillac Villa stood as a bold and visionary interpretation of what the future of automotive design could look like. It wasn’t just a car; it was a statement about where luxury, technology, and innovation could take us. The Villa’s cutting-edge design, combined with its avant-garde aesthetics, challenged conventional ideas and sparked conversations about the future of mobility. While it never reached the production line, its influence as a forward-thinking concept continues to inspire, showing that the boundaries of automotive design are meant to be explored, questioned, and, most importantly, expanded. *** [EKA | FROM VARIOUS SOURCES | CARROZZIERI-ITALIANI | AUTOEXPRESS | CARBODYDESIGN | WIKIPEDIA ]
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⚠️Hidden ONES📢 - In the world of automotive innovation, few names evoke the sense of passion and creativity as strongly as Zoragy Studio. Established in Ljig, Serbia, Zoragy Studio has been pushing the boundaries of automotive design and engineering since its informal inception in 1982. The visionaries behind this pioneering company are Zoran Radivojević, a graduate civil engineer, and Ivan Obradović, a graduate industrial design engineer. Together, they have embarked on a journey that has seen Zoragy evolve from humble beginnings into a name synonymous with cutting-edge supercars.
This striking light blue Zoragy Roadster was featured in the music video 'Playa's Only' from R. Kelly's 2005 album, Reloaded. (Picture from: Depo.ba)
Zoran's interest in automotive design began during his student years when he started working on prototype vehicles fueled by nothing more than love for the craft and the limited funds of a student’s budget. His first major project, completed in 1985, was a Buggy body prototype. This early endeavor laid the groundwork for what would become a lifelong pursuit of automotive excellence. Zoragy Studio’s evolution from these initial projects to the present day is a testament to the dedication and vision of its founders.
The international debut of the first Zoragy Roadster prototype, built on the turbocharged Toyota MR-2, took place at the 2005 Detroit Motor Show. (Picture from: Zoragy)
One of the most significant milestones in Zoragy’s history occurred in 2005 when the studio unveiled its first prototype at the Detroit Motor Show. This two-seater, based on the turbocharged Toyota MR-2, was the result of two years of painstaking work by Zoran and his colleagues.
The cabin of the first Zoragy Roadster prototype is equipped with advanced features and a luxurious interior wrapped in tan and blue genuine leather.(Picture from: Zoragy)
The vehicle's design was so well-received that it earned Zoragy Studio first place in a competition for hand-made cars, marking the studio’s entry into the global automotive scene. The success of this project also led to the addition of Ivan Obradović to the Zoragy team, further strengthening the studio’s design capabilities.
The 2007 Zoragy B092 Coupe, designed for the American market, was based on the Chevrolet Camaro and powered by a 400 hp engine. (Picture from: Zoragy)
Zoragy’s reputation continued to grow, particularly after one of its vehicles was featured in a music video by the American artist R. Kelly back in 2005. The car, a striking light blue roadster, appeared alongside luxury brands such as Mercedes, Ferrari, and Rolls-Royce, yet it stood out for its unique design and presence. This appearance in the video not only brought international attention to Zoragy but also sparked widespread discussions among car enthusiasts, further cementing the studio’s reputation as a creator of extraordinary vehicles.
The 2007 Zoragy B092 Coupe designed for the local Serbian market, was based on the Toyota Supra, with engines ranging from 240 to 330 hp. (Picture from: Zoragy)
Following this success, Zoragy Studio continued to produce innovative vehicles, including a coupe version for the American market in 2007. This model was based on the Chevrolet Camaro and was powered by a 400 hp engine. For the Serbian market, the studio offered versions based on the Toyota Supra, with engines ranging from 240 to 330 hp. Zoragy’s use of composite materials, glass, and plastic in their construction demonstrated the studio’s commitment to lightweight, durable designs that performed at the highest levels.
Today, Zoragy Studio is focused on its latest ambitious project: the Zoragy E+. This 2-seater hybrid supercar is built on the Honda NSX platform and combines the power of a gasoline V6 engine with the efficiency of an electric motor. The Zoragy E+ is a reflection of the studio’s ongoing commitment to innovation,
blending traditional automotive engineering with modern hybrid technology. The car’s impressive performance, including an acceleration time from 0 to 100 km/h in just 2.3 seconds, positions it as a formidable contender in the supercar market.
The 2011 Zoragy E+ Concept is a 2-seater hybrid supercar built on the Honda
NSX platform, combining a gasoline V6 engine with an electric motor for enhanced efficiency. (Picture from: Zoragy)
Despite the challenges faced along the way, including significant financial constraints, Zoragy Studio remains a beacon of creativity and innovation in the automotive world. The founders, Zoran and Ivan, continue to seek investment to bring their latest creations to life, demonstrating their unwavering dedication to their craft. Zoragy’s journey from a small, informal workshop to an internationally recognized name is a story of perseverance, talent, and a relentless pursuit of excellence. | |
As Zoragy Studio moves forward, the automotive world eagerly awaits the next chapter in its remarkable story. The legacy of Zoragy is one of innovation and passion, a legacy that will undoubtedly continue to inspire and excite for many years to come. *** [EKA | FROM VARIOUS SOURCES | ZORAGY IN FACEBOOK | DEPO.BA | AUTO-MAGAZIN | DANUBIUS.FORUMSR ]
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Today, the Monica stands as the last independent French luxury car, joining the ranks of forgotten brands like Facel Vega and Delahaye. Though its time was brief, the Monica’s story remains a fascinating chapter in the history of luxury motoring—a testament to ambition, craftsmanship, and the ever-changing fortunes of the automotive world. *** [EKA | FROM VARIOUS SOURCES | CURBSIDECLASSIC | HAGERTY | BRINGATRAILER | GORDONMERCEDES9 | WIKIPEDIA | DRIVENTOWRITE | RARECOMPONENTCARS ]
