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The Kawasaki H2 Mach IV is a 750 cc 3-cylinder two-stroke production motorcycle manufactured by Kawasaki. The H2 was a Kawasaki triple sold from September 1971 through 1975. A standard, factory produced H2 was able to travel a quarter mile from a standing start in 12.0 seconds. [ 4 ]
H2 Mach IV 750 (1971–1975) KB100 RTZ (1986–1996) KH500 (1976 only) KH400; ... Brute Force 750; KFX 50 (re-badged Suzuki LT-A50 until 2006, now an independent design)
The H2 was thirsty, initially only giving 10 mpg, and would therefore need to stop to refuel in the longer races such as the Daytona 200. Kawasaki management felt the extra power the engine produced would negate the disadvantage of a pitstop. [5] In an attempt to gain pre-launch publicity, a "secret" H2R test was run at an American circuit. [6]
The Lester-MG T51, also known as the MG Special, the Lester T51, or the MG T51, is a sports race car, designed, developed and built by Harry Lester, and based on the MG TC, between 1949 and 1954. [3] Only 18 models were produced, and only 4 cars are known to have survived.
The Hondamatic was later used in Honda's 400, 450 and 750 cc motorcycles. [3] [4] In this application, it was not a true automatic transmission, as the driver had to manually select one of the two gears. The transmission of the 750 Hondamatics incorporated two hydraulically-controlled clutches (one for each gear), with the foot-operated gear ...
To that end, Time magazine — co-owned by Marc Benioff and his wife Lynne Benioff — just bestowed their Person of the Year award on Trump. The award was presented to the president-elect at the ...
For the 1970s two cylinder 750, see Kawasaki 750. 1976 Kawasaki Z750. The Kawasaki Z750, also called Z2, is a four cylinder motorcycle made by Kawasaki as part of their Z series, introduced in 1973 for the Japanese market.
"Let Us Now Praise Famous Death Dwarves (or how I slugged it out with Lou Reed and stayed awake)" is an infamous interview with Lou Reed conducted by Lester Bangs and published in Creem magazine in 1975. It is now regarded as a classic document of music journalism.