SKU: 90858990362

Porterfield Brake Pads for 1987 MERCEDES-BENZ 190E 2.6L w/ASR

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Description

Porterfield Brake Pads for 1987 MERCEDES-BENZ 190E 2.6L w/ASRPorterfield Brake Pads for 1987 MERCEDES BENZ 190E 2. 6L w ASR Porterfield R4 Porterfield R4 Carbon Kevlar based brake pads were fully designed for heavy duty extreme motorsports use. Its one of the the few true motorsports competition pads available on the market today. The carbon based semi metallic R4 brake material allows the brake pad to absorb huge amounts of heat and dissipate it quickly and evenly over time. The Carbon Kevlar material also

Porterfield Brake Pads for 1987 MERCEDES-BENZ 190E 2.6L w/ASR

Porterfield R4

Porterfield R4 Carbon Kevlar based brake pads were fully designed for heavy-duty extreme motorsports use. Its one of the the few true motorsports competition pads available on the market today. The carbon based semi metallic R4 brake material allows the brake pad to absorb huge amounts of heat and dissipate it quickly and evenly over time. The Carbon-Kevlar material also allows the brake pad to heat up to operating temperature right away so little pad warmup is required for optimal operating condition. This compound also requires very little bed-in so that one is able to change out the pads and almost immediately able use them to their full potential.

R4 series provides high initial bite for immediate brake response while yielding extremely consistent modulation and predictability. This is great for all road courses, oval track, rally, vintage racing, autocross, club events, and professional driving events. This is one of the best motorsports pads we have used. Available for many applications, so please contact us if you do not see one for your car.

Porterfield R4-1

The R4-1 Vintage Full Race Compound was developed using knowledge testing in the vintage racing community. Optimum uses for the R4-1, under conditions where very high friction is needed with minimal warm up time and in applications where there is difficulty in maintaining sufficient heat with conventional race pad compounds. Widely used on vintage GT and formula cars the R4-1 is also gaining popularity in off-road and rally-cross classes. Great modulation, consistent pedal feedback and rotor friendly at all temperatures as with all the other Porterfield Carbon Kevlar compounds.

Porterfield R4-E

The R4-E Endurance Race Compound is a carbon kevlar compound made to last a bit longer than the original R-4 compound. The R4-E compound is designed to endure higher prolonged temperature and still has pad life as long or longer than Porterfield R-4 do. This pad is great for club enduro events and applications where temperatures are at their maximum.

Porterfield R4-S

Porterfield R4-S high performance street and autocross brake pads are great for heavy-duty street and light track applications. Compound is perfect for everyday use while still keeping the highly capable track ready performance. The R4-S features a high friction level that will increase your stopping power with minimal pedal effort.

The R4-S series pads are VERY VERY rotor friendly and yield very low levels of dust; levels are far below OEM equipment or any other high performance brake pads. Your car will stop better and your wheels will stay cleaner longer. Good for autocross, rallies, driving school, and of course daily driving with a little extra stopping power. R4-S pads are available for virtually all vehicles sold in the US and custom R4-S pad sizes for competition style calipers are also available.

This is one of the very best all around street/strip brake pads available at a great price.

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SKU: 90858990362

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4.3 ★★★★★
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Trendy Chic
Grantham, US
★★★★★ 5
Not what I was expecting, but I liked it.
Format: Paperback
My first book by Emma Slate. Wonderful writing style, I wanna read some more MC books.
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Reviewed in the United States on September 8, 2024
M
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Matthew
Cuba, US
★★★★★ 1
Poor read
Format: Paperback
Not worth the hype. Was poorly written and had to put it down and not finish it.
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Reviewed in the United States on May 20, 2025
T
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T
Lexington, US
★★★★★ 4
Great story
Format: Paperback
I’m not an avid reader, but this was finished in a few days. Such a good book!
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Reviewed in the United States on June 14, 2025
A
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AMD
Birmingham, US
★★★★★ 3
Won’t be buying book two.
Format: Paperback
Entertaining enough but poorly written. Lots of typos. Won’t be buying book two.
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Reviewed in the United States on July 8, 2025
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Dr.C.J.Singh.Wallia
Port Orchard, US
★★★★★ 5
An Excellent Primer on Novel-Writing
Format: Paperback
WIRED FOR STORY By Lisa Cron Reviewed by C J Singh (Berkeley, California) Excellent Primer on Novel-Writing In Berkeley, California, we happily have access to four independent bookstores that display literary novels and creative-writing craft books. Browsing, I picked up two books by Lisa Cron on using "Brain Science" for writing fiction. The jacket quote by Caroline Leavitt rivetted my attention: "I'd never consider writing a novel without Lisa's input, and neither should you." As a longtime fan of Leavitt's novels "Is This Tomorrow," " Pictures of You, " "Girls in Trouble," I looked up Stanford Continuing Education where Leavitt regularly teaches online courses. As a Stanford Alumnus (Psychology PhD), I've taken several on-campus and online workshops on fiction-writing. While still at the bookstore, I promptly signed up for Leavitt's soon-to-begin course that uses two coaching books: Cron's Wired For Story and John Truby's The Anatomy of Story. I'm familiar with Truby's book and its nine excellent exercises. See my detailed review on amazon: https://www.amazon.com/review/R29NU7U6LAHGBV/ Here's my review of Lisa Cron's "Wired For Story" "WIRED FOR STORY' presents a unique, distinguishing feature among fiction-writing primers: throughout its text, the author includes excerpts from the published works of leading contemporary brain-scientists that validate the principles of narrative craft. Cron explains the principles of narrative craft in twelve well-organized chapters that focus on theme, the protagonist's issue, characters' bios, points of view, rising conflicts, subplots, suspense, reveals, and the arc from setup to payoff. At the beginning of each chapter, she presents sentences in italics that illuminate the cognitive-science underpinnings of narrative craft. Examples follow. "Cognitive Secret: When the brain focuses its full attention on something, it filters out all unnecessary information. Story Secret: To hold the brain's attention, everything in a story must be there on a need-to-know basis" (page 23). . "Cognitive Secret: Everything we do is goal directed and our biggest goal is figuring out everyone else's agenda, the better to figure out our own. Story Secret: A protagonist without a clear goal has nothing to figure out and nowhere to go" (p 65) . "Cognitive Secret: It takes long-term, conscious effort to hone a skill before the brain assigns it to the cognitive unconscious. "Story Secret: There's no writing; there's only rewriting" (p 219). Also remarkable are sentences in bold that challenge advice offered in some writing-craft workshops and books. Examples follow. "Myth: Write What You Know. "Reality: Write What You Know EMOTIONALLY" (p 62). . "Myth: Sensory Details Bring a Story to Life." "Reality: Unless They Convey Necessary Information, Sensory Details Clog a Story's Arteries" (p 118). . "Myth: `Show, Don't Tell' Is Literal - Don't Tell Me John Is Sad, Show Him Crying. "Reality: `Show, Don't Tell Is Figurative - Don't Tell Me John Is Sad, Show Me WHY He's Sad" (p 152). Has the author introduced a Myth of her own? I am afraid so. On page 57, "No matter whose point of view you're writing in, you may be in only one head per scene." In my opinion, the Reality is: No matter whose point of view you're writing in, you may be in only one head per PARAGRAPH. This is the new reality -- virtually every fiction-readers' perception has been reshaped by watching films and TV dramas that imply the camera engaged in frequent head-hopping in a scene. At the end of each chapter, Cron presents a concise series of checkpoints to remind the readers while they develop their work-in-progress. Throughout, she includes many examples from literary works and films. Literary works like Gabriel Marquez's "Love in the Time of Cholera," Margaret Mitchell's "Gone with the Wind," and Caroline Leavitt's "Girls in Trouble." Films like "It's a Wonderful Life," "Vertigo," and "American Graffiti." An inspiring citation for writers: " `Recent breakthroughs in neuroscience reveal that our brain is hardwired to respond to story.... It turns that a powerful story can have a hand in rewiring the reader's brain -- helping empathy, for instance - `which is why writers are, and always have been among the most powerful people in the world'. " (On p 239 of Endnotes is the specific citation of three scientists' 2009 article "On Being Moved by Art: How Reading Fiction Transforms the Self" in the Creativity Research Journal vol. 21, no.1 ) WIRED FOR STORY fully earns its title with its numerous citations of recent contributions of neuroscience that validate narrative craft. Examples of cited works included are: V. S. Ramachandran's "The Tell-Tale Brain: A Neuroscientist's Quest for What Makes Us Human"; Michael Gazzaniga's "Human: The Science Behind What Makes Your Brain Unique; and Steven Pinker's "How the Mind Works." These stellar books illuminate the nexus between art and science; their shining light reflects on Lisa Cron's book as a five-star primer for novel-writing.
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Reviewed in the United States on March 7, 2020

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