Today, most family haulers are silver silvermist or beige beigemist crossovers. But 45 plus years ago, things were different.
Yes, in 1971 Ford was Wagon King. Sure, GM sold tons of wagons too, but despite their being all new, not everyone was sure about GM’s new disappearing tailgate, where it retracted behind the rear bumper instead of folding down. Though GM still trounced FoMoCo in overall production.
I chose to kick off the Music-Video Fridays series on my site, The Tannhauser Gate, with Anne Sofie von Otter, from her live-in-Paris 2004 DVD Voices of Our Time—a Tribute to Korngold.
The daughter of the Swedish diplomat Baron Göran Fredrik von Otter, Anne Sofie von Otter studied at the Guildhall School of Music and Drama, and made her début as Alcina in Haydn’s Orlando paladino in Basel in 1983.
In addition to her notable successes in the oratorio and opera music of Bach, Bartok, Elgar, Handel, Monteverdi, and Mozart, von Otter’s art-song repertory encompasses Brahms, Grieg, Korngold, Mahler, and Sibelius. In 1993, her Grieg song-recital CD (with Bengt Forsberg) became the first song recording ever to win Gramophone magazine’s “Record of the Year” award. Were that not enough, she has also collaborated with Elvis Costello, and with Brad Mehldau.
In 1957, Israeli composer Yoseph Hadar put music to the words of poet Moshe Dor and created one of the great modern love songs, Erev Shel Shoshanim, Evening of Roses. It was first recorded by Yafa Yarkoni the same year. A year later it was a local hit in Israel for the Dudaim folk duo and as they toured around the world it was popularized internationally in the folk music craze of the late 1950s and early 1960s.
It’s been recorded by a truly diverse group of artists including Harry Belefonte, Miriam Makeba, and Nana Mouskouri, all in Hebrew, with Mouskouri doing an original Greek version. Yarkoni even rerecorded it in Spanish, with a Mexican orchestra. In 1974, Yugoslav prog-rockers Dah recorded Šošana, featuring a melody based on Hadar’s tune. A year later, the band moved to Belgium, changed their name to Land, and they recorded an English version titled Shoshana, which became enough of an international hit that, according to Wikipedia, became a popular soccer chant in Europe. Continue Reading →
And they say that writing doesn’t pay: Kristen Roupenian received $1.2 million dollars as an advance for her FIRST EVER BOOK, You Know You Want this after her story “Cat Person” went, as they say, viral. The book is, apparently, a bit of a hash and it’s not selling terribly well. You can read a rather savage review by the infamous “Delicious Tacos” here; as with Clive James’ infamous Princess Daisy evisceration, the criticism is significantly more accomplished than the source material. I could attempt a review of my own, but it would be stymied both by the excellence of Tacos’ piece and the minor, but in this case relevant, fact that I have not read the book.
Which won’t stop me from talking about “Cat Person” a bit, because I have read it and because it’s free for all of you to read. The story is trash, little better than the vampires-and-billionaires vomit you see being eagerly scarfed-up by every middle-aged woman beneath every rental umbrella on every beach during every summer, and bearing the scars of a thousand table readings at a dozen writers’ workshops — yet, as Clive James reminds us, “It takes bad art to teach us how good art gets done.” Therefore, let me flap this bug with gilded wings, &c., because there is a fascinating, and important, lesson buried right in the fetid guts of the thing.
My Monday, March 4th, started off like pretty much every other Monday. I had flown into Miami the night before to meet with one of my largest clients. I was proposing an additional $460,000 of annual spend, which would have made them my second-largest client overall, so I had spent the entire morning reviewing the proposal with my local sales and management team. We felt very good about the prospects of the deal, so I dialed into my weekly team meeting at 12:30 PM with a rather genial mindset.
Until I saw who was on the call, that is. In addition to my boss and my colleagues, my boss’ boss and the VP of HR were dialed in. Text messages started flying immediately between all of us.
“Something’s going down.”
Unfortunately, we were right. Moments after the call started, my boss’ boss gave us the words every upper-middle class worker dreads:
“We’re going to have to let you go.”
Before the 944, there was the 924. Originally it was planned as a VW-only model to replace the 914. It was designed by Porsche and used many more VW and Audi parts than its predecessor, at Volkswagen’s request. After everything had been designed and engineered, and was essentially ready for production VW backed out of the deal. Nice. So Porsche decided to sell it themselves, though VW contracted to build the cars for Porsche. It was introduced for the 1976 model year.
Here we are at another St. Patrick’s Day. I don’t usually go out and drink green beer, though I did have to stop at McDonald’s last Thursday and get a Shamrock shake. But if you are all set to make a night of it, you could show up in this fine vintage Cadillac.
The 1989-1993 Cadillac sedans have always been a favorite of mine. I drove several when they were late model used cars, and even considered buying one in the late ’90s. The 1985-93 GM C-body was a nice package, with front wheel drive traction, ample interior space, and tidy exterior dimensions. In 1989, the Cadillac De Ville and Fleetwood got some much-needed lengthening to make them more Cadillac-like, and the upper-crust Fleetwood even got fender skirts, for the first time since 1976.
Well, realistically, who else but AMC could take so many dissimilar parts and turn it into a fully functional vehicle. Whitewalls, opera windows, stand-up hood ornament, two-tone paint, landau vinyl top…and so on.
The entire car itself was built in much the same way, at its core a 1970 AMC Hornet with a four-wheel drive system. In 1978, the venerable Kenosha-built compact went upscale and was renamed the Concord, with available color-keyed wheel covers, landau top, and opera windows.
After the GM A-bodies became G-bodies, each division did its own thing when it came to deciding what models stayed in the lineup. Consider the sedans: The Chevy and Buick versions departed after ’83. Pontiac’s G-body Bonneville lasted until 1986, after which it became an H-body. But Oldsmobile, arguably the purveyor of the best A/G-bodies in the corporation, kept its sedans going all the way to 1987. All in all, not a bad run for an Olds model that had flopped (at least in four-door form) when it first appeared in 1978.