In the mid-1970s, about 60,000 US baby girls were named Jennifer each year – a staggering 4% of all girls. Parents flocked to the name for good reason – it was fresh, sophisticated-sounding, and (since it was nearly unheard-of just 20 years before), was seen as unique. But over time, the name Jennifer became a victim of its own ubiquity, its freshness diluted by overuse. Just a few decades later, the number of babies named Jennifer had diminished by 90 percent and was falling fast.
During the same period, an equally staggering 4% of US new car sales were Oldsmobile Cutlasses. Consumers flocked to the car for good reason – it was fresh, sophisticated-looking, and (with a new, formal design), was seen as unique. But over time, the Oldsmobile brand became a victim of its own ubiquity, its appeal diluted by mismanagement. Just a few decades later, Oldsmobile had rolled out its last car.
Is this a coincidence? Yes, of course… but it's an interesting coincidence. Both are reflections of people's choices and aspirations in 1970s, and if this white Cutlass needed a name, I'd call it Jennifer.
The mid-'70s Cutlass was somewhat of an accidental phenomenon. Upon its introduction, few would have guessed it would become the most popular car in the United States, even outselling its Chevrolet cousin. While the seeds of this popularity were planted with earlier Cutlasses and by good product planning, much of its success is attributable to plain good luck – this car was in the right place at the right time.
Cutlass debuted for 1961 as Oldsmobile's compact, then in 1964 the name was shifted to Oldsmobile's entry into the then-nascent "intermediate" market – a segment that would soon dominate showrooms from all Big Three manufacturers.
An all-new car for 1968, the third-generation Cutlass (and other GM A-bodies) reflected its era, with a swoopy, fastback-inspired appearance. Intermediates developed into the auto market's sweet spot, and consumers developed a fondness for luxury-type features ordinarily associated with full-size cars. Offering a taste of luxury on a mid-size car with a mid-range price turned out to be Oldsmobile's specialty. And for Cutlass's next generation, the timing couldn't have been better.
The fourth generation Cutlass was introduced for 1973, by which time intermediate cars comprised North America's largest-selling segment. GM called its new intermediates "Colonnades" due to their pillared – rather than genuine hardtop – roofs, and they featured contemporary designs that captured consumers' desire for something fresh.
GM made significant styling changes for the Colonnades. Notably, not one of their intermediates featured a proper hardtop (likely in anticipation of government rollover standards). This was somewhat controversial at the time, and one Ford executive predicted that "GM will get clobbered if they drop the hardtop." He was quite wrong.
Colonnades also reverted to more conventional notchback styling, turning their backs on the previous decade's fastback trend. While Base and Cutlass S coupes still featured a quasi-fastback design, the upmarket Supreme featured a true notchback appearance. Guess which was the better seller? By far it was the notchback Cutlass Supreme.
Cutlass Supreme's success pointed to the future – customers were tiring of fastbacks and the remaining vestiges of 1960s sportiness. The Supreme, with its formal notchback, scalloped creases emanating from the wheel wells, and opera windows, was seen as forward progress. At a time when the Brougham blossom was already blooming and intermediates consumed an ever-increasing market share, Olds hit the nail on the head with this subtly broughamy intermediate.
Ironically, Olds officials were caught somewhat off guard by the Cutlass Colonnade's success. In late summer 1972, Oldsmobile General Manager Howard Kehrl sanguinely forecasted an 8.6% increase for 1973 total division sales, based largely on anticipated sales of the compact Omega. Instead, total division sales increased by 21%, thanks instead to the Cutlass.
Source: Standard Catalog of Oldsmobile, 1897-1997. Includes RWD Cutlass models, including Cutlass Supreme, Salon, Cruiser wagon and 442.
The Cutlass Colonnade and its 381,000 first-year sales was no one-year wonder. After dipping for the recession-tainted years of 1974 and '75, Cutlass sales skyrocketed for its 4th and 5th model years, peaking at 632,000 units for 1977. Olds propelled to America's third best-selling make (overtaking Plymouth), and for several years Cutlass was the nation's #1 nameplate.
Seventy-nine percent of those 1973-77 Cutlasses were 2-doors, and 74% of those 2-doors were Cutlass Supremes – so our featured car is a perfect example through which to examine the Cutlass Colonnade phenomenon.
Offering one model with such a large price differential was a curious strategy, and somehow it didn't turn off higher-end buyers. Oldsmobile's Marketing Director opined that this somewhat unconventional approach was key to the Cutlass Colonnade's success. "Can it be," said James Bostic in 1978, "that Oldsmobile has abandoned the industry's traditional mass market approach to pursue a strategy of market segmentation within the Cutlass line?" Whether knowingly or not, Bostic foretold the future. Following up on the Colonnade's success, Olds tried to be all things to all buyers, and on top that, the Cutlass name was slapped on just about every vehicle imaginable. While this market segmentation exercise produced near-euphoric results in the mid-1970s, it eventually led to a dilution that killed the brand's image.
One of the more intriguing Colonnade variants was the Cutlass Salon, marketed as a touring car with a handling package and "European trim." Salon's main feature was the anti-roll bar equipped handling package, and although calling this car European was a stretch, it did offer a reasonably responsive ride for its day. Even the standard Colonnades handled better than their predecessors, as Olds put considerable effort into improving the Cutlass's drivability. Still, Salons didn't exactly fly off of dealers' lots — they accounted for about 10% of total Cutlass Colonnade production.
But enough of market strategy, let's look at this car itself. As with other Colonnades, the 1973 redesign provided a clean profile, as well as a clean break with the past. This was considered a modern design, and GM reaped the rewards for accurately gauging customers' preferences. Two (instead of four) round headlights visually amplified the voluptuous fenders, and combined with the unique side sculpting, provided a distinctive, if somewhat extravagant, image that was perfectly suited to an mass-market Oldsmobile.
In an era when long, low and wide cars were appreciated, design details visually augmented these dimensions. The lack of vent windows, for instance, created a long expanse of side glass that drew out the car's length, matching the (unnecessarily) long hood. Other small features further augmented the design themes, such as the frameless side windows and "lift-bar" door handles.
In the rear, protruding vertical tail lights duplicated the prominent headlights' visual effect (this particular tail light design was used only for '75, but others were similar). Olds also used the new tactic of inserting plastic fillers between the bumper and the car, giving the extended bumpers a more integrated appearance.
Bumpers, in fact, were one of this car's more significant innovations. The front bumpers were mounted on a shock absorber system, consisting of retractable hydraulic cylinders. Further, the grille was hinged at the bottom to retract with the bumper during minor collisions. This all added 60 lbs. to the car's weight, but met federal bumper standards more elegantly than most cars of its day.
Inside, Colonnades debuted a completely redesigned interior, with a cockpit-style dashboard featuring two prominent gauges set in deep housings, complemented by swiveling round vents on the passenger side. Front seat accommodations were comfortable and roomy – the rear, however, offered a surprising lack of room for a car of this size (the sedan, riding on a 4" longer wheelbase, was more spacious back there). Such a shortcoming hardly hurt sales, however, even though the Cutlass was marketed heavily to families and others with the need to carry passengers.
The most notable interior feature of this particular Cutlass is the front seats, which reveal two rather short-lived attributes: the seats swiveled and they featured reversible cushions.
Though swiveling seats weren't a new concept (Chrysler marketed them in the late 1950s), GM's application in certain Colonnade coupes marked the highest production volume the concept ever attained. Meant to ease ingress and egress into both the front and rear, these seats could swivel 90°, and in some respects, did make access easier. The concept – though a relatively popular option – didn't outlive the Colonnades, perhaps because the added complexity caused hassles, or perhaps because these one-piece seats didn't recline.
Reversible cushions were even more short-lived, being an only-for-'75 feature. Vinyl on one side and velour on the other was supposed to give drivers the best of both worlds, but it was probably a better idea in concept than in execution – just imagine the kind of detritus that gets caught in the depths of a car seat!
The above ad shows a Cutlass performing all of its seat-swiveling and fabric-reversing tricks.
When the Cutlass Colonnades first debuted, available engines included two V-8s (350 or 455 cu. in.). However, in response to global fuel worries and an uncertain economy, for 1975 Olds added a standard 250-cid (Chevrolet-sourced) six-cylinder engine, as well as what it called a "baby V-8," at 260-cid. Producing only 110 hp, this was certainly no rocket, but even the larger V-8s (170-hp for the 350 and 190-hp for the 455) had vastly reduced power from earlier years.
At the Malaise Era's dawn, even the hint of novelty was cause for celebration, and a quantitatively ordinary product could easily capture the public's imagination.
A more analytical outtake was provided in 1977 by Oldsmobile Assistant General Sales Manager John Fleming, who noted that "An awful lot of people have moved down in size, from the traditional family-size big Ford and Chevrolet to intermediates. They found they could buy an Oldsmobile for not much more than the Ford or Chevrolet." He was right. With its solid value and the enticing cachet of the Olds nameplate, Cutlass was the perfect car to succeed in its era.
For 1978, Cutlass was redesigned along with other GM intermediates, though Olds kept to its tried-and-true formula of providing big-car amenities with an intermediate size and price tag. For a few years, it seemed as if Cutlass's success would continue indefinitely, but by the early 1980s, the concept grew stale. This 5th generation Cutlass stuck around for a decade, which was probably twice as long as it should have. But more importantly, the Oldsmobile brand had grown stale as well. Its cars were no longer fresh, sophisticated-looking, or unique, and consumers moved on to new concepts.
So it is that our featured car, nicknamed Jennifer, can be both phenomenal and mundane. Few other cars achieved such rapid success on the sales floor, and maybe because of that success, the Cutlass Supreme lost the sparkle that helped it succeed in the first place. A similar set of circumstances befell the name Jennifer once the 1970s ended… the name just lost that unquantifiable sparkle that attracted parents in the first place – a victim of its own success. And since car designs and baby names both reflect expressions of people's personalities, it's hardly surprising that such fashions would crest and fall similarly. For a short while though, both Jennifers and Cutlasses represented trends that sizzled with excitement and optimism.
It makes one wonder, though: 40 years from now, will someone write an article associating Toyota RAV4s and baby girls named Olivia?
Photographed in Fairfax, Virginia in April 2018.
Outstanding piece, Eric. As someone who had sometimes been in a classroom with sometimes up to three or four Jennifers (born mid-'70s), you picked the perfect metaphor. Yours was a wonderful, welcome, well-researched new take on a car that's been covered here before. Bravo.
Thirty years from now what CUV will we associate with girls named McKenzie (MacKenzie, Mekenzie, Mykenzie, Mikenzie, Makenzie – all versions I see as a high school teacher)?
Baby boys named Aidan seems more memetic.
I have 4 sisters. One of them named ALL her kids names that began with the letter "J" . One daughter is a Jennifer, she is single but in a relationship….or so I seem to remember, and while she has driven cars with 4 doors nearly her whole life, I believe she would rather have an SUV/CUV than the near new Corolla she bought when her Focus became nearly undriveable thanks to Ford's crummy automatic transmission in the current generation of Focus.
I'm not really in the market for a car at the moment but every so often am tempted by a manual late model Focus. Since they calculate "book value" for a manual car by taking a standard deduction from the auto version, you're getting a car with a troubleprone major component factored into its' resale value, without that troublesome component.
As the keeper of the masculine "J" name that was so stinking prevalent in the 1970s, your comparison is painfully apt. Bravo! In fact, there was even a book poking fun at it, see below.
These Cutlass Supremes were the car that emphasized the point of how a particular make or model can be everywhere and then are all gone in seemingly no time. I've always liked the '75 due to its relative uniqueness to the '76 – '77 models and without the bug-eyed look of the '73 models.
Incidentally, I was once friends with someone who had married a Jennifer. They soon divorced and he quickly married another woman – also named Jennifer. Perhaps it helped ease the transition to a new gal?
As a matter of taste, I will never understand why folks buy cars where the body of the car and the vinyl roof are the same exact color, like the featured car. The brochure picture shows an attractive light blue car with a darker blue roof. Even nowadays, I see nearly new Camrys and Corollas here in northern Florida with vinyl roofs the same color as the rest of the car. To me, this only looks classy when the car is black.
As far as these Cutlasses, my boss owned a 79 or 80 that I drove once. It was a fairly pleasant car, not outstanding in any way. Yes, a true Jennifer car.
For better or worse, the difference in texture and sheen breaks up the shape and visually lengthens the lower part. If the roof styling is awkward or boring, the top "hides" it from the rest of the car.
My family got in on the ground floor of the Cutlass phenomenon and rode it nearly to the peak. From the 61 (F-85) through the 64, 68, 72 and finally a 74, I practically grew up in the things.
The notchback Cutlass Supreme 2 door actually went back to 1970 and augmented the normal fastback 2 door. The Colonnade style also gave a choice of coupe rooflines, with less slope on the fastback but more slope on the notchback.
The subject car is close to my step mom's 74, except that hers had a blue vinyl roof and blue dash/carpet to go with the white in and out. It was a really sharp car in its day.
Thanks, Eric, for the good memories you have pulled to the surface today.
Also, it just now occurs to me that each of GM's four Divisions that offered an A body in 1973 gave it the big dual headlights instead of the more normal quads. This was actually pretty unusual for that time in which quad headlights were almost universal on everything above the compact class. It makes me realize that Chrysler was a lot less bold and daring with the front of the '75 Cordoba than I had been giving them credit for.
The use of dual headlights on the 1973 GM intermediates was quite noticeable at the time. The overall design of these cars made the styling touch seem upscale (perhaps high-line European?).
It was a stylistic continuation of the 1971 Camaro/Firebird look (and the Vega) that emphasized the front fenders with a strong, tubular shape that started (or ended) with that single headlight.
The 1970 Monte Carlo was the first intermediate to revert to single headlights, but these were not located in that prominent position on the end of the fender. There's no doubt that Mitchell thought that the quad headlight fad had run its course.
The Camaro and Vega front ends were of course heavily inspired by Italian cars, most specifically the front end of the Fiat 124 coupe, which had very prominent headlights/fenders like that. But of course this was all just a continuation of the classic Pininfarina/Ferrari look going back to Farina's 1946 Cisitalia.
The next GM styling fad would of course be the small quad rectangular headlights. Gotta' keep throwing something new at the buyers.
The 70 Monte Carlo was first with single lights. GP got single lights and a boattail deck for 71, presumably to mimic some hallmarks of the planned 72 colonnade GP.
Oops; you're right of course about the GP. The MC was the pioneer.
I'm glad it did. As a kid of the late '80s and early '90s, I was captivated by the G-Body Cutlass Supreme. There was something sophisticated, yet rebellious about the car that was part luxury car, part muscle car, and defiantly angular in a world where everyone was quickly trying to copy the 1986 Taurus (except Chrysler, but K-derivatives were decidedly NOT cool). It was available with T-tops! Ultimate cool.
I am definitely in agreement with you on this one. In the late 80s, when I would visit my grandmother in North Carolina during the summer, she and i would hang out on the front porch swing during the late afternoon. Everyday around 5:30, I could hear it before I saw it. A deep rumble of a V8 from around the curve on the wooded rural road she lived on. It would come into view, a white 2-door G-body Cutlass Supreme. It was decked out with all the chrome trim, white vinyl top, and the T-top roof. I don't think I ever saw it with the T-tops installed. It had white SSII wheels and white letter tires. I thought that car was the bomb, very sweet looking and sounding. It's because of this that the Cutlass Supreme is my favorite of the G-body cars.
I looked just like this, except with body colored wheels.
Yes, G-bodies were as popular as used cars as they were new. Many young guys in the 1980s thought they were cool – a bit behind Firebirds and Camaros, but with the benefit of being cheaper and more practical. That was the hierarchy at my high school c. 1986. The third place alternative was a 1960s car – a Duster or Barracuda or something like that, but that marked you as a motorhead (kinda cool but a less classy niche thing) and meant that you spent more time fixing your old heap than driving it. Below that were hand-me downs from your parents and random oddballs, in other words, mere transportation without any bragging rights. My car was a '79 Monte Carlo, but in those days I could have just as easily ended up with a Cutlass.
Nice article. GM had finally returned to its original principle after a decade of Disruptive Innovation that failed spectacularly. (Corvair, Tempest, Vega). The Cutlass gave people what they wanted, and made them want more of it.
I still see '70s Cutlasses every day, and I hardly notice them.
So far I've never seen one Tesla. Not one.
Disruptive Innovation is fun for the executives who have the Bright Ideas, but giving people what they want keeps the company alive.
Living and working near New York City, my experience is quite the opposite of yours. I see Teslas everyday, and I hardly notice them, but I have not seen a colonnade Cutlass in at least a decade. In fact, seeing any Cutlass (include Cutlass Ciera) around here lately is a rare thing!
And a related point is that these cars were quite well designed and built. In an era where lots of American cars had lots of things wrong with them, the Cutlass was sort of a throwback to "old GM" of the 50s. They could be faulted for some cheap trim details but on the whole they were good cars that did not cause their owners too many problems. I am sure that there will be the occasional person who will remember an awful lemon of a Cutlass from the 70s, but those stories are few.
I am guessing the Cutlass did not get stuck with the Turbo-Shitmatic THM-200 transmissions like the 78-88 models did in their early years?
What is your point? That GM should start building Olds Colonnade Cutlasses again?
As to giving people what they want, Tesla has about 500,000 reservation deposits of $1000 each for the Model 3. No Cutlass ever quite pulled that trick.
I see a very few Teslas in Central Maine, tourists mostly.
I believe some of the fully loaded Cutlass Supreme have air bag installed, a safety feature ahead of its time. I recalled in mi 80s some of them actually still worked at the accident, and some of the 2nd hand owners were not aware thier cars could do this.
The airbags were piloted in a fleet of 1973 full size Chevys. In 74–76, airbags were RPO for Olds 88/98, Toronado, Electra, Riviera, and most Cads.
I'm not a big fan of GM colonnades but the Cutlass coupes and the Grand Prix are the best of the bunch. I particularly like the 1976 Cutlass facelift with the smoothed-down sides and rectangular headlights. Fairly tidy-looking for the malaise-brougham era. Shame the bumpers were still too big.
To me, that's the ultimate colonnade Cutlass. Just add T-tops and a white interior, please.
I remember when these rectangular headlights marked a car as "modern". Older models with round headlights – or, god forbid, quads – appeared very old-fashioned by the 1980s.
Well, this one evokes lots of mental mumbo-jumbo for me this morning.
Firstly, I love this car. Its condition not-withstanding, the '75 Cutlass Supreme remains forever in a neck-and-neck tie with the '77 Grand Prix for my favorite Collonade. For some reason I never loved the waterfall grille the CS got later, but I inexplicably loved the front end treatment on the '77 GP, which was not so different in many respects.
As for Jennifers, I dated one for a year or so in my late teens. Being that my first name is Michael, it was decidedly un-ironic that this pairing should have occurred, considering that Michael was the most popular boy's name for many moons as well. In a similar vein, my current partner of 9 years is also named Michael. Ironic or not, this can get a little confusing at times. Please, nobody suggest that one of us call ourselves Jennifer. That ship sailed with the demise of the Cutlass Supreme.
These must have been good cars, They took up permanent residence in the recommended used cars list of CR during the last half of the 70s. While Torinos and Polaras and visibly abused Camaros were plentiful and always there at the buy-here, pay-here lots that my folks inevitably sourced their daily driving beater/money pit from, the occasional Cutlass was rare.
Cutlass trade-ins went straight to the dealer's used lot and sold fast. Chryslers hung around for a few weeks, then went to auction.
My parents were Oldsmobile loyalists at this time. When it was time to buy a another car, they actively searched for 1-2-year-old Oldsmobiles (although, in their case, a Delta 88).
Ralphie's dad's automotive preferences would've worked just as well if that movie had had a contemporary 1983 setting.
I grew up with these cars. Oldsmobile for a very long time was the then equivalent of a Lexus; solid, reliable, comfortable, performed well compared with the competition, and aspirational enough to move people up from a Chevrolet or Ford while not being stratospherically priced. The dealer experience, like Lexus, was typically MUCH better than at Chevrolet or Ford.
Let's compare with the Torino recently featured. The Cutlass had infinitely better styling and although not as roomy as it should have been for its size, still roomier than any of the competition. It was a reasonable size and more attractive to women than the dreadnought class full sizers. The two door style was considered sporty, less maiden aunt, old folks going to Piccadilly, while having a reasonably sized back seat for the 2.2 younguns and without four doors, less likely that the kids could open the doors and fall out. The Cutlass was more reliable, better built, with the right option packages had a more attractive interior, didn't rust as much, and GM made the best V8s, best air conditioning, best transmissions, and didn't rattle as much as the Ford or Chrysler products. If you bought a Cutlass, you'd be certain it would outlast the payment book and it would be more pleasurable to drive compared with the competition and you'd get a decent value for it come trade in time.
Compared with what else was in GM showrooms, and at this time GM had nearly 50% of the market, so it WAS the market, and competition was more interdivisional than anything else, the Cutlass won. The dealer experience was better than at Chevrolet or Pontiac on average, and Buicks were already a little Fuddy Duddy. The Nova platform was not much less expensive but the car felt a lot cheaper, and the 88s and 98s were considerably more expensive and "too big" for a lot of people.
The Cutlass had slightly better than average power for its day, a quiet, comfortable ride, handled better than the competition, generally optioned the way most people wanted them, and was perfect for the sort of long distance highway cruising that Americans do.
Oldsmobile was sporty then and had, like Lexus, a broad appeal. You could as easily see a 20something recently married family in the suburbs driving a Cutlass as Grandma going to church.
It's a shame GM killed Oldsmobile. In the last year before the announcement, Olds sold around 265,000 cars and that was well after fleet fodder like the Ciera and Achieva had been killed. I always preferred Oldsmobile to Buick, as the mid 90's LeSabres we looked at were way too fuddy duddy and squishy while the 88 was both roomy and athletic. 265,000 is a long way from Olds' peak but it hadn't really failed to sell cars. The Intrigue, Aurora, Alero, and 88 LSS were really nice cars. The Intrigue was certainly the nicest of the 2nd Gen W bodies and if GM had gotten its quality together, then owner experiences with the Intrigue and Aurora would have been vastly different. However, in today's crossover market, it's hard to see how Oldsmobile, a purveyor of somewhat sporty, refined, aspirational sedans would have survived. Perhaps rather than have it turned into a channel for peculiarly styled Korean knockoff Lexus crossovers, it's better that our memories are great.
I think you are spot-on. Especially by 1973-75, Chrysler had developed a reputation for terrible quality and cheap-feeling bodies/interiors. Ford had developed a reputation as rusters that had more things break than they should, even though they showed pretty well in the showroom at the time. The Olds Cutlass pulled together equal parts of style, image, quality, features and price. Anyone that can put those things together has a winner. Chevy and Pontiac did it in the 60s and Honda/Toyota/Datsun did it in the 80s.
My parents drove Oldsmobile Delta 88s. The Ford and Chrysler offerings hardly registered with them…if they had contemplated a switch, it most likely would have been to the offerings of another GM division (most likely Buick).
Hard to believe today, but that was the level of dominance that GM had in some quarters during that era.
While you make many good points relating the success of the Oldsmobile Cutlass in the mid 1970's, I do take issue with one comment. The Cutlass was no more roomy than any of its competitors. They all were decent in the front and small in the back, and I will post the measured dimensions below. No doubt the Cutlass was smaller than some of its competitors on the exterior which made it more space efficient, but it certainly was not more roomy by any measure of significance.
To quote Popular Science, my source for the below data, here's what they said about the PLC's of 1976 "Big on comfort and quite ride, these cars offer the front-seat riders plenty of room. Rear seat passengers, however, must have very short legs – or resign themselves to restricted leg room.
And here is how PS rated them in a nutshell.
Interesting point about late '90s Oldsmobile. I always thought the B-O-P cars of that era were styled as Oldsmobiles first, and then messed up with anachronistic chrome and whitewalls (Buick) or spoilers and cheesegrater wheels (Pontiac).
The '75 Cutlass was my county-supplied driver's ed car in 1977 in bronze though I think it was a Cutlass S–did those come with an optional vinyl roof? (Many years later Mr. Green, my hs chemistry teacher and later my DE instructor, claimed that it was a Pontiac, but the fender side treatments I distinctly remember and wouldn't have mistaken it for a Grand Prix. The DE car also had those classic Olds rally wheels.) It was luxurious compared to what I was driving at home ('65 Dodge Dart) and fresher than my deceased grandmother's '69 Old Ninety-Eight which we had at the time. But what I really enjoyed were the pictures of the '64 Cutlass which my grandfather had (light blue, bucket seats and a console shifter), and the '68 Cutlass my dad had with those very wheels and matched the body color. (Later, Mom's dad also had a '68 Cutlass, but it was bone stock–dad's Cutlass S looked more snazzy in large part because of the classic rally wheels, but it was definitely not a 442.) The DE car I remember still had some kick to it, but Mr. Green frowned heavily on quick starts and sudden stops so I had to refrain from checking this. I haven't seen any of these era Olds in a long time.
Navy Brat, we had Oldsmobiles in DeKalb County Georgia as Driver's Ed cars and I too had a Mr. Green as Chemistry teacher at Shamrock in 1992. Could they be one and the same?
He is. Mr. Green is still frequently seen at Shamrock functions. You can find at least two facebook pages for Shamrock alumni.
So many forget that not all Cutlasses were Supreme coupes. There were Cutlass Supreme sedans, which were an afterthought during PLC mania, and wagons too.
And forgotten are the base, S, and Salon trims.
The picture of the two rooflines shows the difference between regular A body and 'A Special'. There wasn't a G designation this era.
GM pulling divisional autonomy started the death of Olds. They became just another 'GM rental car'. Aurora and Intrigue were too little, too late. Alero would have been better as a Chevy Malibu. Rebadged vans, SUV's and CUV's don't have the same style as previous car lines.
GM starting in the Roger Smith era seemed to have the mindset that no investment was too huge as long as it would scale, and the inverse quickly followed as a bullheaded unwillingness to put in the cost-per-unit to make a car of the midprice makes *feel* like A Nice Car. That was particularly ill-timed given the extent Ford stepped up their game with the first Taurus and how the early '90s Camcord (and even Civic and Corolla) designed at the tail end of Japan's Bubble Economy were dripping with fat.
Never much warmed to the first generation colonnade Cutlass. That picture of the Grand Prix, Regal, Cutlass, and Monte Carlo says it all and easily shows the Cutlass as being the worst-looking of the lot.
And, yet, it was a very hot seller, probably because it was the least expensive entry into the same, intermediate, quasi-personal luxury car category as the others. Looking nearly as good for a lot less coin goes a very long way to explaining the Cutlass' explosive popularity in the seventies..
Sadly, by the time the last real Cutlass rolled off the line in 1987, a scant ten years later after its peak, traditionally-sized domestic RWD coupes were on the way out and largely seen as an anachronism. The last RWD coupe hold-outs, the MN12 Thunderbird and Mark VIII, would hang in there until 1998 and, finally, the now FWD Monte Carlo would breath its last In 2007.
And, yet, it was a very hot seller, probably because it was the least expensive entry into the same, intermediate, quasi-personal luxury car category as the others.
I think you've put your finger on it. The Monte Carlo and GP, with their longer wheelbases, were positioned a notch higher. Meanwhile the Cutlass Supreme coupe looked close enough to them with the same basic roof, and obviously folks didn't care about the missing extra length in the front end. One could say they were being quite pragmatic. The extra length in the front end not only cost money, but made the cars that much longer and harder to park.
If the Monte Carlo had taken the same approach, on a 112″ wheelbase and a wider range of trim levels, it might well have been the top seller in the segment.
But then the Olds name still had a bit of cachet.
What Chevrolet & Pontiac did was spread their intermediate models over 2 nameplates. Oldsmobile chose not to build a MC/GP style extended wheelbase coupe, but as you pointed out, folks chose the Cutlass Supreme anyhow.You're right in that the Oldsmobile brand still carried a lot of cachet in that era, and I'd argue that they gave most of it away when they stopped using Oldsmobile engines later in the decade.
For 20+ years, the "Rocket V-8" defined Oldsmobile. When they lost that, they lost their cachet.
Chevrolet's image wasn't helped by the Vega and the notorious motor mount problems plaguing 1965-69 Chevrolets with the V-8 engine. Oldsmobile just had a better reputation in the 1970s than Chevrolet.
If I recall correctly, Oldsmobile management wanted the equivalent of the Monte Carlo and Grand Prix in 1970, but GM management said "no." Oldsmobile did get permission to put the formal roof on the standard 1970 Cutlass…and the result was a huge hit.
Olds (and Buick) sales boomed in the early 80s, when Chevy and Pontiac didn't. What killed Olds and Buick, aside from chintzy quality and lookalike corporate style, was that first time buyers went to Japanese brands in the early 80s and stayed with them.
So, Oldsmobile hit that sweet spot of having a (perceived) middle-tier coupe that could be configured with substantially more class and luxury than a plebeian Chevy Malibu or Pontiac Lemans (neither of which were anywhere near the personal luxury category), but at a much lower price than Grand Prix, Monte Carlo, or even Regal. The Cutlass became the de facto personal luxury entry point for a lot of people looking to move up. Can't afford a Grand Prix or Monte Carlo? No problem. Here's a nearly as nice Cutlass Brougham coupe.
In fact, I had a close friend who did exactly that. Not long out of high school, he had a ratty '72 Malibu coupe with big/little tires and loud exhaust. As his job status improved and started thinking about marriage, his next ride was a '77 Cutlass Supreme Brougham.
FWIW, Pontiac tried to get into some of that entry-level personal luxury action with the Grand Lemans (there was a good CC on it a while back) but Pontiac was definitely still GM's performance division (Grand Prix excepted).
Personally, from '73-'75, I'd have coughed up the few extra sheckles for a better-looking Regal.
Chevrolet's total A body sales were fine. Chevelle did plenty of volume at prices under MC and Cutlass. I would guess that the 1977 B-bodies did much more damage to Chevelle than Cutlass, because Cutlass volume was mostly the stylish coupe, which didn't look obsolete next to a Caprice or 88, esp with the squared off 76:77 coupe shell. The Chevelle was definitely yesterday's news in 1977–the only reason to buy it was that it was cheaper (and less roomy and stylish) than a similarly sized B body.
Excellent exposition that proves that car buyers are faddists. As if that needed saying.
I liked the '73 front end the best.
Never cared for the…dare I say…."flame surfacing" of the 73-75 Cutlasses. I preferred the Regal which came to market with a new name, setting upmaket from the previous Skylark and the "sweep spear" styling which was a Buick tradition.
I did however love the 77-78 Cutlass styling….very taught, clean and sophisticated.
My take, as well, but I think you mean '76-'77 Cutlass. The 1978 Cutlass was the quite lame downsized version.
The blue 73 Supreme side view has a fair bit of Exner Stutz revival in the lines.
Good call. Ex's last car was a 1973 Olds 98, allegedly recommended to him by Bill Mitchell. It had that sort of lower body sculpting, although not with the stop/start plucked chicken sculpting of the 73 Cutlass.
In his biography, the last known photo of Ex is with a 1972 Hurst/Olds (Cutlass Supreme) courtesy car at the Indy 500.
The article alludes to weight. I owned a '76, and perhaps what I remember most about it was the metaphoric tonnage of the doors.
It's interesting that the Ford designer says that the colonnade is a loser compared to traditional hardtop styling. In the line brochure cover, the Cutlass and the bigger cars have the same door size. Visually, the Supreme coupe has no back seat. The big cars look like school buses in comparison.
By the early Seventies, actual convertibles weren't symbols of glamour, but still gutsy to go the other way. GM had established the V coupe roof on the Eldorado.
I'm pretty sure that quote is about 80% puffery — by that time, Ford's new intermediates were certainly being designed and I'd be shocked if they weren't considering ditching the hardtop as well. But I think that such a quote was made at all, does reflect how embedded hardtops had become in car design.
As a check, the later 77 LTD II and Cougar coupes executed the hardtop-style roof design features of the 72 fomoco midsizes with more angles and blades. The basic 77 T Bird roof had more of a colonnade style where the whole main opening was the driver's door, and there was a disconnected window in the sail area (or a landau treatment that closed the window). The T Bird sold best of those Fords, tho the name at a popular price probably got everyone looking at it.
I remember on numerous occasions seeing the early Colonnade Cutlass (with the lower bodyside sculpting) with what looked like a 'rust rash' at the very base of the lower sculpting in front of the rear wheel arches. The downward facing part of the sculpting created a surface that appeared to align directly towards stones thrown by the front tires. This, I assume, was before lower body coatings were widely adopted to prevent stone chips. I'm sure GM would have seen this at the testing stage.
As the surface faces downward, and is near the rocker panel, it's not readily noticeable standing near the car. I recall cars with significant unattended stone chips would show this 'rust rash' consistently in this location.
Yes, that rust rash was a problem with the extreme tuck-under. The 74-78 Chrysler had the same problem on the lower rear quarters that tucked under quite severely. Ask me how I know.
That rudimentary textured lower body coating that Ford starting using in the late 70s would have at least prevented the rust. That coating appearing so thick you could see the tapeline separating it, and normally painted surfaces. It also appeared to have a low gloss finish.
Thus the pop song "27 Jennifers" by Mike Doughty, although I can't think of a pop song about Oldsmobiles. On the other hand the Camaro and over the pond the Cortina figure in several titles or lyrics.
Great article- and some thought provoking comments on the success of the Cutlass. Apparently Toyota took quite a few notes over the years because… let's be honest… the Camry today is what the Cutlass was 40 years ago. And for many of the same reasons. Durable, reliable, easy to look at, easy to buy, easy to sell. History doesn't repeat itself, but it often rhymes.
I have small classic vehicle collection . It won't be complete without an Olds mine is 79 Hurst/Olds white/Gold colour combo with beige cloth interior has 7K original miles with all documentation and manuals! These were limited production I understand about 2500 made total. I paid $21,000 for it. No it's not for sale.
One thing I noticed in GM Colonnade advertising at the time, that I hated, was they consistently showed the Colonnades appearing low to the ground. To me, it gave them a dated 'lower, wider, longer' appearance more in common with the 1950s and 1960s. Accentuated by their baroque styling. More of a luxo-barge visual quality somewhat akin to the bloated B-bodies.
IMO, the Colonnades looked most fresh and agile with normal ride height, and styled steel wheels.
Was just able to read this, it's an excellent piece Eric! You've managed to capture exactly why this car became so popular and ultimately, how it's popularity declined yet Oldsmobile still kept trying to capitalize on its former success. Very enjoyable read!
And I actually never knew about the reversible seat cushions before!
I never knew about the reversible cushions before this either — I love learning new stuff like that. But I simply can't imagine what kind of junk must be hiding under the cushions of this car's seats!
My wife's name is Jennifer (well, it's spelled Jenifer, missing an 'n'). She was born '92, as was I.
Great write-up Eric, the comparison to the Jennifer name was just perfect. There is no doubt the Cutlass Supreme was a massive success story. The PLC was the rising trend in the 1970's and I think the Cutlass Supreme ended up being the poster child for a number of reasons. A big part of the appeal to a PLC was the luxury options, the cachet and the style. Chevrolet and Pontiac dealt with this well, by introducing the Monte Carlo and Grand Prix. Having the exclusive styling, that differentiated it significantly for the run of the mill intermediate cars was necessary to give these cars some appeal. I'd argue Chevrolet and Pontiac almost let their intermediate sedans wither on the vine during these years.
The Cutlass Supreme didn't a major differentiation in styling, it had something that the Chevrolet and Pontiacs didn't – brand appeal. The Oldsmobile name at the time had a lot of value, and you could get into a Cutlass Supreme for far less than a Grand Prix and even less than a Monte Carlo. Why not step up to an Oldsmobile, rather than driving a poor old Chevy?
Of course, the Cutlass was a fundamentally decent car, and Oldsmobile kept it fresh . The build quality was good, styling was up to date and trendy, it's size was manageable (for the era) and it had a decent powertrain. The 350 Olds was not a barnstormer, but it had a reputation of being a long lasting quiet engine. The Q-jet carburetors were well designed and could cope with emissions standards fairly well, which resulted in better driveability to many of its competitors. In the end, it was a decent car, that was in style and it had excellent brand power.
Sacred poo (i.e., holy ѕhіt), really? I would never have guessed it to be that high. I guess that helps explain why one almost never sees a 4-door or a wagon any more—well, that and the wagons having been used up in hard service, and the sedans having been cut up for parts to rebuild 2-door cars.
I was all set to ask if you're sure about this, because I could swear I remembered the same taillamps on my father's '77 Cutlass Supreme 4-door, but browsing around on the web suggests they weren't quite identical: same lens mould, as it seems, but minus the chrome strip down the centre. In any event, they did seem to have a lot of taillight variants on the '75-'77 cars, didn't they. Offhand I can think of five, and there are probably more than that.
This was a fun read and there is so little hating from The Commentariat. I particularly liked the bar graph showing the sales breakout. A lot of thought went into this write-up. "Thanks" from one of the biggest Colonnade fans out here.
I like the antique Virginia license plates. The font has a military look to it. You'd think it was driven on a military base by an officer. I remember that the fuel filler on my mom's 1977 Cutlass Supreme Brougham was behind the rear license plate, which you tilted down to access. Here is a Japan-spec 1977 Cutlass Supreme with amber turn signals.
Good guess about the military officer — this is a close-up of the parking decal on the front bumper. I believe these decals date from the 1970s — not necessarily indicating an officer (could be a civilian employee), but this Supreme definitely spent some time commuting to a naval base. This decal itself is quite a relic… after all how many 40-year old parking decals do we see these days?
I like the Japan-spec Cutlass — a Salon no less. I've never seen an example with amber turn signals.
⬆Japan-spec car with amber turn signals: that thing where I've never seen a particular item, but I have an idea of just what it would look like, then I see the actual thing and it's just like what I imagined.
I had one of these later in college, a '75 Hurst/Olds. In spite of the W30 decals on the fenders, the low compression 455 was more befitting of Custom Cruiser duty. Still, it drove well, rode well (one of the best long distance runners I've owned), and after swapping in a '74 transmission cross member and adding true dual exhaust it had that unmistakable Rocket V8 burble. Wish I had it back.
Also wish I had back the '76 Toronado I inherited from my Dad, but that's another story.


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Entertainment - Web Series - Netflix's Cursed Release Date, Cast, Story, & Trailer: Check Updates
Netflix's Cursed Release Date, Cast, Story, & Trailer: Check Updates
Netflix's Cursed Release Date, Cast, Story, & Trailer: Check Updates: Netflix's Cursed Equivalent to Game of Thrones? Cursed is an adoption of a book that exists with the same name by Frank Miller and Tom Wheeler. The plot seems to be extremely intriguing and gives the audience a feel of the "Game of Thrones" series, but it is somewhere close to it. The upcoming drama seems worth being a binge-watch and looks interesting enough that is setting the expectations high.
1 Cursed Release Date
1.1 Cursed Cast
1.2 Cursed Storyline
1.3 Cursed Trailer
Cursed Release Date
The good news for the audience is that Netflix announced its premiere date, and the show will be streaming on Netflix from the 17th of July 2020. The series is said to have ten episodes, and the official trailer and posters are out already. What intrigued the audience more was the poster and the tagline that says, "What if the Sword chose a queen?". This gave everyone major chills, and the lead Katherine Langford looks incredible in the posters!
Cursed Cast
-Katherine Langford as Nimue
-Devon Terrell as Arthur
-Gustaf Skarsgard as Merlin
-Peter Mullan
-Shalom Brune-Franklin
-Daniel Sharman as the weeping monk
-Sebastian Armesto
-Ella Prebble
-Scarlett Rock
-Daniella Gad
-Phill Webster.
Cursed Storyline
The story is seen through the eyes of the lead actress Katherine Langford as "Nimue." She is the main lead who is blessed with powers, and mysterious things whose destiny is to save her people from the terrifying Red Paladins and a king named author. She is destined to high power and authority and is ready to become the lady of the lake.
After her mother's death, she finds a growing attraction in her partner Arthur, a Young mercenary in a quest to find Merlin. He aims to deliver an ancient sword. Over time, Nimue finds the courage to deal with the people and face her fears is a story that will grow on people.
Through the trailer, we see that the show will hold a lot of dramas for the audience. Nimue's quest in delivering the promise she gave to her mother, and the words, "You're not Fragile maid, you're a warrior," provides the audience with nothing but chills.
Cursed Trailer
We also see how she acquire power by the end of the trailer through the sword and how she manages to knock people through her powers, now that is some drama that we need in our daily bingeing life. That is precisely what Netflix added to our list. The 17th of July 2020, all the drama will unfold, and the audience is in for some super fascinating, thrill drama that will make you wonder what will happen next?
Don't believe us? Watch the trailer you'll know the all this buzz is about.
20 Best Netflix Hindi Dubbed Series
"The Haunting of Bly Manor" release date, cast, plot, and trailer; check all details:
Netflix's Ratched series review, cast, plot, and more details:

redpajama_set_name: RedPajamaCommonCrawl


Infinite Crisis Closing ★ Shutdown Iminent? - KABALYERO - PLAY, BLOG & EARN!
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Infinite Crisis Closing ★ Shutdown Iminent?
Infinite Crisis Closing, shutdown will happen on August 14, 2015. Seriously, is this for real?
Today, while I was browsing the official website of Infinite Crisis for news and update about the game, I noticed a headline under news with a title of "Infinite Crisis Closing: August 14th, 2015".
At first I thought I was reading it wrong but, unfortunately, I wasn't. The announcement was short but it was very clear. Infinite Crisis will close its service on August 14, 2015.
Fortunately, I don't have that much attachment to Infinite Crisis because I've only played it a number of times but that's just me. I'm sure there are many Infinite Crisis players out there who are not liking this announcement.
Now, if you wish to receive updates when new blog posts are posted then simply follow @kabalyero in Twitter. You can also help me grow this blog by sharing this blog post to your friends.


Comunytek has always been characterized by keeping active a series of values that have allowed it to be what it is today and maintain a great human team that supports it.
In a preferred position, among the list of values that define the company, are solidarity, generosity and responsibility, to its customers, its employees and society.
Keeping in mind at all times these three pillars of the culture of Comunytek, during the months of March and April we have been working on a very special action that will benefit a significant number of students of the Cortes de Cádiz School of Primary and Secondary Education at Madrid.
Comunytek has made the CEIP Cortes de Cádiz donation of five computers that the school will allocate to equip the new classrooms that must open to meet the demand of students in the center.
These computers, which although they no longer meet the demanding requirements essential for a Software Engineer, will still have a long useful life in the classrooms of the school being part of the multimedia equipment that otherwise would have to be financed with the limited budget of the school and the contribution of the AMPA.
The director of the center Ms. Mª Carmen Partida, thanks the contribution made by Comunytek and encourages other companies to donate computers that for technology companies have already reached the end of their useful life.
From Comunytek, we are happy to have been able to collaborate with CEIP Cortes de Cádiz with such a simple action and with such a direct impact on the lives of our students.


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Paige Calico 'Arm Candy'
LA-based folk songstress, Paige Calico, provides a sigh of relief of pandering thoughts on her latest single "Arm Candy."
Growing up in rural New Jersey and attending Berklee College of Music, Paige Calico's sound mimics the expansive and insightful quirps of the countryside. Now based in Los Angeles, Calico's rooted folk influence and intimate penned lyrics on her latest single and video "Arm Candy" provide a promising follow-up from her debut EP, Crying Diamonds. Pairing Calico's signature rustic and sweet twangs with the video's cues from a Robert Palmer video, comes a stirring revelation that embodies the thoughts of a woman.
"Our society can very easily pigeonhole women into feeling like they have a certain role to play and if you choose to sway from it there will be ridicule…or you'll end up a cat lady alone forever. But there is nothing wrong with going off the beaten path (& cats are rad) and solitude is healthy, not a state of doom. It's about staying true to you and if a little weed and whiskey helps, go for it," says Calico.
Built from the threads of a lost conversation one has at night, "Arm Candy" dives immediately into the point of making it "easier" if Calico simply became an accessory at the end of a man's arm. Scarlet Moreno's direction extracts Calico's blunt lines as she is depicted in the highest of fashion, constant pampering, yet somehow still incomplete. Moreno's depiction is through a colorful, simple approach allowing Calico's emotive words become the focal point of the video. Taking cues from Palmer videos, Moreno explains, "I remember the first time I watched those classic Robert Palmer videos as a kid and thinking I wanted to be like those women and not knowing exactly why. Now I realize it's because of how strong and bold they looked, how they owned their woman-ness in a way I wasn't used to seeing yet. I love bringing that back with this vid and making it about them and Paige sharing in those moments of power."
Each verse opens up lost vulnerability as Calico paints different scenarios. The track's bittersweet flavor teeters from lush melodies, to a raspier shade of blue. The constant need of "killing the blues by chasing high" is contradicted towards the end of the tracks imagery of the inability to not crave "something sweeter" and is eloquently portrayed throughout the track's time. While the track's production isn't entirely painful —rummaged over a simple drum beat — there's a honest sigh of relief that drips from Calico's delivery.
Tagsfolk • indie • indie folk • Los Angeles • new music


Krk Food Fest: "Taste of Spring "is the title of the event taking place from 19 April to 31 May 2019 in about 20 restaurants of the island of Krk. It is an opportunity to fully enjoy splendid Krk landscapes and its tastes.
Cooled Žlahtina wine and hot lamb, scampi and fish, enjoyed while admiring the sea view, cheeses made from milk of island sheep tasting of sage, immortelle and other herbs, Krk prosciutto, olive oils, ecologically grown vegetables and wild edible plants, these are all magnets attracting you to the island during springtime.
The restaurants have adapted their offer to the seasonal ingredients found on the island of Krk. They are preparing many delicacies with wild asparagus, baby lamb, broad beans, samphire and other spring plants with addition of sea food.
In Njivice, restaurant Rivica offers about 10 delicacies with wild asparagus, among which homemade ravioli filled with sheep curd cheese and wild asparagus in truffle sauce, frittata and risotto with wild asparagus, poached sea bass with asparagus puree, "pašticada"- beef with green homemade pasta- "šurlice" made with asparagus and desserts like sweet asparagus- white chocolate, asparagus and hazelnuts.
In Malinska, in restaurant Mulino, you can enjoy wild asparagus soup, asparagus frittata, "šurlice" with sauce of wild asparagus, shrimp and sheep curd, lamb roast under the bell or on the spit, sheep curd pancakes…. In tavern Bracera they offer young sheep cheese with asparagus served on polenta and olive oil and sheep- curd spread with truffles, wild asparagus risotto, homemade pasta in tomato sauce with shrimp and wild asparagus, grilled lamb marinated in olive oil and rosemary and lamb under the bell (upon previous order). Bistro Toni (during May) offers two spring menus, meat and fish one, with specialties such as spring salad with wild asparagus, duck breast with vegetables and calamari "brodetto" with polenta. In tavern Intrada they offer homemade pasta "fazoletti" with cottage cheese and spinach, grilled local lamb, shepherd's plate and duke's "presnac" (traditional cake). In Noštromo in Malinska, you can taste spring salad with cheese and walnuts, homemade pasta "makaruni" with pesto, wild asparagus frittata and risotto, homemade pasta "šurlice" with calamari and "presnac" made with young sheep cheese. In restaurant Primorska koliba they offer: sheep curd with Adriatic scampi and wild asparagus, seafood salad with broad beans, risotto with Adriatic shrimp, scampi and samphire, monkfish with broad bean and samphire puree, panna cotta with asparagus and homemade crumble with asparagus.
In Kuća krčkog pršuta Žužić you can buy local cured meats and enjoy pate made of prosciutto and young cheese, bread made with prosciutto, minestrone with prosciutto and spring vegetables and "šurlice" with Krk prosciutto and wild asparagus.
In tavern Pod prevolt in Milohnići they offer boiled lamb with vegetables and lamb stew, grilled lamb and lamb on the spit, frittata and "šurlice" with wild asparagus, nettle soup, "brodetto" made with dried octopus and finally, pancakes with sheep curd and honey.
In Volsonis in the city of Krk, besides many spring delicacies, they also offer local minestrone made with nettle, lamb rolls made with vine leaves (during May), homemade "šurlice" with lamb stew and lamb prosciutto. Tavern Šime offers "šurlice" with wild asparagus and prosciutto. On the menu of restaurant Marina there are: cream of wild asparagus soup, beef tagliatta served with a bruschetta made with wild asparagus and pesto, pork fillet served on wild asparagus risotto, roast lamb (upon previous order for 4 persons minimum) and "Bodulski pijat"- white fish fillets in "žlahtina" wine sauce served with toasted polenta and rocket salad. Tavern Galija offers "šurlice" with scampi and wild asparagus and ravioli filled with Adriatic shrimp and black truffle.
In Vrbnik, restaurant Vinotel Gospoja offers boiled- fried egg with marinated wild asparagus, tagliatelle with crab meat and black truffle, gold sorbet with "žlahtina" wine and young lamb ribs with cream of sheep cheese. On their spring menu restaurant Nada Vrbnik has homemade green tortellini made with sheep curd and sage, lamb chops in island wild plants served with polenta and vegetables, roast beef with "muštarda" cream and "povitica"- homemade cake made with sheep curd.
In Punat, restaurant Marina offers about 15 spring delicacies, some of which are: cream of wild asparagus soup, beef steak with wild asparagus, prosciutto and aromatized polenta, fish fillet with wild asparagus and shrimp… In tavern Bocoon they offer many fine dishes with wild asparagus such as mushroom and asparagus frittata, risotto with scampi and asparagus, beef steak in wild asparagus sauce….
In Šilo, staff of Zeba restaurant will prepare lamb under the bell (it takes about 3 hours to prepare it so it is wise to pre- order). There are also "šurlice" with four cheeses, homemade cabbage rolls and piglet on the spit.
In Klimno, in restaurant Žal, you can enjoy the wild asparagus mosaic prepared with horse radish and quail eggs, homemade ravioli made with spinach and guanciale, lamb shoulder with vegetable alter- ego and canelé and mousse made with sheep curd and strawberries.
In Omišalj, in restaurant Maris you can taste tuna tartare, cuttlefish "brodetto" with polenta and lamb chops.
The reasons to come to the island of Krk are numerous and since there are more than a hundred dishes you should try, we suggest you also check the pages offering accommodation.
The organizers of the event are the Tourist Board of the island of Krk and all local tourist boards in cooperation with Gastronauts.


We explored street art the first week of this studio. We wanted to make something political and decided to make posters we would put up with wheat paste. Our focus was on Latinos and problems they face. We eventually also concentrated on Trump's hate and his racism and prejudice towards Latinos. We made initial sketches and also used Photoshop to design our posters. We landed on the name "Mistaken" because it expressed the aspect of all of Trump's lies and false misconceptions towards Latinos. We made a lot of iterations and made a lot of changes through the whole project until we got the design we wanted.
We went around the neighborhood and put up our posters with wheat paste. We went to Graffiti Alley but also just random places in the public space. We incorporated a Trump quote criticizing Latinos, "They're bringing drugs. They're bringing crime. They're bringing rapists". We also put the hashtag "LatinosTrumphate" on each poster too for the word play on Trump. We wanted to expose Trump's hate.


What will you learn in a radiologic sciences degree program? Get the truth about program requirements, courses and career options, and find out what you can do with your associate's or bachelor's degree.
Radiologic sciences degree programs are designed to prepare you for a career as a radiologic technician or technologist. The U.S. Bureau of Labor Statistics (BLS) expects this field to experience faster-than-average growth between 2010 and 2020, so job prospects should be good. Most radiologic technologists are employed by hospitals, but job opportunities exist in the offices of physicians and diagnostic imaging centers.
Although an associate's degree is the typical minimum requirement for radiologic technologists, completing a bachelor's degree program can lead to career advancement. However, you may need several years of experience and an advanced degree in order to work as a supervisor in this field.
Source: *U.S. Bureau of Labor Statistics (May 2011 figures), **PayScale.com (June 2012 figures).
An associate's degree program in radiologic sciences prepares you for a career as a radiologic technologist. Most schools require students to maintain a minimum 2.5 GPA in order to remain in the program. After completing the required coursework and clinical education, graduates are eligible to take the ARRT credentialing exam in radiography.
You can earn certification in a few different specialties (mammography, MRI, CT).
The greatest need for radiologic technicians is in hospitals; you may face tougher competition if you want to work in a doctor's office or outpatient imaging center.
Many associate's degree programs are full-time and require students to attend classes on campus. This can be difficult for parents, returning students and those seeking a career change.
The amount of space in the program for students may not be concurrent with the amount of applicants. You may be placed on a waitlist until space becomes available.
You need to complete prerequisite courses before gaining admission to an associate's degree program. Prerequisite courses may include English composition, college algebra and anatomy and physiology; some programs require additional coursework. Other enrollment requirements may include immunizations, a completed physical examination and current CPR certification.
Fully online associate's degree programs in radiologic sciences are rare. However, you may be able to complete some prerequisite or core courses online. You should always ensure that any courses you find online are accepted by the degree-granting school of your choice.
Students can increase their chances of employment by volunteering in local hospitals or imaging centers outside of class time. Specializing in an area of radiologic imaging, such as MRI or X-ray, can help you prepare for a specific job. Students should always keep their state licenses up to date by completing continuing education classes.
Bachelor's degree programs in radiologic sciences often require that students have a minimum 2.0 GPA and hold certification from the ARRT. These programs may allow you to choose a degree concentration; some programs can prepare you for supervisory roles. Most bachelor's degree programs have a limited amount of space available, and applicants are encouraged to apply early. In some cases, you can earn your bachelor's degree in 1-2 years.
Graduates who hold a bachelor's degree and have some experience can earn significantly more than those who hold only an associate's degree ($55,000* vs. $66,000-$126,000**).
More career choices may be available for individuals who hold a bachelor's degree.
You may be competing for jobs with graduates of associate's programs.
Admission to bachelor's degree programs can be competitive. Most classes accept only a limited number of students each quarter.
Online schools may require you to have access to a radiology laboratory where you can complete your clinical externship.
Most schools require you to have certain immunizations. Students who are not up to date on their shots may need to be vaccinated before participating in clinical experiences.
Sources: *U.S. Bureau of Labor Statistics (2011 figures), **PayScale.com (2012 figures).
Bachelor's-level coursework allows students to develop skills in advanced radiation procedures and healthcare management. Similar to associate's programs, you need to complete clinical experiences in a radiology laboratory setting. Many bachelor's programs include courses in MRI or computed tomography (CT) that may prepare you for advanced ARRT certifications.
Online courses and degree options exist for students seeking a bachelor's degree. Completely online programs are available at some schools, eliminating the need for students to attend campus-based sessions. Clinical experiences are still required, but you may pursue opportunities in your area. Certain schools offer programs in a hybrid format - some courses are offered online while others must be taken on campus.
Look for programs that offer hands-on classes in MRI and CT; gaining skills in those modalities may qualify you for ARRT's specialty exams. If you need to renew your radiography certification while enrolled in a bachelor's program, take continuing education courses in a specific area of interest.
You can also stand out by joining your school's radiologic technology student organization. As a member of one of these groups, you may network with other students and faculty members; you could also help set up guest lectures and fundraising events.


MySQL comes with its own Replication capabilities. Make sure to use Statement Based Replication, and NOT Row Based Replication.
Note: The recommended steps below include setting up auto-increment variables to avoid data collision. If you already use random primary keys instead, see One-Way Replication (random primary keys).
Stop the MySQL Service on both the Master and Slave (net stop mysql). On some operating systems, this will require you go into the system services in Control Panel, Administrative Tools, Services and stop the MySQL service manually. If the MySQL service is started on the Master or Slave before step 5, then replication on the Slave will fail.
On the Slave, wipe out all loose files in the mysql data directory which do not reside in a subfolder, except for any files beginning with ib (e.g. iblog_file0, ib_logfile1, ibdata1).
Make an identical database copy from Master to Slave. The replicated database must be exactly the same before replication begins the first time. If the one-way replication server is being added to an existing daisy chain, the database copy must be a snapshot of the database from the point in time that the daisy chain was setup (before any SQL statements were ever replicated). If you do not have this older copy of the database, reset the daisy chain immediately before copying the database to the one-way server.
Make sure the master and slave are synced to the same date and time.
Start the MySQL service on the Master and Slave (net start mysql). On some operating systems, such as Windows Vista, this will require you go into the system services in Control Panel, Administrative Tools, Services and start the MYSQL service manually.
On the Slave, point the Slave to the Master by running a command similar to the following (run the following MySQL queries): Go to the command line and change the directory to C:\Program Files\MySQL\MySQL Server 5.5\bin and type the following: mysql -u root opendental where opendental is the name of the database.
Set MASTER_HOST to either the IP address or computer name of the Master.
Run the following queries on the Master to grant permission for the Slave to read data. This step is easy to get wrong.
The opendental.* should be the name of your mysql database and must be lowercase. The .* means everything within the specified database.
Run the START SLAVE; in the mysql command interface on the Slave.
Run the SHOW SLAVE STATUS \G; in the mysql command interface on the Slave. Make sure that the Slave IO Running and Slave SQL Running columns both say, Yes.


1On the point of death.
1.1 Occurring at or connected with the time that someone dies.
1.2 Gradually ceasing to exist or function; in decline and about to disappear.
1.3 (of a period of time) final; closing.
For the rest of one's life.
Late 16th century: present participle of die.


text:
In Inspiration June 8, 2021 By Women of Rubies
Meet Dr. Victoria Kisyombe, The Tanzanian Entrepreneur Providing Micro-Leasing For Widows
Dr. Victoria Kisyombe is the founder of SELFINA, a company in Tanzania that provides micro-leasing to mostly widows and young girls.
Given women's lack of collateral and resulting lack of access to capital, Dr. Victoria Kisyombe began pioneering micro-leasing as a solution. Her pioneering micro-leasing model as an alternative way to financing women has generated praise beyond Tanzania, and efforts are under way to expand the model to other countries in the region.
Dr. Victoria Kisyombo
Victoria's incredible journey into entrepreneurship emerged as a result of personal tragedy and the unexpected death of her husband back in 1991. For her and their three young children, life was to change inexorably as she was left to deal with the resulting social and economic challenges facing them. An entrepreneurial approach to life thereafter provided the solution.
When Victoria faced the prospect of providing for her family alone in Tanzania, she was faced with some stark facts – under customary law, his family reclaimed all their marital possessions. She didn't own property in her own name, she didn't have any collateral, or indeed a personal credit history with a bank.
In fact, she had only one asset to her name – a cow named Sero. Being educated and resourceful out of necessity, she looked to make this sole asset work for her and become a critical source of income. She sold the milk produced by Sero each day and used the income to look after her family and accumulate some savings with which to rebuild her life. That precious cow, Sero, made all the difference in the world to the family.
During this time, Victoria found that her difficult circumstances were not unique, indeed she knew that many women find themselves in similarly tough circumstances, yet often without access to productive assets like Sero to help them through those tough times.
In 2002, she recognized that access to micro-finance for women could be a game changer in the lives of Tanzanian women, so she took on the challenge of redesigning the traditional model of micro-finance to make it work for women.
She launched a new business venture, SELFINA (Sero Lease and Finance Limited), named after her first asset, her cow Sero, and began loaning and leasing productive assets to Tanzanian women.
These leased assets provided a practical means of women being able to generate their own sustainable income, and over the lease term, eventually owning the assets in their own names. This not only newly empowered these women, but also provided them with critical collateral to qualify them to access traditional bank finance in the future.
SELFINA has gone on to finance 27,000 women, create 150,000 jobs, with 250,000 people impacted and US$17 Million revolved.
She was also recognized as Regional Social Entrepreneur of the Year for Africa in 2010. In addition, and in keeping with her personal philosophy that the key to empowerment is through education, she raised money to build the Mukuza Girl's Secondary School in Dar Es Salaam. The school has 129 students, and provides room and board so the girls can have their own space to study and learn.
Dr. Victoria is a leader who has used innovation, initiative, and determination to empower women in Tanzania to become economically self-sufficient.
"If I can change the life of one person it makes a whole difference because behind that person there is a whole family. It's a family, it's a society, it's Tanzania"
SELFINAVictoria Kisyombo


And, believe us, Hart and Wright are in the public eye, as much as scholars in these fields can ever expect to be. They come with attached fan clubs and retinues. While debating the quality and character of biblical translations might lead many public understanderers to turn their attention to other topics and events, we are in the company of those who believe that debates over biblical texts and their translations are fateful. In Christian orbits, debates over which translation one is allowed to favor have led to schisms and vicious conflicts. For one moderate example: not until after the Second Vatican Council were some Roman Catholics to favor and use the King James Version of 1611. Senior readers of Sightings will recall the bitter melees which followed the publication in 1946 of the Revised Standard Version of the Bible, popularly or unpopularly known as "Stalin's Bible," as designated by some Cold Warriors who suspected and charged Communist influences in the RSV. Why did "virgin" of The Virgin Birth in Isaiah 7:14 now appear as "young woman" or "maiden" in the new translations, et cetera?
While we may not be proud of the way scholars and agitators on many sides of these translation conflicts have acted, I'd like to change emphasis quickly and argue that the intentions then and issues now between Wright and Hart are not trivial. Biblical texts in translation turn up in international affairs, U.S. constitutional-legal traditions, poetry, political campaigns, and piety, and they are spiritually very important to millions of citizens. The introducers of the 1946 RSV, which people of my generation lugged around (along with, soon after, the "New Revised Standard Version," the "Revised English Bible," the "New American Bible," and the [Catholic] "New Jerusalem Bible"), knew of their importance in scholarship, worship, and the living of lives. So we pay attention.
- Hart, David Bentley. "A Reply to N. T. Wright." Eclectic Orthodoxy. January 16, 2018.
- Wright, N. T. "The New Testament in the strange words of David Bentley Hart." The Christian Century. January 15, 2018.
A six-day exploration of religious ideas, themes, and conflicts as depicted in films.


Our 115-watt expansion panel adds extra charge capability and is compatible with any of our roof mount kits and their included 3-port expandable roof caps. Its quick-connect solar plug makes expanding your solar kit easy and simple—just plug it into your roof cap and you're good to go.
Like the panel in our 115-watt kit, this expansion panel comes with our innovative Omni-Mount frame which lets you to mount the panels wherever you need them, and includes our ultra-sturdy stainless steel mounting hardware.


text:
The Bill star Andrew Lancel to join Liz McClarnon as hosts at the ECHO's Pride of Merseyside Awards
TELEVISION'S The Bill star Andrew Lancel will shine the spotlight on the people who make Merseyside a better place.
Tina Miles
The Liverpool actor, 40, was today announced as the co-host of the ECHO Pride of Merseyside Awards.
He will share the stage with former Atomic Kitten singer Liz McClarnon at the awards evening next month.
Andrew, 40, who has played Detective Inspector Neil Manson in the ITV1 police drama since 2003, said he was looking forward to celebrating "real heroes".
The TV and theatre actor, who lives in south Liverpool with wife Louise and his son Isaac, said: "I've been to the Pride of Britain Awards but with the ECHO's awards being so close to home it makes it so personal.
"It will be a fun and emotional night and I'm thrilled to be hosting it. I've done plenty of TV work with actors pretending to be heroes but this will be nice because it is about real heroes."
Celebrities including Strictly star Ricky Whittle have spearheaded our appeal for nominations for our Pride of Merseyside Awards, in partnership with Halewood International.
And ECHO readers have told us about unsung heroes who have shown extraordinary courage, dedication and selflessness.
They will be recognised in categories including the Education Award, Courageous Child Award, Arts Award and the Sporting Achievement Award.
Someone you know could also be up for the Merseyside Community Award, the Lambrini-sponsored Friend Award and Community Group Award.
In honour of the inspirational stories uncovered by the ECHO's Wish Campaign our Wish Award will pay tribute to the outstanding team work demonstrated.
The ECHO will also present the Silver Liver Award in recognition of extraordinary community spirit.
The first Pride of Merseyside Awards will take place at Liverpool's Isla Gladstone Conservatory on Thursday, September 9.


An act to amend Section 26165 of the Penal Code, relating to firearms.
AB 2103, Gloria. Firearms: license to carry concealed.
Existing law authorizes the sheriff of a county or the chief or other head of a municipal police department of any city or city and county to issue a license to carry a concealed firearm to an applicant for that license if the applicant is of good moral character, good cause exists for issuance of the license, the applicant meets specified residency requirements, and the applicant has completed a specified course of training, acceptable to the licensing authority.
Under existing law, the required course of training for an applicant must be no more than 16 hours and must cover firearm safety and laws regarding the permissible use of a firearm.
This bill would require that the course of training be at least 8 but not be required to exceed 16 hours. The bill would require the course of training to include instruction on firearm handling and shooting technique and to also include a demonstration by the applicant of shooting proficiency and safe handling of each firearm the applicant will be licensed to carry and to include live-fire exercises conducted on a firing range. The bill would require a licensing authority to establish, and make available to the public, standards it uses when issuing licenses with regards to the live-fire shooting exercises it requires, as specified. By imposing additional requirements on local licensing authorities, this bill would create a state-mandated local program.
(1) The course shall be no less than eight hours, but shall not be required to exceed 16 hours in length.
(2) The course shall include instruction on firearm safety, firearm handling, shooting technique, and laws regarding the permissible use of a firearm.
(3) The course shall include live-fire shooting exercises on a firing range and shall include a demonstration by the applicant of safe handling of, and shooting proficiency with, each firearm that the applicant is applying to be licensed to carry.
(b) A licensing authority shall establish, and make available to the public, the standards it uses when issuing licenses with regards to the required live-fire shooting exercises, including, but not limited to, a minimum number of rounds to be fired and minimum passing scores from specified firing distances.
(c) Notwithstanding subdivision (a), the licensing authority may require a community college course certified by the Commission on Peace Officer Standards and Training, up to a maximum of 24 hours, but only if required uniformly of all license applicants without exception.
(d) For license renewal applicants, the course of training may be any course acceptable to the licensing authority, shall be no less than four hours, and shall satisfy the requirements of paragraphs (2) and (3) of subdivision (a). No course of training shall be required for any person certified by the licensing authority as a trainer for purposes of this section, in order for that person to renew a license issued pursuant to this article.
(e) The applicant shall not be required to pay for any training courses prior to the determination of good cause being made pursuant to Section 26202.


text:
Q: Need help nesting multiple formulas I have three functions that will return the answer that I'm looking for but I don't want to have these functions separate because the sheet would get too cluttered. That said, I'm having difficulties nesting these formulas so that it returns only the final output. The formulas are listed below:
=UNIQUE(FILTER('Sheet'!$D:$D, 'Sheet'!$B:$B >= B$2,'Sheet'!$B:$B<C$2,regexmatch('Sheet'!$L:$L,"Trial")))
This function returns all unique ID's that meet the conditions stated.
=COUNTIFS('Sheet'!$B:$B,">="&C$2,'Sheet'!$B:$B,"<"&D$2,'Sheet'!$G:$G,">0",'Sheet'!$D:$D,B27)>0
This function returns T/F if the identified unique ID from first function exists next month. Returns 'True' if ID exists, 'False" if it does not. Cell B27 refers to the first cell row from the first function.
=COUNTIF(C27:C45,TRUE)
This function counts all True for each month. Range (C27:C45) references the output from the second function
I tried
=COUNTIF(countifs('Sheet'!$B:$B,">="&C$2,'Sheet'!$B:$B,"<"&D$2,'Sheet'!$G:$G,">0",'Sheet'!$D:$D,UNIQUE(FILTER('Sheet'!$D:$D, 'Sheet'!$B:$B >= B$2,'Sheet'!$B:$B<C$2,regexmatch('Sheet'!$L:$L,"Trial"))))>0,TRUE)
but this function returns the incorrect answer.
Any ideas? Here's the sheet: https://docs.google.com/spreadsheets/d/1l2dXCEE0enTRBzBZEwjN1Fj9-ovPjsi75WvTdgK7_Zg/edit?usp=sharing

A: use:
=COUNTUNIQUE(IFNA(FILTER(sheet!$D:$D, sheet!$B:$B >= B$2, sheet!$B:$B < C$2,
 REGEXMATCH(sheet!$L:$L, "Trial"), sheet!$G:$G > 0)))

A: SOLVED: Had to use =arrayformula nested over the three functions.
Column B shows the number of new subscribers.
Column C:V shows how many of the specified subscribers from ColB is retained over period of time.

redpajama_set_name: RedPajamaStackExchange


text:
Q: Javascript Prototyping Error I've been looking into Javascript prototyping recently, can understand the theory, and believe it can be very useful to my understanding of the language, but can't quite get the following to work...
var player = function(){//Declarations here};
var super_player.prototype = new player();

Every compiler/checker flags a 'missing semicolon' error on line 2.
I'm stumped, but believe that I am overlooking something really simple.
Can someone point me in the right direction?

A: You want to do something like
function Player() {
    // player things here

}

Player.prototype = new SuperPlayer(); // get all the things on SuperPlayer prototype
Player.prototype.constructor = Player;

assuming SuperPlayer is the super class of Player, as it were.
edit -- If SuperPlayer is a better player, i.e. a subclass of Player, just reverse the above pattern
function SuperPlayer() {
        // super player things here

    }

    SuperPlayer.prototype = new Player(); // get all the things on Player prototype
    SuperPlayer.prototype.constructor = SuperPlayer;  // the above line changed the     constructor; change it back

I couldn't tell from what you wrote if SuperPlayer is a subclass or not.  Also, other answers have pointed out that the code you posted as is syntactically broken, due to the comment...

A: The engine doesn't know that super_player is a function until you declare it as one and hence it doesn't have a prototype.
var player = function () {},
    super_player = function () {}

// now we can happily set the prototype :)
super_player.prototype = new player();

// don't forget to point the constructor back to super_player
// not doing so will cause great confusion
super_player.prototype.constructor = super_player

A: Your comment on line 1 is blocking the ending brace.  So you have a dangling open brace which won't work.  You can change it to the following:
var player = function() {
   // Declarations here
};

If I were you I think you want to consider using camel case class names doing the following:
function SuperPlayer() {
}

function Player() {
}
Player.prototype = new SuperPlayer();
Player.prototype.constructor = SuperPlayer;

That will make SuperPlayer the base class, and Player the derived class as Player inherits from SuperPlayer through it's prototype. Not the other way around as you have in your example above.

A: Did you want to say
super_player.prototype.player = function(){ /*Declarations here*/ };

?

A: Was looking over chubbards' answer once more... The prototype keyword can be best described as unwieldy... It's strange, because it is most certainly OOP, but the implementation is crazy!
To take a common example...
mammal() = object;
cat() = prototype; // Implements mammal();
tiger() = object; // Implements cat(), but does NOT require the 'prototype' keyword... like some kind of 'cystalline' form? I can then create a whole range of individual 'tigers', but will not be able to add any new properties to any of them...

How about this instead?:
machine() = object;
car() = prototype; // Implements machine. It's a machine afterall...
super_car = prototype; // It's a very fast car...
ferrari = prototype; // They only make supercars...
ferrari_355 = object; // One of the best cars they've ever made. No need to change it, right? :}

Am right? :|

A: Much respect to you Chubbard. :)
Your example helped a lot.
My original 'example' was rather flippant. :P
I'm still running into a handful of problems though...
To elaborate on my 'cat' sample (keeping things as brief as possible):
function mammal(){
// 'mammals' constructor - My 'empirical' 'class'...
}
   mammal.count = 0; // To keep track of the zoo I've created. No subclass can access this property. It's a 'static' property

   // I could have declared this 'method' inside of my constructor
   // with an anonymous function attached to (this.prototype.breathe).

    mammal.track = function (){
        this.count++;
    }

    mammal.prototype.breathe = function(){
        alert("Inhale... Exhale...");
    }

function cat(){
// 'cat' constructor
}

// All cats shall now become a type of mammal
cat.prototype = new mammal();

cat.prototype = function(){
// This anonymous function is the REAL constructor for my 'cat' 'superclass'
}

    cat.prototype.meow = function(){
        alert("Meow!");
    }

function lion(){
// The king of jungle...
// I can keep track of the number of 'mammal' instances I create here
mammal.track();
}

// All lions are cats, afterall...
lion.prototype = new cat();
// Also note that I have no plans to extend the lion class.
// I have no need of a class below the 'idea' of a lion

    lion.name = "Kitty"; // :}

    // Here's where I get confused...
    // I can set (lion.name) via instances, can't call (lion.pounce), but (lion.prototype.roar) works all day long! o_0
    lion.pounce = function(){
        alert(this.name+" pounces...")
    }

    lion.prototype.roar = function(){
        alert(this.name+" doesn't meow, he ROOOAAARS!");
    }

// With these constructs in place, I can now script...
$(document).ready(function(){

      var rory = new lion();
      var napoleon = new lion();

      alert("We have "+mammal.count+" mammals running about");

          // This is 'Rory'...
          rory.name = 'Rory'; // Respect the pun...
          rory.roar();

          // This is 'Napoleon'...
          napoleon.name = 'Napoleon';
          napoleon.breathe(); // Napoleon can't breathe... he didn't inherit mammal.prototype.breathe(), for some reason
          napoleon.roar(); // How am I able to set (lion.name), but not call lion.pounce()?
          napoleon.pounce();

});

You were right of course, every class in my chain right up to the creation of the final instance(s), is a prototype function. But why does (lion.name) work but not (lion.prototype.name). Conversely, why might lion.prototype.pounce() work, when lion.pounce() borks?
Napoleon and Rory are both Lions afterall...
I have loads more Javascript questions... It's a very strange language... ;)


text:
Jessica Grib
Jessica Grib had no idea that at 30 years old, she would be fighting for her life after giving birth to her second child in September 2016.
Shortly after delivering her daughter, Grib when into heart failure and cardiogenic shock. She required CPR for at least 10 minutes from three different people. "One of my nurses, a young father, had the mantra, "We're not going to lose her, we're not going to lose her" during the compressions," she said. A cardiologist was also heard to have said, "She is 30 years old, we stop at nothing," as they were attempting to figure out why Grib's heart was failing.
The cause, it was finally determined, was Peripartum Cardiomyopathy (PPCM), the signs of which are often dismissed as ordinary pregnancy or postpartum symptoms. At that point, Grib was still in heart, liver and kidney failure and placed on maximal life support. Miraculously, she woke up from sedation on October 9, 2016, which happened to be the six-year anniversary of her wedding to her high school sweetheart, Kevin. "My husband spent the night feeding me ice chips, soothing my very sore throat from the ventilator tubes," Grib remembers. "He has truly lived up to his "in sickness and in health" vows made on our wedding day."
Grib was finally able to meet her daughter, Amelia, when she was two weeks old. "I have no recollection of her birth or the events which followed. I was discharged from Barnes-Jewish just one week later, with only a three-week stay in the hospital." On the drive home from the hospital, Grib says, everything seemed more beautiful. "I can still remember how the leaves danced on the trees, how crisp the air smelled, and how beautiful the sky looked. I had never been happier to go home."
Once home, Grib — who was a passionate scuba diver before her diagnosis — was determined to get her life back as a wife, mother, daughter, sister and friend. She said it was everyone's undying faith that gave her the ability to make it through the darkest time in her life. "My family and friends were my reasons why I fought as hard as I did to survive. Their faith, as well as the faith of my incredible medical teams are the reasons why I am still here today."
Since that fateful time, Grib has been working to spread more awareness for PPCM by working with the American Heart Association, participating in heart walks, and wearing red every year on February 5th. "I was never prepared for my diagnosis and it is my mission to make sure I educate others about this disease." A huge Harry Potter fan, Grib says her favorite thing to wear on Go Red Day is a shirt her good friend made emblazoned with the phrase, "The girl who lived." She adds, "I also love wearing my PPCM bracelet from Save the Mommies, a nonprofit organization that assists women suffering from PPCM as well as raises awareness about the diagnosis."
As for what she would tell other women in regard to their heart health, "I would tell other women to trust your instincts. If you believe something is wrong or you don't quite feel like yourself, reach out to medical professionals until someone helps you find an answer. Too many women with PPCM are told they have exaggerated pregnancy or postpartum symptoms and are left to suffer in silence."
Last Reviewed: Jan 26, 2021
Learn About Heart Disease in Women
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text:
Jeremy Helmer – calciatore olandese
 Roger Helmer – politico britannico
 Thomas Helmer – ex calciatore tedesco

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text:
Q: Combine vectors in R using vectorization where values only sum if they are not equal I have two vectors that I need to add together, but only in instances where their corresponding values are not equal.  Ex:
aa <- c(1,0,0,1,0)
bb <- c(0,1,1,1,0)

I want to generate a combined vector like so:
aa <- c(1,1,1,1,0)

How might I go about doing this, particularly with vectorization?

A: Looks like you are trying to implement the OR gate .You can use pmax :
pmax(aa, bb)
#[1] 1 1 1 1 0