title: Labour economics

text: This is shown in the graph below, which illustrates the trade-off between allocating time to leisure activities and allocating it to income-generating activities. The linear constraint indicates that every additional hour of leisure undertaken requires the loss of an hour of labour and thus of the fixed amount of goods that that labour's income could purchase. Individuals must choose how much time to allocate to leisure activities and how much to working. This allocation decision is informed by the indifference curve labelled IC. The curve indicates the combinations of leisure and work that will give the individual a specific level of utility. The point where the highest indifference curve is just tangent to the constraint line (point A), illustrates the optimum for this supplier of labour services.


title: Labour economics

text: If consumption is measured by the value of income obtained, this diagram can be used to show a variety of interesting effects. This is because the absolute value of the slope of the budget constraint is the wage rate. The point of optimisation (point A) reflects the equivalency between the wage rate and the marginal rate of substitution of leisure for income (the absolute value of the slope of the indifference curve). Because the marginal rate of substitution of leisure for income is also the ratio of the marginal utility of leisure (MU) to the marginal utility of income (MU), one can conclude:


title: Labour economics

text: If the wage rate increases, this individual's constraint line pivots up from X,Y to X,Y. He/she can now purchase more goods and services. His/her utility will increase from point A on IC to point B on IC.


title: Labour economics

text: To understand what effect this might have on the decision of how many hours to work, one must look at the income effect and substitution effect.


title: Labour economics

text: The wage increase shown in the previous diagram can be decomposed into two separate effects. The pure income effect is shown as the movement from point A to point C in the next diagram. Consumption increases from Y to Y and – since the diagram assumes that leisure is a normal good – leisure time increases from X to X. (Employment time decreases by the same amount as leisure increases.)


title: Labour economics

text: But that is only part of the picture. As the wage rate rises, the worker will substitute away from leisure and into the provision of labour—that is, will work more hours to take advantage of the higher wage rate, or in other words substitute away from leisure because of its higher opportunity cost. This substitution effect is represented by the shift from point C to point B. The net impact of these two effects is shown by the shift from point A to point B. The relative magnitude of the two effects depends on the circumstances. In some cases, such as the one shown, the substitution effect is greater than the income effect (in which case more time will be allocated to working), but in other cases, the income effect will be greater than the substitution effect (in which case less time is allocated to working). The intuition behind this latter case is that the individual decides that the higher earnings on the previous amount of labour can be "spent" by purchasing more leisure.


title: Labour economics

text: If the substitution effect is greater than the income effect, an individual's supply of labour services will increase as the wage rate rises, which is represented by a positive slope in the labour supply curve (as at point E in the adjacent diagram, which exhibits a positive wage elasticity). This positive relationship is increasing until point F, beyond which the income effect dominates the substitution effect and the individual starts to reduce the number of labour hours he supplies (point G) as wage increases; in other words, the wage elasticity is now negative.


title: Labour economics

text: The direction of the slope may change more than once for some individuals, and the labour supply curve is different for different individuals.


title: Labour economics

text: Other variables that affect the labour supply decision, and can be readily incorporated into the model, include taxation, welfare, work environment, and income as a signal of ability or social contribution.


title: Labour economics

text: A firm's labour demand is based on its marginal physical product of labour (MPP). This is defined as the additional output (or physical product) that results from an increase of one unit of labour (or from an infinitesimal increase in labour). (See also Production theory basics.)


title: Labour economics

text: Labour demand is a derived demand; that is, hiring labour is not desired for its own sake but rather because it aids in producing output, which contributes to an employer's revenue and hence profits. The demand for an additional amount of labour depends on the Marginal Revenue Product (MRP) and the marginal cost (MC) of the worker. With a perfectly competitive goods market, the MRP is calculated by multiplying the price of the end product or service by the Marginal Physical Product of the worker. If the MRP is greater than a firm's Marginal Cost, then the firm will employ the worker since doing so will increase profit. The firm only employs however up to the point where MRP=MC, and not beyond, in neoclassical economic theory.


title: Labour economics

text: The MRP of the worker is affected by other inputs to production with which the worker can work (e.g. machinery), often aggregated under the term "capital". It is typical in economic models for greater availability of capital for a firm to increase the MRP of the worker, all else equal. Education and training are counted as "human capital". Since the amount of physical capital affects MRP, and since financial capital flows can affect the amount of physical capital available, MRP and thus wages can be affected by financial capital flows within and between countries, and the degree of capital mobility within and between countries.


title: Labour economics

text: According to neoclassical theory, over the relevant range of outputs, the marginal physical product of labour is declining (law of diminishing returns). That is, as more and more units of labour are employed, their additional output begins to decline.


title: Labour economics

text: Additionally, although the MRP is a good way of expressing an employer's demand, other factors such as social group formation can the demand, as well as the labour supply. This constantly restructures exactly what a labour market is, and leads way to cause problems for theories of inflation.


title: Labour economics

text: The marginal revenue product of labour can be used as the demand for labour curve for this firm in the short run. In competitive markets, a firm faces a perfectly elastic supply of labour which corresponds with the wage rate and the marginal resource cost of labour (W = S = MFC). In imperfect markets, the diagram would have to be adjusted because MFC would then be equal to the wage rate divided by marginal costs. Because optimum resource allocation requires that marginal factor costs equal marginal revenue product, this firm would demand L units of labour as shown in the diagram.


title: Labour economics

text: The demand for labour of this firm can be summed with the demand for labour of all other firms in the economy to obtain the aggregate demand for labour. Likewise, the supply curves of all the individual workers (mentioned above) can be summed to obtain the aggregate supply of labour. These supply and demand curves can be analysed in the same way as any other industry demand and supply curves to determine equilibrium wage and employment levels.


title: Labour economics

text: Wage differences exist, particularly in mixed and fully/partly flexible labour markets. For example, the wages of a doctor and a port cleaner, both employed by the NHS, differ greatly. There are various factors concerning this phenomenon. This includes the MRP of the worker. A doctor's MRP is far greater than that of the port cleaner. In addition, the barriers to becoming a doctor are far greater than that of becoming a port cleaner. To become a doctor takes a lot of education and training which is costly, and only those who excel in academia can succeed in becoming doctors. The port cleaner, however, requires relatively less training. The supply of doctors is therefore significantly less elastic than that of port cleaners. Demand is also inelastic as there is a high demand for doctors and medical care is a necessity, so the NHS will pay higher wage rates to attract the profession.


title: Labour economics

text: Some labour markets have a single employer and thus do not satisfy the perfect competition assumption of the neoclassical model above. The model of a monopsonistic labour market gives a lower quantity of employment and a lower equilibrium wage rate than does the competitive model.


title: Labour economics

text: In many real-life situations, the assumption of perfect information is unrealistic. An employer does not necessarily know how hard workers are working or how productive they are. This provides an incentive for workers to shirk from providing their full effort, called moral hazard. Since it is difficult for the employer to identify the hard-working and the shirking employees, there is no incentive to work hard and productivity falls overall, leading to the hiring of more workers and a lower unemployment rate.


title: Labour economics

text: One solution that is used to avoid a moral hazard is stock options that grant employees the chance to benefit directly from a firm's success. However, this solution has attracted criticism as executives with large stock-option packages have been suspected of acting to over-inflate share values to the detriment of the long-run welfare of the firm. Another solution, foreshadowed by the rise of temporary workers in Japan and the firing of many of these workers in response to the financial crisis of 2008, is more flexible job- contracts and -terms that encourage employees to work less than full-time by partially compensating for the loss of hours, relying on workers to adapt their working time in response to job requirements and economic conditions instead of the employer trying to determine how much work is needed to complete a given task and overestimating.


title: Labour economics

text: Another aspect of uncertainty results from the firm's imperfect knowledge about worker ability. If a firm is unsure about a worker's ability, it pays a wage assuming that the worker's ability is the average of similar workers. This wage under compensates high-ability workers which may drive them away from the labour market as well as at the same time attracting low-ability workers. Such a phenomenon, called adverse selection, can sometimes lead to market collapse.


title: Labour economics

text: One way to combat adverse selection, firms will try to use signalling, pioneered by Michael Spence, whereby employers could use various characteristics of applicants differentiate between high-ability or low-ability workers. One common signal used is education, whereby employers assume that high-ability workers will have higher levels of education. Employers can then compensate high-ability workers with higher wages. However, signalling does not always work, and it may appear to an external observer that education has raised the marginal product of labour, without this necessarily being true.


title: Labour economics

text: One of the major research achievements of the 1990–2010 period was the development of a framework with dynamic search, matching, and bargaining.


title: Labour economics

text: At the micro level, one sub-discipline eliciting increased attention in recent decades is analysis of internal labour markets, that is, "within" firms (or other organisations), studied in personnel economics from the perspective of personnel management. By contrast, external labour markets "imply that workers move somewhat fluidly between firms and wages are determined by some aggregate process where firms do not have significant discretion over wage setting." The focus is on "how firms establish, maintain, and end employment relationships and on how firms provide incentives to employees," including models and empirical work on incentive systems and as constrained by economic efficiency and risk/incentive tradeoffs relating to personnel compensation.


title: Labour economics

text: In the context of labour economics, inequality is usually referring to the unequal distribution of earning between households. Inequality is commonly measured by economists using the Gini coefficient. This coefficient does not have a concrete meaning but is more used as a way to compare inequality across regions. The higher the Gini coefficient is calculated to be the larger inequality exists in a region. Over time, inequality has, on average, been increasing. This is due to numerous factors including labour supply and demand shifts as well as institutional changes in the labour market. On the shifts in labour supply and demand, factors include demand for skilled workers going up more than the supply of skilled workers and relative to unskilled workers as well as technological changes that increase productivity; all of these things cause wages to go up for skilled labour while unskilled worker wages stay the same or decline. As for the institutional changes, a decrease in union power and a declining real minimum wage, which both reduce unskilled workers wages, and tax cuts for the wealthy all increase the inequality gap between groups of earners.


title: Labour economics

text: As for discrimination, it is the difference in pay that can be attributed to the demographic differences between people, such as gender, race, ethnicity, religion, sexual orientation, etc, even though these factors do not affect the productivity of the worker. Many regions and countries have enacted government policies to combat discrimination, including discrimination in the workplace. Discrimination can be modelled and measured in numerous ways. The Oaxaca decomposition is a common method used to calculate the amount of discrimination that exists when wages differ between groups of people. This decomposition aims to calculate the difference in wages that occurs because of differences in skills versus the returns to those skills. A way of modelling discrimination in the workplace when dealing with wages are Gary Becker's taste models. Using taste models, employer discrimination can be thought of as the employer not hiring the minority worker because of their perceived cost of hiring that worker is higher than that of the cost of hiring a non-minority worker, which causes less hiring of the minority. Another taste model is for employee discrimination, which does not cause a decline in the hiring of minorities, but instead causes a more segregated workforce because the prejudiced worker feels that they should be paid more to work next to the worker they are prejudiced against or that they are not paid an equal amount as the worker they are prejudiced against. One more taste model involves customer discrimination, whereby the employers themselves are not prejudiced but believe that their customers might be, so therefore the employer is less likely to hire the minority worker if they are going to interact with customers that are prejudiced. There are many other taste models other than these that Gary Becker has made to explain discrimination that causes differences in hiring in wages in the labour market.


title: Labour economics

text: Many sociologists, political economists, and heterodox economists claim that labour economics tends to lose sight of the complexity of individual employment decisions. These decisions, particularly on the supply side, are often loaded with considerable emotional baggage and a purely numerical analysis can miss important dimensions of the process, such as social benefits of a high income or wage rate regardless of the marginal utility from increased consumption or specific economic goals.


title: Labour economics

text: From the perspective of mainstream economics, neoclassical models are not meant to serve as a full description of the psychological and subjective factors that go into a given individual's employment relations, but as a useful approximation of human behaviour in the aggregate, which can be fleshed out further by the use of concepts such as information asymmetry, transaction costs, contract theory etc.


title: Labour economics

text: Also missing from most labour market analyses is the role of unpaid labour such as unpaid internships where workers with little or no experience are allowed to work a job without pay so that they can gain experience in a particular profession. Even though this type of labour is unpaid it can nevertheless play an important part in society if not abused by employers. The most dramatic example is child raising. However, over the past 25 years an increasing literature, usually designated as the economics of the family, has sought to study within household decision making, including joint labour supply, fertility, child-raising, as well as other areas of what is generally referred to as home production.


title: Labour economics

text: The labour market, as institutionalised under today's market economic systems, has been criticised, especially by both mainstream socialists and anarcho-syndicalists, who utilise the term wage slavery as a pejorative for wage labour. Socialists draw parallels between the trade of labour as a commodity and slavery. Cicero is also known to have suggested such parallels.


title: Labour economics

text: According to Noam Chomsky, analysis of the psychological implications of wage slavery goes back to the Enlightenment era. In his 1791 book "On the Limits of State Action", classical liberal thinker Wilhelm von Humboldt explained how "whatever does not spring from a man's free choice, or is only the result of instruction and guidance, does not enter into his very nature; he does not perform it with truly human energies, but merely with mechanical exactness" and so when the labourer works under external control, "we may admire what he does, but we despise what he is." Both the Milgram and Stanford experiments have been found useful in the psychological study of wage-based workplace relations.


title: Labour economics

text: The American philosopher John Dewey posited that until "industrial feudalism" is replaced by "industrial democracy", politics will be "the shadow cast on society by big business". Thomas Ferguson has postulated in his investment theory of party competition that the undemocratic nature of economic institutions under capitalism causes elections to become occasions when blocs of investors coalesce and compete to control the state.


title: Labour economics

text: As per anthropologist David Graeber, the earliest wage labour contracts we know about were in fact contracts for the rental of chattel slaves (usually the owner would receive a share of the money, and the slave, another, with which to maintain his or her living expenses.) Such arrangements, according to Graeber, were quite common in New World slavery as well, whether in the United States or Brazil. C. L. R. James argued that most of the techniques of human organisation employed on factory workers during the industrial revolution were first developed on slave plantations.


title: Labour economics

text: Additionally, Marxists posit that labour-as-commodity, which is how they regard wage labour, provides an absolutely fundamental point of attack against capitalism. "It can be persuasively argued", noted one concerned philosopher, "that the conception of the worker's labour as a commodity confirms Marx's stigmatisation of the wage system of private capitalism as 'wage-slavery;' that is, as an instrument of the capitalist's for reducing the worker's condition to that of a slave, if not below it."


title: Ólafur Arnalds

text: Ólafur Arnalds (; born 3 November 1986) is an Icelandic multi-instrumentalist and producer from Mosfellsbær, Iceland. He mixes strings and piano with loops and beats, a sound ranging from ambient/electronic to atmospheric pop. He is also the former drummer for hardcore and metal bands Fighting Shit, Celestine, and others.


title: Ólafur Arnalds

text: In 2009, Ólafur also formed an experimental techno project, entitled Kiasmos, with Janus Rasmussen from the Icelandic electro-pop band Bloodgroup, announcing his electronic debut album in 2014.


title: Ólafur Arnalds

text: In 2013, Ólafur composed the score for the 2013 ITV series Broadchurch, for which he won the 2014 BAFTA TV Craft Award for Best Original Music.


title: Ólafur Arnalds

text: In 2020, Ólafur was nominated for a Primetime Emmy Award for Outstanding Original Main Title Theme Music, for his title theme to Apple TV+ series Defending Jacob.


title: Ólafur Arnalds

text: In 2021, he was nominated in two categories at the 64th Annual Grammy Awards. "Loom (feat. Bonobo)" was nominated in the Best Dance/Electronic Recording category and "The Bottom Line" was nominated in the Best Arrangement, Instrumental and Vocals category. Both songs appear on his fifth studio album "Some Kind of Peace" (2020).


title: Ólafur Arnalds

text: In 2004, Ólafur composed and recorded the intro and two outros for tracks on the album "Antigone" by German metal band Heaven Shall Burn. On his Facebook page, he described how he got to know them: "I was playing drums in a hardcore band and we were supporting the German metal band Heaven Shall Burn on their Icelandic tour. Being a huge fan, I gave them a demo with some very overly dramatic prog-rock songs I had been making at home – it was not so classic like this but had some badly computerized strings and piano in it. A few months later they contacted me asked if I would write some intros and outros for their new album, but only with the piano/strings elements – So I wrote my first classical pieces. Their album was a big success in Europe and a few months later I got a phone call from a label asking 'would you be interested in making a full album with compositions like this?' I hadn't really considered continuing writing music like this, but said yes."


title: Ólafur Arnalds

text: On 12 October 2007, Ólafur's first solo album "Eulogy for Evolution" was released. It was followed by the EP "Variations of Static" in 2008. In the same year, Ólafur toured with Sigur Rós and his second collaboration with Heaven Shall Burn, the album "", was released. He is also reported to have sold out The Barbican Hall in London.


title: Ólafur Arnalds

text: In April 2009, Ólafur composed and released a track daily for seven days, instantly making each track available within 24 hours from foundsongs.erasedtapes.com. The collection of tracks was entitled "Found Songs". The first track was released on 13 April.


title: Ólafur Arnalds

text: In October 2009, the ballet "Dyad 1909" premiered with a score composed by Ólafur which was also released as an EP.


title: Ólafur Arnalds

text: Also in 2009, Ólafur formed an experimental techno project, Kiasmos, with Janus Rasmussen from the Icelandic electro-pop band Bloodgroup. They released a joint EP with Ryan Lee West of the EDM project Rival Consoles entitled "65/Milo".


title: Ólafur Arnalds

text: In April 2010, Ólafur released a new album entitled "...And They Have Escaped The Weight of Darkness". During 2010 Ólafur also went on a well-received Asian Tour organised by China-based promoter Split Works.


title: Ólafur Arnalds

text: On 3 October 2011, Ólafur started another seven-day composition project similar to "Found Songs", this one entitled "Living Room Songs". The tracks were made available at livingroomsongs.olafurarnalds.com/ each day throughout the week. The project was released as an album on 23 December 2011.


title: Ólafur Arnalds

text: 2011 also saw the release of Ólafur's remix of Mr Fogg's track "Keep Your Teeth Sharp" on the EP of the same name.


title: Ólafur Arnalds

text: 2012 saw four releases from Ólafur; his score for Sam Levinson's film "Another Happy Day"; an EP entitled "Two Songs For Dance"; the second EP from his experimental techno project Kiasmos and another EP entitled "Stare" with German pianist Nils Frahm.


title: Ólafur Arnalds

text: Also in 2012, his song "Allt varð hljótt" was used in the score and the soundtrack for the film "The Hunger Games".


title: Ólafur Arnalds

text: Ólafur released his third studio album entitled "For Now I Am Winter" in February 2013. Four tracks featured vocals from Arnór Dan of the Icelandic band Agent Fresco. This was the first time Ólafur incorporated vocals into any of his released work.


title: Ólafur Arnalds

text: More recently, he composed the score and end-credits track for the 2013 ITV series "Broadchurch" (again featuring the vocals of Arnór Dan), for which he won the 2014 BAFTA TV Craft Award for Best Original Music.


title: Ólafur Arnalds

text: Ólafur Arnalds has been involved with various other projects and his music appears in many films, television shows and advertisements. His songs have been featured on "So You Think You Can Dance" in multiple seasons. He also spoke at length on the subject of fan-submitted art in the 2011 documentary film "Press Pause Play".


title: Ólafur Arnalds

text: In 2014 Ólafur announced his electronic debut album in collaboration with Janus Rasmussen under his project Kiasmos.


title: Ólafur Arnalds

text: In 2015 Ólafur collaborated with German-Japanese pianist Alice Sara Ott on "The Chopin Project", which was a release to introduce an exciting new take on the music of Frédéric Chopin. Arnalds chose a program of Chopin works to create an emotional arc throughout the album and then composed linking sections for string quintet, piano, and synthesizer based on the atmosphere and motifs of those pieces.


title: Ólafur Arnalds

text: "The Chopin Project" began as a dedication to Ólafur’s grandmother, in some respects. Out of respect for her, a younger, metal-loving Ólafur would sit with her to listen to Chopin’s work whenever they had visited one another. At her deathbed, Ólafur said “she was just lying there, old and sick, but very happy and proud. And I sat with her and we listened to a Chopin sonata. Then I kissed her goodbye and left. She passed away a few hours later.”


title: Ólafur Arnalds

text: In 2015, Ólafur's collaborations with Nils Frahm, "Life Story Love and Glory" (a completely improvised recording) and "Loon", were collected on a double CD entitled "Collaborative Works" along with 2012's "Stare" and a live improvisational film entitled "Trance Frendz - An evening with Ólafur Arnalds and Nils Frahm". 2015 also saw the full release of his work on "Broadchurch".


title: Ólafur Arnalds

text: In June 2016 Ólafur announced his "Island Songs" project, which would involve him working with director Baldvin Z and travelling to seven different locations in Iceland over seven weeks, collaborating with seven different artists. Each week the audio and video for each track would be released, culminating in the final track, "Doria", being released on 8 August 2016.


title: Ólafur Arnalds

text: "Particles" ft. Nanna Bryndís from Of Monsters and Men was premiered on Zane Lowe's Beats 1 show on 1 August 2016, making it the first classical track featured on that station.


title: Ólafur Arnalds

text: In 2016, Ólafur and Quarashi frontman Sölvi Blöndal founded the record label Alda Music, which was acquired by INgrooves in January 2022. Alda owned the rights to nearly 80 percent of all music released in Iceland.


title: Ólafur Arnalds

text: Ólafur's fourth official solo album, "Re:member" was released in August 2018. The album featured his new musical system called Stratus. The Stratus Pianos are two self-playing, semi-generative player pianos which are triggered by a central piano played by Arnalds. The custom-built software was born out of two years of work by the composer and audio developer, Halldor Eldjarn. As Arnalds plays a note on the piano, two different notes are generated by Stratus, creating unexpected harmonies and surprising melodic sequences.


title: Ólafur Arnalds

text: The algorithms generated from Stratus were also used to create the album artwork. In an interview with Sound of Boston, Arnalds explains that the artist, Torsten Posselt from FELD studios, used the Stratus software as a starting point and made his own software that translated the same MIDI signals used for the music. Each dot corresponds to a piano note in the title track: 88 fields correspond to 88 notes; the thicker the dot, the higher the frequency of that note being played.


title: Ólafur Arnalds

text: His fifth studio album, "Some Kind of Peace," was released on 6 November 2020. The album features guest appearances from Bonobo, Josin, and JFDR. "Loom (feat. Bonobo)" and "The Bottom Line" were nominated for Grammy Awards.


title: Anthony Corallo

text: Anthony "Tony Ducks" Corallo (February 12, 1913 – August 23, 2000) was an American mobster and boss of the Lucchese crime family in New York City. Corallo exercised tremendous control over trucking and construction unions in New York.


title: Anthony Corallo

text: Corallo was born in New York City on February 12, 1913, and grew up in the Italian neighborhood of East Harlem.


title: Anthony Corallo

text: Corallo was a quiet, unassuming man who enjoyed gardening, opera, and pasta. In his later years, Corallo owned a luxurious home in Oyster Bay Cove, New York. Corallo was married and had a son and a daughter.


title: Anthony Corallo

text: In the 1920s, Corallo joined the "107th Street Gang" in East Harlem. His first arrest in 1929, for grand larceny, was at age 16. He was not convicted.


title: Anthony Corallo

text: By 1935, Corallo had become a member of the Gagliano crime family, the forerunner of the Lucchese family. Underboss Tommy Lucchese recruited Corallo to work with mobster Johnny Dio, the leader of labor racketeering operations in the Manhattan Garment District.


title: Anthony Corallo

text: In 1941, Corallo was arrested after police found him in possession of a narcotics cache valued at $150,000. He was later convicted of narcotics violations and sent to the city jail on Rikers Island for six months.


title: Anthony Corallo

text: In 1943, Corallo was appointed as a caporegime of his own crew, an accomplishment for a man in his early 30s. He then moved his base of operations from East Harlem to Queens. Corallo and Dio eventually controlled five local chapters of the International Brotherhood of Teamsters. The two gangsters used these paper locals to set up favorable deals with trucking companies and exploit the rank and file chapter members. Corallo and Dio also controlled local chapters of the Conduit Workers Union (now called the Communication Workers' Union), the United Textile Workers Union (now called UNITE HERE), and the Brotherhood of Painters and Decorators (now called the International Union of Painters and Allied Trades). These labor racketeering activities generated millions of dollars for the Gagliano family.


title: Anthony Corallo

text: From 1941 to 1960, Corallo was arrested at least 12 times for various crimes. However, none of the cases even made it to trial. Lucchese was amazed at Corallo's ability to avoid, or "duck", convictions. After one of these many dismissals, Lucchese mused, "Tony ducks again." From then onward, Corallo was known as "Tony Ducks".


title: Anthony Corallo

text: On August 15, 1959, Corallo testified before the U.S. Senate Select Committee on Improper Activities in Labor and Management. The senators wanted Corallo to explain the theft of $70,000 from Teamsters Union local 239 by using names of dead mob members. Like many other mobsters, Corallo refused to answer any questions; he pleaded the Fifth Amendment 120 times during his two-hour interrogation.


title: Anthony Corallo

text: On December 7, 1961, Corallo was indicted on charges of trying to bribe New York Supreme Court Justice J. Vincent Keogh and former U.S. Attorney Elliot Kanaher. Corallo wanted them to drop a bankruptcy fraud case against one of his associates. On June 17, 1961, Corallo was convicted of bribery. On August 2, 1962, Corallo was sentenced to two years in state prison.


title: Anthony Corallo

text: On July 13, 1967, Lucchese died of a brain tumor. By nearly all accounts, Corallo was Lucchese's choice to succeed him.


title: Anthony Corallo

text: However, on December 18, 1967, Corallo was indicted on charges of receiving a kickback payment from a contractor for the renovation of the Jerome Park Reservoir in the Bronx. Also indicted was James L. Marcus, the former city water commissioner, who had started dealing with Corallo due to loanshark debts. On June 19, 1968, Corallo was convicted in the Marcus bribery case. On July 26, 1968, Corallo was sentenced to three years in federal prison.


title: Anthony Corallo

text: With Corallo in prison, the Commission designated Carmine Tramunti as interim Lucchese boss. Some historians have speculated that Corallo became boss immediately upon his 1970 release from prison, and that Tramunti was only an "acting" or "front" boss for the next three years. On May 7, 1973, Tramunti was sentenced to 15 years in federal prison. Corallo then became the indisputable boss of the Lucchese family.


title: Anthony Corallo

text: One of Corallo's first moves as boss was to take over gravel distribution in various areas of New York such as Long Island. In owning major gravel companies in his territories or areas of influence, Corallo increased the Lucchese crime family's influence in the construction industry and with the unions involved. The garbage industry would be next on his list. With the help of a union official named Bernie Adelstein, the front business would be called Private Sanitation Industry Association. Next, with the help of Lucchese capo Paul Vario and his crew, Corallo would gain power at John F. Kennedy International Airport.


title: Anthony Corallo

text: In the early 1980s, Corallo unwittingly provided the government with evidence that would all but end his career. Over the years, Corallo and Salvatore Avellino established a stranglehold on the waste hauling business on Long Island. To gather evidence against Avellino, members of the New York State Organized Crime Task Force (OCTF) used undercover informant Robert Kubecka, the owner of a Suffolk County garbage hauling business. Since the 1970s, Kubecka had refused to participate with mob control of the waste hauling business and had suffered extensive harassment as a result. In 1982, Kubecka agreed to wear a surveillance device during meetings with the mobsters. Although Kubecka was unable to get close to Avellino himself, the information Kubecka gathered eventually persuaded a judge to allow a wiretap on Avellino's home phone in Nissequogue, New York. The home phone tap was also disappointing to the agents; however, it did reveal that Avellino was driving Corallo around all day in Avellino's car.


title: Anthony Corallo

text: In 1983, members of the New York State Organized Crime Task Force (OCTF) installed an electronic surveillance device inside the dashboard on Avellino's Jaguar while he and his wife were at a dinner dance. Agents then listened to many conversations between Corallo, Avellino, and other mobsters as they drove around the city. From these recorded conversations, OCTF learned the Commission's internal structure, history, and relations with other crime families. These conversations were shared with federal prosecutors and provided them with invaluable evidence against Corallo and other family bosses in the Mafia Commission Trial.


title: Anthony Corallo

text: On February 25, 1985, Corallo and other mob leaders were indicted in the Mafia Commission Trial. However, Corallo was in the hospital and was not arrested until after his release a few days later. Among the defendants were underboss Salvatore "Tom Mix" Santoro and consigliere Christopher "Christie Tick" Furnari.


title: Anthony Corallo

text: Awaiting trial, a meeting was held at Furnari's home, where Corallo told Furnari that he wanted the capo of Furnari's old crew, Vittorio "Vic" Amuso, or Furnari's aide-de-camp, Anthony "Gaspipe" Casso, as his successor. Furnari, Amuso and Casso met in a separate room, and ultimately it was decided Amuso would take the mantle. Though Corallo reportedly preferred Casso, he agreed to make Amuso acting boss later that year, and it was understood he would formally become boss when Corallo, Santoro and Furnari were expected to be convicted and sent to prison.


title: Anthony Corallo

text: On November 19, 1986, Corallo and the other defendants were convicted of all racketeering charges. On January 13, 1987, Corallo was sentenced to 100 years in prison and fined $240,000.


title: Anthony Corallo

text: On August 23, 2000, Anthony Corallo died of natural causes at the Federal Medical Center for prisoners in Springfield, Missouri.


title: Eric Dolphy

text: Eric Allan Dolphy Jr. (June 20, 1928 – June 29, 1964) was an American jazz alto saxophonist, bass clarinetist and flautist. On a few occasions, he also played the clarinet and piccolo. Dolphy was one of several multi-instrumentalists to gain prominence in the same era. His use of the bass clarinet helped to establish the instrument within jazz. Dolphy extended the vocabulary and boundaries of the alto saxophone, and was among the earliest significant jazz flute soloists.


title: Eric Dolphy

text: His improvisational style was characterized by the use of wide intervals, in addition to employing an array of extended techniques to emulate the sounds of human voices and animals. He used melodic lines that were "angular, zigzagging from interval to interval, taking hairpin turns at unexpected junctures, making dramatic leaps from the lower to the upper register." Although Dolphy's work is sometimes classified as free jazz, his compositions and solos were often rooted in conventional (if highly abstracted) tonal bebop harmony.


title: Eric Dolphy

text: Dolphy was born and raised in Los Angeles, California. His parents were Sadie and Eric Dolphy, Sr., who immigrated to the United States from Panama. He began music lessons at age six, studying clarinet and saxophone privately. While still in junior high, he began to study the oboe, aspiring to a professional symphonic career, and received a two-year scholarship to study at the music school of the University of Southern California. Aged thirteen, he received a "Superior" award on clarinet from the California School Band and Orchestra festival. He attended Dorsey High School, where he continued his musical studies and learned additional instruments. By 1946, he was co-director of the Youth Choir at the Westminster Presbyterian Church run by Reverend Hampton B. Hawes, father of the jazz pianist of the same name. He graduated in 1947, then attended Los Angeles City College, during which time he played contemporary classical works such as Stravinsky's "L'Histoire du soldat" and, along with Jimmy Knepper and Art Farmer, performed with Roy Porter's "17 Beboppers", He went on to make eight recordings with Porter by 1949. On these early sessions, he occasionally played baritone saxophone, as well as alto saxophone, flute and soprano clarinet.


title: Eric Dolphy

text: Dolphy entered the U.S. Army in 1950 and was stationed at Fort Lewis, Washington. Beginning in 1952, he attended the Navy School of Music. Following his discharge in 1953, he returned to L.A., where he worked with many musicians, including Buddy Collette, Eddie Beal, and Gerald Wilson, to whom he later dedicated the tune "G.W.", recorded on "Outward Bound". Dolphy often had friends come by to jam, enabled by the fact that his father had built a studio for him in the family's backyard. Recordings made in 1954 with Clifford Brown document this early period.


title: Eric Dolphy

text: Dolphy gained his big break when he was invited to join Chico Hamilton's quintet in 1958. With the group he became known to a wider audience and was able to tour extensively through 1958–59, when he left Hamilton's group and moved to New York City. Dolphy appears with Hamilton's band in the film "Jazz on a Summer's Day" playing flute during the Newport Jazz Festival of 1958.


title: Eric Dolphy

text: Charles Mingus had known Dolphy from growing up in Los Angeles, and the younger man joined Mingus' Jazz Workshop in 1960, shortly after arriving in New York. He took part in Mingus' big band recording "Pre-Bird" (sometimes re-released as "Mingus Revisited"), and is featured on "Bemoanable Lady". Later he joined Mingus' working band which then also included Ted Curson. They worked at the Showplace during 1960 (memorialized in the poem "Mingus at the Showplace" by William Matthews), and recorded two albums together, "Charles Mingus Presents Charles Mingus" and "Mingus at Antibes", the latter featuring Booker Ervin on almost all tracks and Bud Powell guesting on "I'll Remember April". Dolphy, Mingus said, "was a complete musician. He could fit anywhere. He was a fine lead alto in a big band. He could make it in a classical group. And, of course, he was entirely his own man when he soloed... He had mastered jazz. And he had mastered all the instruments he played. In fact, he knew more than was supposed to be possible to do on them."


title: Eric Dolphy

text: During this time, Dolphy participated in other recording sessions with Mingus for the Candid label and took part in the Newport Rebels session. In 1961, Dolphy left Mingus' band and went to Europe for a few months, where he was recorded in Scandinavia and Berlin. (See "The Berlin Concerts", "The Complete Uppsala Concert", "Eric Dolphy in Europe" Volumes 1, 2, and 3 (1 and 3 were also released as "Copenhagen Concert"), and "Stockholm Sessions".) He was later among the musicians who worked on "Mingus Mingus Mingus Mingus Mingus" in 1963, and is featured on "Hora Decubitus".


title: Eric Dolphy

text: In early 1964, he returned to Mingus' working band, now including Jaki Byard, Johnny Coles, and Clifford Jordan. This sextet worked at the Five Spot before playing at Cornell University and Town Hall in New York (both were recorded: "Cornell 1964" and "Town Hall Concert") and subsequently touring Europe. The short tour is well-documented on "Revenge!", "The Great Concert of Charles Mingus", "Mingus in Europe Volume I", and "Mingus in Europe Volume II".


title: Eric Dolphy

text: Dolphy and John Coltrane knew each other long before they formally played together, having met when Coltrane was in Los Angeles with Johnny Hodges in 1954. They would often exchange ideas and learn from each other, and eventually, after many nights sitting in with Coltrane's band, Dolphy was asked to become a full member in early 1961. Coltrane had gained an audience and critical notice with Miles Davis's quintet, but alienated some leading jazz critics when he began to move away from hard bop. Although Coltrane's quintets with Dolphy (including the "Village Vanguard" and "Africa/Brass" sessions) are now accepted, they originally provoked "DownBeat" magazine to brand Coltrane and Dolphy's music as 'anti-jazz'. Coltrane later said of this criticism: "they made it appear that we didn't even know the first thing about music (...) it hurt me to see [Dolphy] get hurt in this thing."


title: Eric Dolphy

text: The initial release of Coltrane's residency at the Vanguard selected three tracks, only one of which featured Dolphy. After being issued haphazardly over the next 30 years, a comprehensive box-set featuring the music recorded at the Vanguard was released on "Impulse!" in 1997, called "The Complete 1961 Village Vanguard Recordings". The set features Dolphy heavily on both alto saxophone and bass clarinet, with Dolphy the featured soloist on their renditions of "Naima". A 2001 Pablo box set, drawing on recordings of Coltrane's performances from his European tours of the early 1960s, features tunes absent from the 1961 Village Vanguard material, such as "My Favorite Things", which Dolphy performs on flute.


title: Eric Dolphy

text: Trumpeter Booker Little and Dolphy had a short-lived musical partnership. Little's leader date for Candid, "Out Front", featured Dolphy mainly on alto sax, though he played bass clarinet and flute on some ensemble passages. In addition, Dolphy's album "Far Cry", recorded for Prestige, features Little on five tunes (one of which, "Serene", was not included on the original LP release).


title: Eric Dolphy

text: Dolphy and Little also co-led a quintet at the Five Spot during 1961. The rhythm section consisted of Richard Davis, Mal Waldron and Ed Blackwell. One night was documented and has been released as "At the Five Spot" (plus a "Memorial Album") as well as the compilation "Here and There". In addition, both Dolphy and Little backed Abbey Lincoln on her album "Straight Ahead" and played on Max Roach's "Percussion Bitter Sweet". Little died at the age of 23 in October 1961.


title: Eric Dolphy

text: Dolphy also performed on key recordings by George Russell ("Ezz-thetics"), Oliver Nelson ("Screamin' the Blues", "The Blues and the Abstract Truth", and "Straight Ahead"), and Ornette Coleman ("" and the "Free Jazz" outtake on "Twins"). He also worked and recorded with Gunther Schuller ("Jazz Abstractions"), multi-instrumentalist Ken McIntyre ("Looking Ahead"), and bassist Ron Carter ("Where?").


title: Eric Dolphy

text: Dolphy's recording career as a leader began with Prestige. His association with the label spanned 13 albums recorded from April 1960 to September 1961, though he was not the leader for all of the sessions. Fantasy released a 9-CD box set in 1995 containing all of Dolphy's recorded output for Prestige.


title: Eric Dolphy

text: Dolphy's first two albums as leader were "Outward Bound" and "Out There"; both featured cover artwork by Richard "Prophet" Jennings. The first, sounding closer to hard bop than some later releases, was recorded at Rudy Van Gelder's studio in New Jersey with trumpeter Freddie Hubbard, who shared rooms with Dolphy for a time when the two men first arrived in New York. The album features three Dolphy compositions: "G.W.", dedicated to Gerald Wilson, and the blues "Les" and "245". "Out There" is closer to third stream music, which would also form part of Dolphy's work, and features Ron Carter on cello. Charles Mingus's "Eclipse" from this album is one of the rare instances where Dolphy solos on soprano clarinet (others being "Warm Canto" from Mal Waldron's "The Quest", "Densities" from the compilation "Vintage Dolphy", and "Song For The Ram's Horn" from an unreleased recording from a 1962 Town Hall concert).


title: Eric Dolphy

text: Dolphy occasionally recorded unaccompanied saxophone solos; his only predecessors were the tenor players Coleman Hawkins ("Picasso", 1948) and Sonny Rollins (for example "Body and Soul", 1958), making Dolphy the first to do so on alto. The album "Far Cry" contains his performance of the Gross-Lawrence standard "Tenderly" on alto saxophone, and, on his subsequent tour of Europe, Billie Holiday's "God Bless the Child" was featured in his sets. (The earliest known version was recorded at the Five Spot during his residency with Booker Little.) He also recorded two takes of a short solo rendition of "Love Me" in 1963, released on "Conversations" and "Muses".


title: Eric Dolphy

text: Twentieth-century classical music was also part of Dolphy's musical career. He was very familiar with the music of composers such as Anton Webern and Alban Berg, had a large record collection that included music by these composers, as well as by Debussy, Ravel, Stravinsky, and Bartók, and owned scores by composers such as Milton Babbitt, Donald Erb, Charles Ives, and Olivier Messiaen. He visited Edgard Varèse at his home, and performed the composer's "Density 21.5" for solo flute at the Ojai Music Festival in 1962. Dolphy also participated in Gunther Schuller's and John Lewis's Third Stream efforts of the 1960s, appearing on the album "Jazz Abstractions", and admired the Italian flute virtuoso Severino Gazzelloni, after whom he named his composition "Gazzelloni".


title: Eric Dolphy

text: Around 1962–63, one of Dolphy's working bands included the pianist Herbie Hancock, who can be heard on "The Illinois Concert", "Gaslight 1962", and the unissued Town Hall concert with poet Ree Dragonette.


title: Eric Dolphy

text: In July 1963, producer Alan Douglas arranged recording sessions for which Dolphy's sidemen were emerging musicians of the day, and the results produced the albums "Iron Man" and "Conversations", as well as the "Muses" album released in Japan in late 2013. These sessions marked the first time Dolphy played with Bobby Hutcherson, whom he knew from Los Angeles, and whose sister he dated at one point. The sessions are perhaps best known for the three duets Dolphy performs with bassist Richard Davis on "Alone Together", "Ode To Charlie Parker", and "Come Sunday"; the aforementioned release "Muses" adds another take of "Alone Together" and an original composition for duet from which the album takes its name.


title: Eric Dolphy

text: In 1964, Dolphy signed with Blue Note Records and recorded "Out to Lunch!" with Freddie Hubbard, Bobby Hutcherson, Richard Davis and Tony Williams. This album features Dolphy's fully developed avant-garde yet structured compositional style rooted in tradition. It is often considered his "magnum opus".


title: Eric Dolphy

text: After "Out to Lunch!" and an appearance on pianist/composer Andrew Hill's Blue Note album "Point of Departure", Dolphy left for Europe with Charles Mingus' sextet in early 1964. Before a concert in Oslo, he informed Mingus that he planned to stay in Europe after their tour was finished, partly because he had become disillusioned with the United States' reception to musicians who were trying something new. Mingus then named the blues they had been performing "So Long Eric". Dolphy intended to settle in Europe with his fiancée Joyce Mordecai, who was working in the ballet scene in Paris. After leaving Mingus, he performed and recorded a few sides with various European bands, and American musicians living in Paris, such as Donald Byrd and Nathan Davis. "Last Date", originally a radio broadcast of a concert in Hilversum in the Netherlands, features Misha Mengelberg and Han Bennink, although it was not Dolphy's last public performance. Dolphy was also planning to join Albert Ayler's group, and, according to Jeanne Phillips, quoted in A. B. Spellman's "Four Jazz Lives", was preparing himself to play with Cecil Taylor. He also planned to form a band with Woody Shaw, Richard Davis, and Billy Higgins, and was writing a string quartet, "Love Suite".


title: Eric Dolphy

text: Dolphy was engaged to marry Joyce Mordecai, a classically trained dancer who resided in Paris. Before he left for Europe in 1964, Dolphy left papers and other effects with his friends Hale Smith and Juanita Smith. Eventually much of this material was passed on to the musician James Newton. It was announced in May 2014 that six boxes of music papers had been donated to the Library of Congress.


title: Eric Dolphy

text: On June 27, 1964, Dolphy traveled to Berlin to play with a trio led by Karl Berger at the opening of a jazz club called The Tangent. He was apparently seriously ill when he arrived, and during the first concert was barely able to play. He was hospitalized that night, but his condition worsened. On June 29, Dolphy died after falling into a diabetic coma. While certain details of his death are still disputed, it is largely accepted that he fell into a coma caused by undiagnosed diabetes. The liner notes to the "Complete Prestige Recordings" box set say that Dolphy "collapsed in his hotel room in Berlin and when brought to the hospital he was diagnosed as being in a diabetic coma. After being administered a shot of insulin he lapsed into insulin shock and died". A later documentary and liner notes dispute this, saying Dolphy collapsed on stage in Berlin and was brought to a hospital. The attending hospital physicians did not know that Dolphy was a diabetic and decided on a stereotypical view of jazz musicians related to substance abuse, that he had overdosed on drugs. He was left in a hospital bed for the drugs to run their course. Unbeknownst to doctors, Dolphy was a teetotaler who did not smoke cigarettes or take drugs.


title: Eric Dolphy

text: Ted Curson remembered: "That really broke me up. When Eric got sick on that date [in Berlin], and him being black and a jazz musician, they thought he was a junkie. Eric didn't use any drugs. He was a diabetic—all they had to do was take a blood test and they would have found that out. So he died for nothing. They gave him some detox stuff and he died, and nobody ever went into that club in Berlin again. That was the end of that club". Shortly after Dolphy's death, Curson recorded and released "Tears for Dolphy", featuring a title track that served as an elegy for his friend.


title: Eric Dolphy

text: Charles Mingus said, "Usually, when a man dies, you remember—or you say you remember—only the good things about him. With Eric, that's all you could remember. I don't remember any drags he did to anybody. The man was absolutely without a need to hurt."


title: Eric Dolphy

text: Dolphy was buried in Angelus-Rosedale Cemetery in Los Angeles. His headstone bears the inscription "He Lives In His Music."


title: Eric Dolphy

text: John Coltrane acknowledged Dolphy's influence in a 1962 "DownBeat" interview, stating: "After he sat in... We began to play some of the things we had only talked about before. Since he's been in the band, he's had a broadening effect on us. There are a lot of things we try now that we never tried before. This helped me... We're playing things that are freer than before." Coltrane biographer Eric Nisenson stated: "Dolphy's effect on Coltrane ran deep. Coltrane's solos became far more adventurous, using musical concepts that without the chemistry of Dolphy's advanced style he might have kept away from the ears of his public." In his book "Free Jazz", Ekkehard Jost provided specific examples of how Coltrane's playing began to change during the time he spent with Dolphy, noting that Coltrane started using wider melodic intervals like sixths and sevenths, and began focusing on integrating sound coloration and multiphonics into his solos. Jost contrasted Coltrane's solo on "India", recorded in November 1961 while Dolphy was with the group, and released on "Impressions", with his solo on "My Favorite Things", recorded roughly a year earlier, and released on the Atlantic album, and observed that on "My Favorite Things", Coltrane "accepted the mode as more or less binding, occasionally aiming away from it... at tones foreign to the scale," whereas on "India", Coltrane, like Dolphy, played ""around" the mode more than "in" it."


title: Eric Dolphy

text: Dolphy's musical presence was also influential to many young jazz musicians who would later become prominent. Dolphy worked intermittently with Ron Carter and Freddie Hubbard throughout his career, and in later years he hired Herbie Hancock, Bobby Hutcherson and Woody Shaw to work in his live and studio bands. "Out to Lunch!" featured yet another young performer, drummer Tony Williams, and Dolphy's participation on Hill's "Point of Departure" session brought him into contact with the tenor player Joe Henderson.


title: Eric Dolphy

text: Carter, Hancock and Williams would go on to become one of the quintessential rhythm sections of the decade, both together on their own albums and as the backbone of Miles Davis's second great quintet. This aspect of the second great quintet is an ironic footnote for Davis, who was critical of Dolphy's music: in a 1964 "DownBeat" "Blindfold Test", Miles quipped: "The next time I see [Dolphy] I'm going to step on his foot." However, Davis new quintet's rhythm section had all worked under Dolphy, thus creating a band whose brand of "out" was strongly influenced by Dolphy.


title: Eric Dolphy

text: Dolphy's virtuoso instrumental abilities and unique style of jazz, deeply emotional and free but strongly rooted in tradition and structured composition, heavily influenced such musicians as Anthony Braxton, members of the Art Ensemble of Chicago, Oliver Lake, Arthur Blythe, Don Byron, and Evan Parker.


title: Eric Dolphy

text: Dolphy was posthumously inducted into the "DownBeat" magazine Hall of Fame in 1964. John Coltrane paid tribute to Dolphy in an interview: "Whatever I'd say would be an understatement. I can only say my life was made much better by knowing him. He was one of the greatest people I've ever known, as a man, a friend, and a musician." After Dolphy died, his mother gave Coltrane his flute and bass clarinet, and Coltrane, who traveled with Dolphy's photograph, hanging it on his hotel room walls, proceeded to play the instruments on several subsequent recordings.


title: Eric Dolphy

text: Frank Zappa acknowledged Dolphy as a musical influence in the liner notes to the 1966 album "Freak Out!" and included a Dolphy tribute entitled "The Eric Dolphy Memorial Barbecue" on his 1970 album "Weasels Ripped My Flesh".


title: Eric Dolphy

text: Pianist Geri Allen analyzed Dolphy's music for her master's thesis at the University of Pittsburgh, and paid tribute to Dolphy in tunes like "Dolphy's Dance," recorded and released on her 1992 album "Maroons".


title: Eric Dolphy

text: In 1989, Po Torch Records released an album titled "The Ericle of Dolphi," featuring Evan Parker, Paul Rutherford, Dave Holland, and Paul Lovens.


title: Eric Dolphy

text: In 1997, the Vienna Art Orchestra released "Powerful Ways: Nine Immortal Non-evergreens for Eric Dolphy" as part of its 20th anniversary box-set.


title: Eric Dolphy

text: In 2003, to mark what would have been Dolphy's 75th birthday, a performance was made in his honor of an original composition by Phil Ranelin at the William Grant Still Arts Center in Dolphy's hometown Los Angeles. Additionally, the Los Angeles County Board of Supervisors designated June 20 as Eric Dolphy Day.


title: Eric Dolphy

text: In 2014, marking 50 years since Dolphy's death, Berlin-based pianists Alexander von Schlippenbach and Aki Takase led a project, "So Long, Eric!", celebrating Dolphy's music and featuring musicians such as Han Bennink, Karl Berger, Tobias Delius, Axel Dörner, and Rudi Mahall. That year also saw a Dolphy tribute by a Berlin-based group led by Gebhard Ullmann, who had previously founded a quartet named "Out to Lunch" in 1983. In the United States, the arts group "Seed Artists" presented a two-day festival entitled "Eric Dolphy: Freedom of Sound" in Montclair, NJ that year.


title: Eric Dolphy

text: Dolphy's compositions are the inspiration for many tribute albums, such as Oliver Lake's "Prophet" and "Dedicated to Dolphy", Jerome Harris' "Hidden In Plain View", Otomo Yoshihide's re-imagining of "Out to Lunch!", Silke Eberhard's "Potsa Lotsa: The Complete Works of Eric Dolphy", and Aki Takase and Rudi Mahall's duo album "Duet For Eric Dolphy".


title: Eric Dolphy

text: The ballad "Poor Eric", composed by pianist Larry Willis and appearing on Jackie McLean's 1966 Right Now! album, is dedicated to Dolphy.


title: Eric Dolphy

text: Dolphy was the subject of a 1991 documentary titled "Last Date", directed by Hans Hylkema, written by Hylkema and Thierry Bruneau, and produced by Akka Volta. The film includes video clips from Dolphy's TV appearances, along with interviews with the members of the Misha Mengelberg trio, with whom Dolphy recorded in June 1964, as well as commentary from Buddy Collette, Ted Curson, Jaki Byard, Gunther Schuller, and Richard Davis.


title: Diva

text: Diva (; ) is the Latin word for a goddess. It has often been used to refer to a celebrated woman of outstanding talent in the world of opera, theatre, cinema, fashion and popular music. If referring to an actress, the meaning of "diva" is closely related to that of "prima donna". Diva can also refer to a person, especially one in show business, with a reputation for being temperamental or demanding.


title: Diva

text: The word entered the English language in the late 19th century. It is derived from the Italian noun "diva", a female deity. The plural of the word in English is "divas"; in Italian, "dive" . The basic sense of the term is "goddess", the feminine of the Latin word "divus" (Italian "divo"), someone deified after death, or Latin "deus", a god.


title: Diva

text: The male form exists in Italian and is usually reserved for the most prominent leading tenors, like Enrico Caruso and Beniamino Gigli. The Italian term "" describes the star-making system in the film industry. In contemporary Italian, "diva" and "divo" simply denote much-admired celebrities, especially film actresses and actors, and can be translated as "(film) star". The Italian actress Lyda Borelli is considered the first cinematic diva, following her breakthrough role in "Love Everlasting" (1913).


title: Diva

text: Women are often referred to as divas if they are "difficult, temperamental and demanding". Welsh National Opera note that the title emerged in the early 19th century after an increase of female leading sopranos who became "almost became goddess-like in the eyes of their adoring public". They also note that the word has been used by the media to name many female politicians and entertainers rather than "just ambitious and assertive like their male counterparts".


title: Diva

text: Many pop stars have been labelled as divas in the media, including Aretha Franklin, Ariana Grande, Beyoncé, Britney Spears, Celine Dion, Cher, Christina Aguilera, Diana Ross, Tina Turner and Whitney Houston, among many others. On top of this, others performers have been called "ultimate diva" by popular press, such as Madonna or Mariah Carey.


title: Diva

text: Multiple female artists and bands have also released albums and songs either titled or containing the word "diva". These include Annie Lennox, En Vogue, Beyoncé and Sarah Brightman. English media personality and businesswoman Gemma Collins is well known for her "diva persona". In 2018, she released a book titled "The GC: How to Be a Diva" and began starring in her own reality television series "".


title: Diva

text: In 1998, VH1 debuted its first annual "VH1 Divas" concert with Mariah Carey, Celine Dion, Aretha Franklin, Gloria Estefan and Shania Twain. Some other artists who performed at later concerts are Whitney Houston, Cher, Tina Turner, Diana Ross and Destiny's Child. From April 1999, WWE used the term "diva" to refer to their female performers. In 2016 they discontinued this term becoming Women in WWE.


title: Cardiff Giant

text: The Cardiff Giant was one of the most famous archaeological hoaxes in American history. It was a , 3,000 pound purported "petrified man" uncovered on October 16, 1869, by workers digging a well behind the barn of William C. "Stub" Newell in Cardiff, New York. He covered the giant with a tent and it soon became an attraction site. Both it and an unauthorized copy made by P. T. Barnum are still being displayed. P.T. Barnum's is on display at Marvin's Marvelous Mechanical Museum in Farmington Hills, Michigan.


title: Cardiff Giant

text: The giant was the creation of a New York tobacconist named George Hull. He was deeply attracted to science and especially in the theory of evolution proposed by Charles Darwin. Hull, an atheist, got into an argument with Reverend Turk and his supporters at a Methodist revival meeting about Genesis 6:4, which states that there were giants who once lived on Earth. Being the minority party, Hull lost the argument. Angered by his defeat and the credulity of people, Hull wanted to prove how easily he could fool people with a fake giant.


title: Cardiff Giant

text: The idea of a petrified man did not originate with Hull, however. During 1858, the newspaper "Alta California" had published a fake letter claiming that a prospector had been petrified when he had drunk a liquid within a geode. Some other newspapers also had published stories of supposedly petrified people.


title: Cardiff Giant

text: In 1868, Hull, accompanied by a man named H.B. Martin, hired men to quarry out a block of gypsum in Fort Dodge, Iowa, telling them it was intended for a monument to Abraham Lincoln in New York. He shipped the block to Edward Burghardt in Chicago, a German stonecutter who he had sworn to secrecy. Burghardt hired two sculptors named Henry Salle and Fred Mohrmann to create the giant. They had taken cautious steps to cover up their work during the carving, putting up quilts to lessen the sound of carving.


title: Cardiff Giant

text: The giant was designed to imitate the form of Hull himself. Hull consulted a geologist and learned that hairs wouldn't be petrified, so he removed the hair and beard from the giant. The length of the giant was 10 feet 4 1-2 inches and it weighed 2990 pounds.


title: Cardiff Giant

text: Various stains and acids were used to make the giant appear to be old and weathered. In order for the giant to look ancient, Hull first wiped the giant using a sponge soaked with sand and water. The giant's surface was beaten with steel knitting needles embedded in a board to simulate pores. The giant was also rubbed with sulphuric acid to create a deeper, vintage-like color. During November 1868, Hull transported the giant by railroad to the farm of his cousin, William Newell. By then, he had spent for the hoax.


title: Cardiff Giant

text: On a night in late November 1868, the giant was buried in a hole in Newell's farm. Nearly a year later, Newell hired Gideon Emmons and Henry Nichols, ostensibly to dig a well, and on October 16, 1869, they found the giant. One of the men reportedly exclaimed, "I declare, some old Indian has been buried here!"


title: Cardiff Giant

text: On the first day, the audiences were able to view the giant with no fee charged. The next day, a tent was set up on the discovery site and Newell charged each audience fifty cents for a fifteen-minute session of visiting the giant. The number of audiences went to about three to five hundreds per day as the demand for wagons and carriages dramatically increased. The townspeople also gained huge profit because of the Cardiff Giant. The hotels and restaurants in Cardiff had seen more customers in the past four days than they had ever seen before.


title: Cardiff Giant

text: Some believed this giant was a petrified man, while some believed it was a statue. Those who believed it was a petrified man thought it was one of the giants mentioned in the aforementioned Genesis verse. On the other hand, John F. Boynton, the first geologist to examine the giant, declared that it could not be a fossilized man, but hypothesized that it was a statue that was carved by a French Jesuit in the 16th or 17th century in order to impress the local Native Americans.


title: Cardiff Giant

text: Andrew D. White, the first president of Cornell University, made a close inspection of the Cardiff Giant. He noticed that there was no good reason to try to dig a well in the exact spot the giant had been found.“Being asked my opinion, my answer was that the whole matter was undoubtedly a hoax; that there was no reason why the farmer should dig a well in the spot where the figure was found; that it was convenient neither to the house nor to the barn; that there was already a good spring and a stream of water running conveniently to both; that, as to the figure itself, it certainly could not have been carved by any prehistoric race, since no part of it showed the characteristics of any such early work; that, rude as it was, it betrayed the qualities of a modern performance of a low order.”However, he was taken aback by the channels on the bottom part of the giant, stating that for such grooving to be created on local Onondaga grey limestone would require years.


title: Cardiff Giant

text: Yale paleontologist Othniel C. Marsh examined the statue, pointed out that it was made of soluble gypsum, which, had it been buried in its blanket of wet earth for centuries, would not still have fresh tool marks on it (which it did), and termed it "a most decided humbug". Some theologians and preachers, however, defended its authenticity.


title: Cardiff Giant

text: Eventually, Hull sold his part-interest for to a syndicate of five men headed by David Hannum. They moved it to Syracuse, New York, for exhibition. The giant drew such crowds that showman P. T. Barnum offered $50,000 for the giant. When the syndicate refused, he hired a man to model the giant's shape covertly in wax and create a plaster replica. He displayed his giant in New York, claiming that his was the real giant, and the Cardiff Giant was a fake.


title: Cardiff Giant

text: As the newspapers reported Barnum's version of the story, David Hannum was quoted as saying, "There's a sucker born every minute" in reference to spectators paying to see Barnum's giant. Since then, the quotation has often been misattributed to Barnum himself.


title: Cardiff Giant

text: Hannum sued Barnum for calling his giant a fake, but the judge told him to get his giant to swear on his own genuineness in court if he wanted a favorable injunction.


title: Cardiff Giant

text: On December 10, 1869, Hull confessed everything to the press, and on February 2, 1870, both giants were revealed as fakes in court; the judge also ruled that Barnum could not be sued for terming a fake giant a fake. Hull proclaimed that he did not confess because of the pressing criticism, but confessed proudly that he intended for the hoax to be exposed to reveal the tendency of the Christian community to believe in things too easily and to counter the fundamentalist belief that giants once roamed the earth.


title: Cardiff Giant

text: The Cardiff Giant was displayed at the 1901 Pan-American Exposition, but did not attract much attention.


title: Cardiff Giant

text: Iowa publisher Gardner Cowles, Jr., bought it later to adorn his basement rumpus room as a coffee table and conversation piece. In 1947 he sold it to the Farmers' Museum in Cooperstown, New York, where it is still displayed.


title: Cardiff Giant

text: The owner of Marvin's Marvelous Mechanical Museum, a coin-operated game arcade and museum of oddities in Farmington Hills, Michigan, has said that the replica displayed there is Barnum's replica.


title: Cadillac Series 62

text: The Cadillac Series 40-62 is a series of cars which was produced by Cadillac from 1940 through 1964. Originally designed to complement the entry level Series 61, it became the Cadillac Series 6200 in 1959, and remained that until it was renamed to Cadillac Calais for the 1965 model year. The Series 62 was also marketed as the Sixty-Two and the Series Sixty-Two. The Series 62 was used to introduce the Cadillac Coupe de Ville and the Cadillac Eldorado which started out as special appearance packages that were later placed into production.


title: Cadillac Series 62

text: The Fisher-bodied Series 40-62 was the new entry level product for the 1940 model line and was upgraded with a low sleek "torpedo" style C-body with chrome window reveals, more slant in the windshield, and a curved rear window. The new C-body that the 1940 Cadillac Series 62 shared with the Buick Roadmaster and Super, the Oldsmobile Series 90 and the Pontiac Custom Torpedo featured shoulder and hip room that was over 5 inches wider, the elimination of running boards and exterior styling that was streamlined and 2-3 inches lower. When combined with a column mounted shift lever connected to the Hydramatic automatic transmission, the cars offered true six passenger comfort. It was GM's competitor to the popular selling Packard One-Twenty.


title: Cadillac Series 62

text: These changes were carried over to the Cadillac Sixty Special borrowing a naming convention from the entry-level Buick Special. The styling feature distinguishing all V-8 Cadillacs was once again the grille. Although grilles had the same pointed shape as in 1939, the grille bars were heavier and fewer in number. Two sets of louver bars appeared on each side of the hood. Running boards were a no cost option. The Series 62 was available as a club coupe or a sedan, with 2-door and 4-door convertibles introduced mid-year. Sales totaled 5,903 in its inaugural year accounting for about 45% of Cadillac's sales. The 2-passenger Coupe was listed for US$1,685 ($ in dollars ), the 5-passenger Touring Sedan was US$1,745 ($ in dollars ), and the 4-door Convertible Sedan was US$2,195 ($ in dollars ). While the 2-door could only accommodate 2 passengers, they were labeled as "coupes" instead of the more accurate roadster, then in 1941 passenger capacity increased to four.


title: Cadillac Series 62

text: In 1941, the one piece hood came down lower in the front, included the side panels and extended sideways to the fenders. A single rectangular panel of louver trim was used on each side of the hood. The rectangular grille was wide, vertical, and bulged forward in the middle. Rectangular parking lights were built into the top outer corners of the grille. Headlights were now built into the nose of the fenders, and provision for built in accessory fog lights was provided under the headlights. Three chrome spears appeared on the rear section of all four fenders. Rear fender skirts were standard. The Series 62 offered the only 4-door convertible built by Cadillac in 1941 and it would be the last time this bodystyle was ever made by the marque. All Cadillacs shared the same 135 hp (101 kW) L-head V8 that year, with power rising to 150 hp (112 kW).


title: Cadillac Series 62

text: Sales more than quadrupled to 24,734, accounting for 37% of Cadillac sales in a sales year that well more than doubled the previous Cadillac sales rate record set during the two model years of 1926–27, in part due to the huge popularity of the new Series 61. Evidently the new "torpedo" style with its low streamlined runningboardless bodies and expansive shoulder room had proved a big hit. The following model year, abbreviated as it was by a world war, would set no such sales record.


title: Cadillac Series 62

text: The grille became more massive in 1942, with even fewer bars and was the beginning of the traditional "egg crate" appearance that all future products adopted. Parking lights became round and fog light sockets became rectangular and were included in the grille area. A bullet shape appeared on the tops of the bumper guards. Fenders were rounded and longer and no longer featured side ventilation grilles. Front fender character outlines now extended into the front doors, a feature GM called "Airfoil" for all products for that year, and rear fenders extended forward into the rear door. The new fenders had heavy moldings along the sides. The appearance was more expressive and expansive in comparison to the all-new Packard Clipper introduced at the same time. A new fresh air ventilating system with air ducts leading from the grille replaced cowl ventilators. Handbrake control was changed from lever to tee-shaped pull handle. Radiator shutter control of engine temperature was replaced by a blocking type thermostat in the water return fitting in the radiator. Vehicles that were built until February 1942 could be identified as lacking chrome trim starting in January when it was prohibited due to wartime production and trim pieces including bumpers were painted.


title: Cadillac Series 62

text: The first postwar Cadillac rolled off the line on October 7, 1945, and for several months, only Series 62s were produced. 1946 Cadillacs were not significantly altered from 1942 outside a few styling changes and the addition of a negative ground battery. The Series 62 retained the same lineup of body styles as in 1942—coupe, sedan, and convertible, and 18,565 total were produced for the model year, approximately 65% of Cadillac's total 1946 output of 29,000 vehicles. Resuming civilian production was a difficult task for the entire automobile industry and demand for new cars much exceeded supply. Cadillac had as many as 100,000 unfilled orders into 1947. Due to materials shortages, some Cadillacs shipped from the factory with wooden bumpers, dealers being expected to install proper ones as they became available. Postwar inflation pushed the sticker price of a 1946 Cadillac over $1000 higher than 1942.


title: Cadillac Series 62

text: In 1946, the Series 62 used GM's C-body platform, as did the Cadillac Sixty Special, Buick Super and Buick Roadmaster, and Oldsmobile 98. Notchback styling characterized the cars except for the Club Coupe which had fastback styling. It was easy to distinguish the Series 62 coupe from the Series 61 because the door skins did not flare out above the rocker panel moldings, and the side window openings were lower and the reveal window moldings circled each window individually instead of looping around all the windows. The Series 62 sedan featured ventiplanes on both the front and rear door windows. It was also the first Cadillac to enter production after World War II. Interior styling and technical features were similar to those seen on the Cadillac Series 61 but with slightly richer interior appointments. Late 1946 models introduced technical changes to the V8 engine in the form of hardened ball seats for the hydraulic lifters.


title: Cadillac Series 62

text: The 1947 models received minor styling changes and the addition of Hydro-Lectric window lifts on the Series 62 convertible, which remained the sole ragtop in Cadillac's lineup. Polished metal stone guards on the fenders replaced the rubber ones used on 1946 models. As before, Series 62s remained Cadillac's bread-and-butter lineup with 39,834 produced, 84% of the make's total 1947 volume.


title: Cadillac Series 62

text: The first all-new postwar Cadillacs arrived in 1948, sporting tail fins inspired by the Lockheed P-38 fighter plane on a Cadillac. Series 62 Cadillacs had a slightly shortened wheelbase, but the track width was increased by two inches, increasing interior room. However, updated drivetrains would have to wait another year and for the time being, the new Cadillacs were still powered by the same 346 CID flathead V8 used across the board since 1941, which delivered only fair performance (0-60 in 16 seconds with a top speed of 93 mph). Fuel mileage was an estimated 14 mpg highway, 10 mpg city with the Hydramatic transmission, which was rapidly becoming the norm — by 1949, only 10% of Cadillacs were ordered with the 3-speed manual gearbox. Series 62 production totaled 34,213 vehicles for the 1948 model year, accounting for 68% of Cadillac's volume. The 1948 models had been slow to get into production and did not arrive in showrooms until February 1948, consequently Cadillac produced only 50,599 total vehicles for the abbreviated model year.


title: Cadillac Series 62

text: The new Cadillac OHV V8 was the big news for 1949, with minor trim differences otherwise. This 331 cu in (5.4 L) engine produced 160 hp (119 kW) and weighed 200 pounds less than the old flathead V8 in addition to being shorter and lower. The 331 V8 could also handle higher compression levels to take advantage of improved, higher octane postwar gasoline formulations. The major difference between Series 61 and Series 62 models of similar body style was minor trim variations. The higher-priced series again had grooved, front fender stone shields and bright rocker panel moldings. Chevrons below the taillights were no longer seen. The convertible was an exclusive offering. A heater was optional. Sales reached a record 55,643.


title: Cadillac Series 62

text: The Cadillac Series 62 Coupe de Ville was introduced late in the 1949 model year. Along with the Buick Roadmaster Riviera, and the Oldsmobile 98 Holiday, it was among the first pillarless hardtop coupes ever produced. At $3,496 ($ in dollars ) it was only a dollar less than the Series 62 convertible, and like the convertible, it came with power windows standard. It was luxuriously trimmed, with leather upholstery and chrome 'bows' in the headliner to simulate the ribs of a convertible top.


title: Cadillac Series 62

text: For 1950, major styling changes were performed. The cars were lower and sleeker, with longer hoods, and one-piece windshields were fitted. Hydra Matic transmission was now standard. The Series 61 was again a short wheelbase model, having been reduced to 122 in (3099 mm). Sales set yet another record at 59,818.


title: Cadillac Series 62

text: Full-length chrome rocker panels set off the 1951 model, and the Coupe de Ville was now marked with noticeably-improved trim, including Coupe de Ville script on the rear roof pillar. Sales were 81,844, or a record of over 74% of all Cadillacs sold. "Popular Mechanics" reported about 12-MPG at 45 mph.


title: Cadillac Series 62

text: In 1952, to commemorate the 50th anniversary of Cadillac, the V-shaped hood and deck emblems were done as gold castings. The Series 62 sedan was also characterized by a higher rear deck lid contour. This provided additional luggage space. Back up lights were now standard equipment and were incorporated in the taillights. The grille wraparound panels were redesigned once again having broad chrome trim below each headlight with side scoop styling and gold-colored winged emblem mounted in the center. At the rear all Cadillacs adopted a through the bumper dual exhaust system. Deck ornamentation took the form of a Cadillac crest over a broad golden "V". New standard features included self-winding clocks, improved direction signal indicators, glare proof mirrors, stannate treated pistons, and four barrel carburetion. Engine output for the 331 was up to 190 hp (142 kW). Sales fell to 70,255, but with the Series 61 out of the way, Series 62 sales accounted for a record 78% of all Cadillacs.


title: Cadillac Series 62

text: The 1953 Series 62 saw a redesigned grille with heavier integral bumper and bumper guards, the repositioning of parking lamps directly under the headlights, chrome "eyebrow" type headlamp doors, and one piece rear windows without division bars. Wheel discs were fashioned in an attractive new disced design. Series 62 bodystyles were identified by non louvered rear fenders, the use of thin bright metal underscores on the bottom rear of the cars only and the decoration of both hood and deck lid with Cadillac crests and V- shaped ornaments. The Club Coupe model disappeared. Two door Series 62 were now all hardtops (including the better equipped Coupe de Ville) or convertibles. Another familiar name appeared on 1953's Series 62. The top-of-the-line subseries Eldorado was one of three specialty convertibles produced in 1953 by General Motors, the other two being the Oldsmobile 98 Fiesta and the Buick Roadmaster Skylark. The Eldorado was a limited-edition luxury convertible, and would eventually become its own series. It featured a full assortment of deluxe accessories, including wire wheels, and introduced the wraparound windshield to Cadillac standard production. Sales set a new record at 85,446.


title: Cadillac Series 62

text: The Series 62 included a lower sleeker body, a new cellular grille insert, and inverted gull wing front bumpers and tapered dagmar style bumper guards. Round jet-style dual exhaust outlets were incorporated into the vertical bumper extensions and the rear bumper was entirely redesigned. An Eldorado-style wraparound windshield was seen on all models. Sedans used a distinctive style of window reveal molding, which created a built in sun visor effect. For coupes a smoothly curved wraparound backlight was referred to as the "Florentine"-style rear window. A wide ventilator intake was now stretched across the base of the windshield on all body styles and the chrome visored headlamp look was emphasized. The Series 62 could be distinguished by the lack of rear fender louvers. V-shaped ornaments and crests were used in the hood and deck and there were full length body underscores in bright metal. Coupe de Ville script was seen on rear corner pillars of the luxury hardtop, which also had wider sill moldings. The Eldorados had golden identifying crests centered directly behind the air-slot fender breaks and wide fluted beauty panels to decorate the lower rear body sides. These panels were made of extruded aluminum and also appeared on a unique one-of-a-kind Eldorado coupe built for the Reynolds Aluminum Corporation. Also included in the production Eldorado convertible were monogram plates on the doors, wire wheels, and custom interior trimmings with the Cadillac crest embossed on the seat bolsters. Automatic windshield washers, power steering, 12-volt electrical system, and aluminum alloy pistons made the long list of standard equipment for the first time this year. Power steering, windows, seats, and auto headlight dimming were optional. A parking brake release reminder light was new. "Popular Mechanics" rated the 0-60 mph time as 17.3 seconds. Air conditioning was provided by Frigidaire optionally on sedans and hardtops, which consisted of a self contained unit that was retrofitted at the customers request.


title: Cadillac Series 62

text: In 1955, the grille was redesigned with wider spaces between the blades and the parking lamps were repositioned beneath directly below the headlights. On the sides of the body the rub-rail moldings formed a right angle with the vertical trim on the rear doors or fenders. This accentuated the character line in the sheet metal. The Florentine curve rear window treatment was adopted for sedans. Three chrome moldings bordered the rear license plate on either side and deck lid decorations consisted of a V-shaped ornament and a Cadillac crest. The Coupe de Ville had a golden script nameplate at the upper body belt just forward of the rear window pillar. The Eldorado sport convertible featured extras such as wide chrome body belt moldings, a distinctive rear fender design, with twin round taillights halfway up the fenders and flatter pointed tailfins. Tubeless tires were a new standard Cadillac feature. Sales reached a record 118,190, accounting for nearly 84% of all Cadillacs sold. Standard equipment included back-up lights, turn signals, and automatic transmission.


title: Cadillac Series 62

text: In 1956, there was a new grille, with finer textured insert, and the repositioning of the parking lights in the bumpers, below the wing guards. Buyers were given an option of the standard satin finish grille or an optional gold finish. Cadillac script was found on the left side. A narrow chrome molding and nine vertical louvers were seen. The Coupe de Ville had a model nameplate and a Cadillac crest on the sides of the front fenders. The Coupe de Ville was joined by the Series 62 Sedan de Ville, Cadillac's first standard production 4-door hardtop. Similarly to the Coupe de Ville, it was also more expensive and more luxuriously trimmed that the standard 4-door Series 62. With 41,732 sold, it also easily outsold the Series 62 sedan in its very first year. Given their sales success, it was only natural that the Coupe de Ville and Sedan de Ville were moved to their own separate series in 1959, the Series 6300, being joined by a De Ville convertible in 1964. The Eldorado subseries also gained a new bodystyle, a 2-door hardtop called the Seville. An Eldorado script finally appeared with fender crest on the car which was further distinguished by a twin hood ornament. Extras featured on the Eldorado convertible, now known as the Biarritz in order to distinguish it from the Seville, were a ribbed chrome saddle molding extending from the windshield to the rear window pillar along the beltline and flat, pointed rear fender fins. Power steering was now standard. The turning circle was 43.5 ft. wide and ground clearance is 8.25 inches. "Popular Mechanics" rated a 0-60 mph time of 12.0 seconds, fuel economy for a traffic route at 8.3mpg, and a very accurate speedometer.


title: Cadillac Series 62

text: Series 62 sales reached an all-time record in 1956 at 134,502 units, accounting for an all-time record 86.4% of all Cadillacs sold. This included 66,818 De Villes and 6050 Eldorados.


title: Cadillac Series 62

text: In a "Popular Mechanics" survey of 1956 Series 62 owners, the two most serious complaints: Was one, with 23.7% responding to the survey, "slipshod" workmanship during assembly; and two, with 22.7% of responses, were transmission problems. The major items they liked, with 35% of responses, was one, riding quality; and two, with 32.7% of responses, power and performance.


title: Cadillac Series 62

text: For 1957, a tubular X-frame without side rails was adopted, which Cadillac claimed resulted in lower body without a loss of usable space and increased torsional strength. These frames gained controversy as being unsafe, and other manufactures, such as Ford, touted that their "perimeter" frames were safer. Front end styling was marked by rubber bumper guard tips and dual circular lamps set into the lower bumper section. Side trim was revised and a dual taillight theme was used. Identifying the standard 62 models were bright metal moldings, just forward of the rear wheel openings, highlighted by seven horizontal wind slits. At the upper end this fender brake trim joined a horizontal molding that ran along a conical flare extending towards both taillamps. A crest medallion was seen on the forward angled rear fins. De Villes had special nameplates on the front fenders. Series 62 Eldorados (as distinct from the Series 70 Eldorado Brougham) were further distinguished by the model name above a V-shaped rear deck ornament and on the front fenders. The rear fender and deck contour was trimmed with broad, sculptured stainless steel beauty panels. Also seen were "shark" style fins pointing towards the back of the cars. A three section built in front bumper was another exclusive trait of the Series 62 Eldorados, which came with a long list of standard features. A new body style was added to the subseries, a 4-door Eldorado Sedan Seville, but only four were actually sold, and it was cancelled the following year.


title: Cadillac Series 62

text: For 1958, there was a new grille featuring multiple round "cleats" at the intersection of the horizontal and vertical members. The grille insert was wider and new bumper guards were positioned lower to the parking lamps. New dual headlamps were used and small chrome fins decorated the front fenders. Tailfins were less pronounced and trim attachments were revised. The word Cadillac appeared in block letters on the fins of base models. On the sides of the car were five longer horizontal wind splits ahead of the unskirted rear wheel housing and front fender horizontal mouldings with crests placed above the trailing edge and no rocker sill trim. The convertible and the De Villes used solid metal trim on the lower half of the conical projection flares, while other models had a thin ridge molding in the same location. On Series 62 Eldorados, a V-shaped ornament and model identification script were mounted to the deck lid. Series 62 Eldorados also had ten vertical chevron slashes ahead of the open rear wheel housings and crest medallions on the flank of the tailfins. Broad, sculptured beauty panels decorated the lower rear quarters on all Series 62 Eldorados and extended around the wheel opening to stretch along the body sills. Standard equipment on all Series 62s was the same as the previous year. All new was an extended deck Series 62 sedan which, along with the Series 62 Sedan deVille, stretched 8.5 inches longer than the regular 4-door Series 62, and a special order Series 62 Eldorado Seville of which only one was actually built. Excluding export sedans and chassis only, the Series 62 offered an all-time record of nine bodystyles this year. The infamous Cadillac Air-Suspension was optional. The following year De Ville and Eldorado were spun off onto their own series.


title: Cadillac Series 62

text: The 1959 Cadillac is remembered for its iconic huge tailfins with dual bullet tail lights. The new model year also saw two distinctive rooflines and roof pillar configurations, new jewel-like grille patterns and matching deck lid beauty panels. For 1959, the Series 62 became the Series 6200. De Villes and 2-door Eldorados were moved from the Series 6200 to their own series, the Series 63 and Series 64 respectively, though they all, including the 4-door Eldorado Brougham (which was moved from the Series 70 to Series 69), shared the same wheelbase. Engine output was an even 325 hp (242 kW) from the engine. The Series 62 was identifiable by its straight body rub moldings, running from front wheel opening to back bumpers, with crest medallions below the spear. A one-deck jeweled rear grille insert was seen. Standard equipment included power brakes, power steering, automatic transmission, back-up lamps, windshield wipers, two-speed wipers, wheel discs, outside rearview mirror, vanity mirror and oil filter. The convertible model had power windows and a two-way power seat. Plain fender skirts covered the rear wheels and 4-doors were available in either four-window or six-window hardtop configurations. With the De Villes and 2-door Eldorados in their own series sales plunged to only 70,736, the lowest since the 1950 model year.


title: Cadillac Series 62

text: The 1960 Series 62 had smoother, more restrained styling. General changes included a full-width grille, the elimination of pointed front bumper guards, increased restraint in the application of chrome trim, lower tailfins with oval shaped nacelles and front fender mounted directional indicator lamps. Series 62 models were distinguished by plain fender skirts, thin three-quarter length bodyside spears and Cadillac crests and lettering on short horizontal front fender bars mounted just behind the headlights. Four-window and six-window hardtop sedans were offered again. The former featured a one-piece wraparound backlight and flat-top roof, while the latter had a sloping rear window and roofline. Standard equipment included power brakes, power steering, automatic transmission, dual back-up lamps, windshield wipers, two-speed wipers, wheel discs, outside rearview mirror, vanity mirror and oil filter. The convertible model had power windows and a two-way power seat. Technical highlights were finned rear drums and an X-frame construction. Interiors were done in Fawn, Blue or Gray Cortina Cord or Turquoise, Green, Persian Sand, or Black Caspian cloth with Florentine vinyl bolsters. Convertibles were upholstered in Florentine leather single or two-tone combinations or monochromatic Cardiff leather combinations.


title: Cadillac Series 62

text: Cadillac was restyled and re-engineered for 1961. The new grille slanted back towards both the bumper and the hood lip, along the horizontal plan, and sat between dual headlamps. New forward slanting front pillars with non-wraparound windshield glass were seen. The revised backlight treatment had crisp angular lines with thin pillars on some models and heavier semi-blind quarter roof posts on others. Standard equipment power brakes, power steering, automatic transmission, dual reverse lights, windshield washer, dual speed wipers, wheel discs, plain fender skirts, outside rearview mirror, vanity mirror and oil filter. Rubberized front and rear coil springs replaced the trouble prone air suspension system. Four-barrel induction systems were now the sole power choice and dual exhaust were no longer available.


title: Cadillac Series 62

text: A mild face lift characterized Cadillac styling trends for 1962. A flatter grille with a thicker horizontal center bar and more delicate cross-hatched insert appeared. Ribbed chrome trim panel, seen ahead of the front wheel housings for 1961, were now replaced with standard cornering lamps and front fender model and series identification badges were eliminated. More massive front bumper end pieces appeared and housed rectangular parking lamps. At the rear tail lamps were now housed in vertical nacelles designed with an angled peak at the center. A vertically ribbed rear beauty panel appeared on the deck lid latch panel. Cadillac script also appeared on the lower left side of the radiator grille. The short-deck hardtop Town Sedan was moved from the Series 6300 to the Series 6200, being replaced by a short-deck Sedan de Ville Park Avenue in the Series 6300. In addition all short deck Cadillac models went from being 6-window sedans for 1961 to 4-window sedans for 1962 and 1963. The Town Sedan would disappear for 1963, with only 4,900 sold (of 134,572 Series 62s in all), though the Sedan de Ville Park Avenue sold even fewer, 4,175 (out of 150,882 De Villes). Standard equipment included all of last year's equipment plus remote controlled outside rearview mirror, five tubeless black wall tires, heater and defroster and front cornering lamps. Cadillac refined the ride and quietness, with more insulation in the floor and behind the firewall.


title: Cadillac Series 62

text: 1963 brought another restyle. Exterior changes imparted a bolder and longer look. Hoods and deck lids were redesigned. The front fenders projected 4.625" further forward than for 1962 while the tailfins were trimmed down somewhat to provide a lower profile. Body side sculpturing was eliminated. The slightly V-shaped radiator grille was taller and now incorporated outer extensions that swept below the flush-fender dual headlamps. Smaller circular front parking lamps were mounted in those extensions. A total of 143 options including bucket seats with wool, leather or nylon upholstery fabrics and wood veneer facings on dash, doors and seatbacks, set an all-time record for interior appointment choices. Standard equipment was the same as the previous year. Convertibles were equipped with additional features. The engine displacement and output remained the same, and .


title: Cadillac Series 62

text: A minor facelift for 1964 featured a new bi-angular grille that formed a V-shape along both its vertical and horizontal planes. The main horizontal grille bar was now carried around the body sides. Outer grille extension panels again housed the parking and cornering lamps. It was the 17th consecutive year for the Cadillac tailfins with a new fine-blade design carrying on the tradition. Performance improvements including a larger V-8 were the dominant changes for the model run. Equipment features were same as in 1963 for the most part. Comfort Control, a completely automatic heating and air conditioning system controlled by a dial thermostat on the instrument panel, was introduced as an industry first. The engine was bumped to , with 340 hp (253.5 kW) available. In its final year only 35,079 Series 62s were sold, the smallest number since 1946 and little more than a quarter of their all-time sales record in 1956. The 62 convertible was dropped for 1964.