Packard Super Eight was the name given to the larger of the two eight-cylinder luxury automobiles produced by the Packard Motor Car Company of Detroit, Michigan. It shared frames and some body types with the top model Packard Twelve. Following the discontinuation of the Seventeenth Series Packard Twelve after the 1939 model year, a new Super Eight One-Eighty was derived from the Super Eight as the new top car range. The Super Eight was renamed the Packard Super Eight One-Sixty.
After 1942, Packard concentrated on the new Clipper styling that was developed for an upper-class sedan the previous year. There were Super Clippers and Custom Super Clipper in the One-Sixty and One-Eighty tradition until 1947. After a heavy facelift, the name Clipper was dropped. The most senior Super Eight One-Eighty became the Custom Eight, while its slightly lower-priced sibling, the Super Eight One-Sixty, once again became simply the Super Eight. Clipper Custom Super Eights and Custom Eights were very close relatives to their respective Super models, distinguished outside by the lack of an eggcrate grille and small rear chrome trim moulding under the trunk lid on Supers. In 1949, a new Super Eight Deluxe was added to the line. This car had also the Custom Eight’s eggcrate grille, but not the rear trim.
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The Gearbox Automatic has created quite a buzz in the audio world, a plug & play turntable that plugs a gap in the portable turntable sector. It features high-quality components, meaning the sound is astonishing for its price class. This you would expect from Gearbox of course, but it also does things no other turntable has ever done before.
High medical prices and billing practices may reduce public trust in the medical profession and can result in the avoidance of care. In a survey of 1000 patients, 64% reported that they delayed or neglected seeking medical care in the past year because of concern about high medical bills. The field of quality science in health care has developed measures of medical complications; however, there are no standardized metrics of billing quality.
A recent study found that only 53 of 101 hospitals were able to provide a price for standard coronary artery bypass graft surgery. Notably, among the hospitals that provided a price, the price ranged from approximately $44 000 and $448 000 and was not associated with quality of care as measured by risk-adjusted outcomes and the Society of Thoracic Surgeons composite quality score.
When it comes to classic French eateries in New York City, few are more iconic than SOHO’s Balthazar. We sent Alex Delany to this famous brasserie to try one of everything on the breakfast menu, and we didn’t send him alone. For this episode, he was joined by French-speaking pastry expert Claire Saffitz to eat way too much food and drink multiple bowls (yes, bowls) of milky coffee.
The Cord 810, and later Cord 812, was a luxury automobile produced by the Cord Automobile division of the Auburn Automobile Company in 1936 and 1937. It was the first American-designed and built front wheel drive car with independent front suspension. It followed the 1934 Citroën Traction Avant and the Cord L-29, both of which also had front wheel drive. Both models were also the first to offer hidden headlights.
The styling of the Cord 810 was the work of designer Gordon M. Buehrig and his team of stylists, which included young Vince Gardner and Alex Tremulis. While the first American front-wheel-drive car with independent front suspension, it had an archaic tube rear axle with semi-elliptic rear springs. Power came from a 4,739 cc (289 cu in) Lycoming V8 of the same 125 hp (93 kW) as the L-29. The semi-automatic four-speed transmission (three plus overdrive) extended in front of the engine, like on a Traction Avant. This allowed Buehrig to dispense with the driveshaft and transmission tunnel; as a result, the new car was so low it required no running boards. It had a 125 in (3,175 mm) wheelbase (shared with several 812 body styles), and in 1936 came in four models: the entry-level sedan at US$1995, the Beverly sedan ($2095), Sportsman ($2145), and Phaeton ($2195). The 1937 812s had the same models, priced $2445, $2545, $2585, and $2645, plus two more, on a 132 in (3,400 mm) wheelbase, the $2960 Custom Beverly and $3060 Custom Berline.
Challenging widely held assumptions about the diminishing abilities of an ageing brain, leading neuroscientist Daniel Levitin argues that we should view getting older as a beneficial experience rather than a form of cognitive entropy. Persuasively argued and consistently surprising, The Changing Mind will alter your perception of the relationship between age and intellect.
Over the course of his acclaimed 60-year career, Gerhard Richter (b. 1932) has employed both representation and abstraction as a means of reckoning with the legacy, collective memory, and national sensibility of post–Second World War Germany, in both broad and very personal terms. 
New essays by eminent scholars address a variety of themes: Sheena Wagstaff evaluates the conceptual import of the artist’s technique; Benjamin H. D. Buchloh discusses the poignant Birkenau paintings (2014); Peter Geimer explores the artist’s enduring interest in photographic imagery; Briony Fer looks at Richter’s family pictures against traditional painting genres and conventions; Brinda Kumar investigates the artist’s engagement with landscape as a site of memory; André Rottmann considers the impact of randomization and chance on Richter’s abstract works; and Hal Foster examines the glass and mirror works. As this book demonstrates, Richter’s rich and varied oeuvre is a testament to the continued relevance of painting in contemporary art.
The study is divided into two parts: the first examines Dalí’s beginnings as an unknown artist. We witness how the young Dalí deployed all the isms―Impressionism, Pointillism, Cubism, Fauvism, Purism and Futurism―with playful mastery, and how he would borrow from prevailing trends before ridiculing and abandoning them. The second part unveils the conclusions of Dalí’s lifelong inquiries, as well as the great legacy he left in works such as Tuna Fishing (1966/67) or Hallucinogenic Toreador (1970). It includes previously unpublished homages to Velázquez or Michelangelo, painted to the same end as the variations on past masters done by his contemporary, Picasso.
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