Monday, February 16, 2015

A Nice Surprise

A friend called me late last week and asked if I subscribed to Hemmings Classic Car magazine.  When I told him I didn’t, he said I should get the April 2015 edition and read Executive Editor Richard Lentinello’s column.  He then proceeded to read me the fifth paragraph about his visit to the Lake Mirror Classic in Lakeland, Florida and the blue 1988 Pontiac 6000 LE station wagon he spotted at the street show.

That’s my car.  Needless to say, I was stunned, humbled, honored, and blown away to hear what he wrote, and yesterday that friend gave me his copy of the magazine.  To get recognition at a show or national meet for my car is one thing, but to have it singled out in one of the most prestigious and well-respected automobile publications it quite another.


Hemmings Classic Car Lentinello April 2015

Here’s the car in question at Lake Mirror last October.

004PS: I now have a subscription to Hemmings Classic Car magazine.

11 barks and woofs on “A Nice Surprise

    • That was an early attempt — 1979, I think — at an electric commuter car. It was about the size of today’s Smart car.

  1. I salute you, Bobby! You remind me, in the field of old cars, of my flute teacher at Oberlin BPI. Although he was retired by the time I took summer masterclasses with him, you’d never know it by his attitude, his art and craft, and… this is what brought him to mind… the very old flutes he collected.

    Not just collected: restored. Not just restored: put into playing condition at least as good as they were a couple of centuries ago when they were new. Not just restored them to original playing condition: he actually performed on them in public, making them sound so good you could imagine you’d been transported (pun intended) through time back to the days of, say, J. J. Quantz at Frederick the Great’s court, or one of the Hotteterre family at the French royal court.

    This flutist, Robert Hugh [Bob] Willoughby, had already found fame and fortune on the modern flute, in the Cleveland under Szell, also performing concertos around the world with name-brand orchestras, or chamber music with one or another Oberlin faculty ensemble on tour in the US or Europe, or teaching a goodly number of the young principal flutists in America’s orchestras for a couple of decades… but he restored and performed on these genuine original instruments because he loved them dearly, and he loved showing people… not how wonderfully he could play; everyone already knew that… but how stunning those old flutes sounded in the context they were made for.

    His attitude toward those flutes was much like yours toward old cars, Bobby, wouldn’t you agree?

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