With this in mind, Nash Motors negotiated with several European companies. The only cost-effective option was to build overseas using existing mechanical components (engine, transmission, rear end, suspension, brakes, electrical), leaving only the tooling cost for body panels and other unique components. because the tooling costs would have been prohibitive. However, Mason and Nash's management calculated that it would not be viable to build such a car from scratch in the U.S. The Metropolitan was also aimed at returning Nash to overseas markets. These specific use vehicles were as a second car for women or an economical commuter car. Nash was positioning this new product for the emerging postwar market for "personal use" autos. The model was named NKI (for Nash-Kelvinator International), and it featured revised styling incorporating a hood blister and rear wheel cutouts.
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The result of these "surviews" convinced Nash that there was indeed a market for such a car if it could be built at a competitive price.Ī series of prototypes followed that incorporated many of the improvements from the "surviews" that included roll-up glass side windows, a more powerful engine, and a column-mounted transmission shifter with bench seat (rather than bucket-type seats with floor shift fitted in the concept car). It was displayed at a number of "surviews" (survey-previews), commencing on 4 January 1950, at the Waldorf-Astoria Hotel, New York, to gauge the reaction of the American motoring public to a car of this size. Although more complex, the new vehicle also incorporated Nash's advanced single-unit ( unit body) construction. The NXI design study incorporated many innovative features and attempted to make use of interchangeable front and rear components (the symmetrical door skins were the only interchangeable items used in production). It was designed as the second car in a two car family, for Mom taking the kids to school or shopping or for Dad to drive to the railroad station to ride to work: the "commuter/shopping car" with resemblance to the big Nash, but the scale was tiny as the Met's wheelbase was shorter than the Volkswagen Beetle's. It was patterned from a concept car, the NXI (Nash Experimental International), that was built by Detroit-based independent designer William J. The Metropolitan was designed in Kenosha, Wisconsin. Louis.While most domestic automobile makers were following a "bigger-is-better" philosophy, Nash Motor Company executives were examining the market to offer American buyers an economical transportation alternative. Originally commissioned by Opera Theatre of Saint Louis, co-commissioned by Jazz St. Booster shots are also required for everyone eligible. For more information on health and safety policies, visit our commitment page.įire Shut Up in My Bones, a sold-out smash in the opera house, comes to cinemas around the globe on October 23.Ĭontent Advisory: Fire Shut Up in My Bones addresses adult themes and contains some adult language.Ī co-production of the Metropolitan Opera, LA Opera, and Lyric Opera of ChicagoĬommissioned by the Metropolitan Opera. Baritone Will Liverman, one of opera’s most exciting young artists, stars as Charles, alongside soprano Angel Blue as Destiny/Loneliness/Greta, soprano Latonia Moore as Billie, and Walter Russell III as Char’es-Baby.Īll audience members must be fully vaccinated against Covid-19 and wear face masks at all times inside the Met, except when eating or drinking in designated areas. Brown-two of the creators of the Met’s sensational recent production of Porgy and Bess-co-direct this new staging Brown, who is also the production’s choreographer, becomes the first Black director to create a mainstage Met production. Blow’s moving memoir, which The New York Times praised after its 2019 world premiere at Opera Theatre of Saint Louis as “bold and affecting” and “subtly powerful.” Featuring a libretto by filmmaker Kasi Lemmons, the opera tells a poignant and profound story about a young man’s journey to overcome a life of trauma and hardship. Yannick Nézet-Séguin conducts Grammy Award–winning jazz musician and composer Terence Blanchard’s adaptation of Charles M. Opening Night of the 2021–22 season will be a historic occasion-the Met's first performance of an opera by a Black composer.