![After three decades’ worth of oppressive headlight standards (round only, please), the DOT — obviously under the influence of the newly hybridized Blueberry Super Skunk strains of the mid-1970s — started allowing square headlamps on new cars in 1975. By ‘79, the majority of new cars like Chrysler’s personal-luxury hit, the Cordoba, wore four-cornered lanterns up front.
Now in its mid-period, the Cordoba was holding its popularity among silk-wearing, newly divorced men in their mid-40s arriving at the local Holiday Inn lounge doused in Hai Karate. The whole Ricardo Montalban schtick was wearing a bit thin, but Chrysler-signed checks continued to arrive at the typecast Latin Lover’s Malibu estate. By 1980, Chrysler would redesign the Cordo, cutting its size, slapping it haphazardly onto the miserable Plymouth Volaré J-platform, and drawing down the power curtain to meet early-80s gas-crunch market demands. Sales tanked, but good-soldier Montalban nonetheless returned for yet another model year of cartoonish posturing and melodramatic, Madison Ave-hack prose. This car was the first augur of the ’70s end. Actually, it was the second if you include Uriah Heep’s 1978 album Fallen Angel.
[via ebay]](http://24.media.tumblr.com/tumblr_kqk1wtPUOQ1qa2x8mo1_r2_500.jpg)
After three decades’ worth of oppressive headlight standards (round only, please), the DOT — obviously under the influence of the newly hybridized Blueberry Super Skunk strains of the mid-1970s — started allowing square headlamps on new cars in 1975. By ‘79, the majority of new cars like Chrysler’s personal-luxury hit, the Cordoba, wore four-cornered lanterns up front.
Now in its mid-period, the Cordoba was holding its popularity among silk-wearing, newly divorced men in their mid-40s arriving at the local Holiday Inn lounge doused in Hai Karate. The whole Ricardo Montalban schtick was wearing a bit thin, but Chrysler-signed checks continued to arrive at the typecast Latin Lover’s Malibu estate. By 1980, Chrysler would redesign the Cordo, cutting its size, slapping it haphazardly onto the miserable Plymouth Volaré J-platform, and drawing down the power curtain to meet early-80s gas-crunch market demands. Sales tanked, but good-soldier Montalban nonetheless returned for yet another model year of cartoonish posturing and melodramatic, Madison Ave-hack prose. This car was the first augur of the ’70s end. Actually, it was the second if you include Uriah Heep’s 1978 album Fallen Angel.
[via ebay]
