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...less than for name brands of Scotch. The most widely promoted brand at first will be Crow Light, made by National Distillers (Old Crow bourbon). It has been pitching Crow Light in trade journals with an ad showing a long-haired drinker announcing "a clean break with the past." Seagram, the world's largest distiller, will diversify its Four Roses blend and begin selling a "light blend" under the same name. The company will also have a new light brand called Galaxy. Schenley will introduce no fewer than six light variations of regular products, including J.W. Dant Premium Light...

Author: /time Magazine | Title: MARKETING: Whiskey: Let There Be Light | 7/10/1972 | See Source »

...trip to Bermuda (p. 4); a Peugeot (p. 5); the LIFE Library of Photography (p. 8); an Emerson Permacolor television set (p. 11); a sterling silver Sheaffer pen (p. 12); a General Electric Potscrubber dishwasher (p. 25); Seagram's Crown Royal (p. 26); flying with Jo on National Airlines (pp. 41-42a); some De Beers Consolidated diamonds (p. 56); a Kodak Carousel projector (p. 76); and a Gran Torino Hardtop with bucket seats, vinyl roof, wheel trim rings and white sidewalls (back cover...

Author: /time Magazine | Title: Letters, Apr. 3, 1972 | 4/3/1972 | See Source »

Poverty of Success. Established wine makers led the planting rush. Paul Masson, a subsidiary of Seagram's, is increasing its grape lands around Monterey by 10,000 acres, an area two-thirds the size of Manhattan. Christian Bros. is uprooting plum orchards in order to plant vines. St. Helena's Louis M. Martini Co. stepped up production by one-fourth last year. "Like most of the family wineries, we are taking out just enough money to live on and plowing the rest back into the business," says Louis P. Martini, son of the founder. "We have never been...

Author: /time Magazine | Title: INDUSTRY: The California Wine Rush | 3/1/1971 | See Source »

There is no "school" of Johnson, as there was of his own great mentor, Mies van der Rohe, with whom he worked on the design of New York's Seagram Building. Indeed, it is hard to imagine a young architect setting out to imitate Johnson. He is an architect of sensibility, not polemics, and his work has no discernible core of aesthetic theory. It is all taste, exemplary in its detailing and finesse of decision. Though he was trained in the strict, functionalist idiom of Mies and Gropius, Johnson believes such purism "is winding up its days." "Structural honesty...

Author: /time Magazine | Title: Art: The Duke of Xanadu at Home | 10/26/1970 | See Source »

...scorns the corresponding idleness. He has designed ten art galleries, and his work in Manhattan includes the New York State Theater, the extensions to the Museum of Modern Art, Asia House and the library for New York University. An unceasing flow of projects issues from his office in the Seagram Building, and currently he shares with Paul Rudolph and Kevin Roche an exhibition at the Museum of Modern Art called "Work in Progress." It includes models of Johnson's glass arcades for N.Y.U. modeled on the Milan Galleria but as high as Beauvais Cathedral; a tumbling water garden...

Author: /time Magazine | Title: Art: The Duke of Xanadu at Home | 10/26/1970 | See Source »

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