“I’ve always been fascinated by flight, ballet, high jumps, big movements, big, big hand gestures. I’m just a person who likes to go on stage and entertain people.” – Stevie Nicks
Ever wonder where the Fleetwood Mac singer gets her mad twirling skills? It may be shocking to find out that her first love isn’t Rock ‘n’ Roll after all! It’s ballet. Yup, tip-toe prancing, tutu-wearing, prim-and-proper classical ballet. In another life, Stevie Nicks said she would have been a ballerina! The practiced twirling queen can do up to 20 twirls during a guitar solo, incorporating her vast background in ballet dancing to her performances.
At four years old, Stevie’s love of dance came about when she started pretending to be 19th Century dancer Isadora Duncan, dancing around to only her family. However, she didn’t get to attend formal ballet classes right away as a child. Still, she wanted to figure out her own way to improve her dancing skills, which lead to her creating routines to songs by The Beach Boys. It all came together when she started singing along to the songs she was dancing to. And that’s how ballet birthed to the rock legend’s vocal prowess.
In her late 20s, Stevie started to take Russian ballet lessons four times a week. She would work out ballet plies and stretches while on tour. She eventually built her own ballet studio in her Phoenix home.
Another interesting fact is that in the cover of Fleetwood Mac’s 11th studio album Rumours released in 1987, Stevie was wearing black pointe shoes in what is an obvious dancing pose with drummer Mick Fleetwood, alluding to her love of ballet.
Her fashion style roots even hails from dance. She once said in an interview with the Rolling Stone:
“I always wanted to work the dancing in. The reason I wear the ponchos and the big shawl-y chiffon things is because I realized from a very young age, if you were 5 foot 1, and you wanted to make big moves and be seen from a long way away [ ], you needed something that was gonna make you show up… If you’re gonna dance, you gotta really dance.”
No wonder Stevie’s got the moves! She could pass as the coolest ballerina on the planet.
Cadillac tempered its outlandish fins for 1960, the year that marked the division’s last use of triple two-barrel carburetion as standard Eldorado issue. For the remaining six years of its production life the rear-drive Eldo would have the same engine specs as its less exotic linemates.
As mentioned, air suspension was also abandoned after 1960. So was the Eldorado hardtop. With lower sales than the Biarritz for the second year in a row and with two other hardtop coupes in the Cadillac line, the Seville had by now become superfluous. So too had the Brougham, and Cadillac rang down the curtain on its super-luxury flagship after building only 200 of the 1959-60 models.
1960 Cadillac Eldorado More exclusive -- and more expensive -- were the two-door Eldorados: Seville coupe and Biarritz convertible. They came with a 345-horsepower version of the 390-cid V-8 that guzzled gas through three two-barrel carburetors.
The Eldorados lost some of their exclusivity in 1959 because they no longer sported unique rear end designs and they switched from the “Sabre Spoke” wheels of ’58 to stamped steel wheels. Nonetheless, Eldorados sported deep-dish wheel covers (sharing them with the Sixty Special) and fender skirts were standard, as they were for all 1959-60 Cadillacs. Air suspension was another standard item (it disappeared after 1960 because of chronic leakage problems). Also included were cruise control, Autronic Eye headlight dimmer, radio and electric antenna, power door locks, fog lamps, and three rows of jewels in the rear.