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A car writer's year in new vehicles [w/video]

Christmas is only a week away. The New Year is just around the corner. As 2014 draws to a close, I'm not the only one taking stock of the year that's we're almost shut of. Depending on who you are or what you do, the end of the year can bring to mind tax bills, school semesters or scheduling dental appointments. For me, for the last eight or nine years, at least a small part of this transitory time is occupied with recalling the cars I've driven over the preceding 12 months. Since I started writing about and reviewing cars in 2006, I've done an uneven job of tracking every vehicle I've been in, each year. Last year I made a resolution to be better about it, and the result is a spreadsheet with model names, dates, notes and some basic facts and figures. Armed with this basic data and a yen for year-end stories, I figured it would be interesting to parse the figures and quantify my year in cars in a way I'd never done before. The results are, well, they're a little bizarre, honestly. And I think they'll affect how I approach this gig in 2015. {C} My tally for the year is 68 cars, as of this writing. Before the calendar flips to 2015 it'll be as high as 73. Let me give you a tiny bit of background about how automotive journalists typically get cars to test. There are basically two pools of vehicles I drive on a regular basis: media fleet vehicles and those available on "first drive" programs. The latter group is pretty self-explanatory. Journalists are gathered in one location (sometimes local, sometimes far-flung) with a new model(s), there's usually a day of driving, then we report back to you with our impressions. Media fleet vehicles are different. These are distributed to publications and individual journalists far and wide, and the test period goes from a few days to a week or more. Whereas first drives almost always result in a piece of review content, fleet loans only sometimes do. Other times they serve to give context about brands, segments, technology and the like, to editors and writers. So, adding up the loans I've had out of the press fleet and things I've driven at events, my tally for the year is 68 cars, as of this writing. Before the calendar flips to 2015, it'll be as high as 73. At one of the buff books like Car and Driver or Motor Trend, reviewers might rotate through five cars a week, or more. I know that number sounds high, but as best I can tell, it's pretty average for the full-time professionals in this business.

Cadillac Escala Concept shows off a softer side of American luxury

When Cadillac announced that it would be appearing at Monterey Car Week with a stunning, new concept, the news sent a rush of blood to the head. Would it be a CT6 Coupe? A new V-series model? A follow-up to the show-stopping Elmiraj? Tonight, at the beginning of a weekend of festivities to tantalize automotive enthusiasts and aficionados, Cadillac instead showed off a glimpse of reality: the Escala four-door coupe concept. It wasn't behind a flat-white background, but at a futuristic yet modern home nestled in the hills that Cadillac president Johan De Nysschen introduced the Escala as a "point of inflection" for the brand. Keen observers will note that "Escala" is nearly "Escalade," but any similarity between the two vehicles ends there. De Nysschen noted that the four-door is meant to "relentlessly drive this brand back to its place at the pinnacle of premium." "Nothing less will do," de Nysschen said. The Escala is neither as bold as some recent Cadillacs to take the stage, nor as brash. From a distance, it has a wide, muscular stance wrapped in a tailored suit. Up close, it almost resembles a four-door Camaro — perhaps a nod to the work of former Holden design chief and incoming General Motors director of design, Michael Simcoe. De Nysschen described the Escala project as an "opportunity for designers to flex their creative muscle." The Escala seems to have a footprint mirroring that of a Mercedes-Benz CLS-Class, but it feels wider and smaller at the same time. Is the shape derivative? Perhaps, but the Escala's design is less a reflection of a future, incognito Cadillac, and more of a chance for the brand to show off the details that might soon become icons. The Escala's shape may not be earth-shatteringly different, but the truth is in its details. The mirrors are as thin as designer spectacles. The C-pillar offers an opportunity to show off Cadillac's latest take on the Hoffmeister kink. A glass roof adds visual airiness. And a simple "GM DESIGN" badge sits below the side doors, in deference to the stylists who labored to make the Escala different. The most defining element of the concept is the way it utilizes light. There isn't anything blinding about its lighting, but that means you can focus on the shape and appreciate the ambience. The depth of the LED tail lights adds visual length to the Escala and shows where Cadillac's designers placed the most importance. It's contrast and beauty at once.

Why we can't have better headlights here in the U.S.

It wouldn't be a European auto show if we weren't teased with at least one mainstream vehicle we can't have here. At the Geneva Motor Show last week, the small but vocal contingent of shooting-brake buffs lamented that the Mazda6 wagon won't be coming to our shores, although they can take comfort in the fact that the vehicle won't get the torquey 250-horsepower 2.5-liter turbocharged gasoline engine we'll get here. Mercedes-Benz also announced a new headlight technology in Geneva that likely won't be available here anytime soon. It's just the latest in a long line of innovative and potentially lifesaving front-lighting solutions that the federal government doesn't allow in this country due to outdated standards — and a current lack of leadership at the U.S. Department of Transportation. Mercedes-Benz's new Digital Light system that debuted in Geneva uses a computer chip to activate more than a million micro-reflectors to better illuminate the road ahead. The Digital Light headlamps works with the vehicle's cameras, sensors and navigation mapping to adjust lighting for the given location and situation and to detect other road users. The Digital Light technology also serves as an extended head-up display of sorts by projecting symbols on the pavement ahead to alert drivers to, say, slippery conditions or pedestrians in the road. And it can even project lines on the road in a construction zone or through tight curves to show the driver the correct path. Digital Light will be available on Mercedes-Maybach vehicles later this year, although like any technology it's bound to trickle down to less expensive vehicles. That is, if we ever get it here in the U.S. Audi, a leader in automotive lighting, has repeatedly run into snags trying to bring state-of-the-art car headlights to the U.S. The German luxury automaker's recently introduced matrix laser headlight system, which performs many of the same trick as Mercedes-Benz's Digital Light, also isn't legal on U.S. roads. And five years after the introduction of its matrix-beam LED lighting, which illuminates more of the road without blinding oncoming motorists with brights by simultaneously operating high and low beams, Audi still can't bring that technology to the U.S. either.