Granular

Granular (pronounced gran-yuh-ler)

(1) Of the nature of granules; grainy.

(2) Composed of or bearing granules or grains.

(3) Showing a granulated structure.

(4) In computing, an object existing as a singular form at the level of the file system but which exists at the application level in multiple parts.

(5) Relating to or containing particles having a strong affinity for nuclear stains, as in certain bacteria.

1762 (although use not widespread until 1794): From the Late Latin granulum (granule, a little grain), diminutive of the Latin granum (grain, seed) from the primitive Indo-European gre-no- (grain) + -ar (from the From Latin -āris (of, near, pertaining to), the suffix appended to various words, often nouns, to make the adjectival form; added most often, but not exclusively, to words of Latin origin).  The word seems rather suddenly to have replaced the late fourteenth century granulous.  Granular, granularity, granule & granulation are nouns, granulate is a verb & adjective and granulatory is an adjective.

Terminology describing degrees of granularity

As granular has become a more widely used word, fastidious types have noted the increasing frequency of things being described as "more granular" or "less granular" and this elicits disapproval because it’s imprecise.  Something granular is composed of (usually small), discrete entities as opposed to being continuous and that’s a binary distinction, not a matter of degree so it’s inherently unclear if "more granular" and "less granular" indicate finer or coarser granularity.  For clarity, one should speak only of finer or coarser granularity.

Lindsay Lohan represented in granular art, an artificial intelligence (AI) generated artwork created by Wout from AI Fountain as part of the Curated Community Art initiative (CCAI) and finished in Adobe Photoshop.  Each digital artwork created by this algorithm is unique and made from a set of parameters; process and output are thus both inherently granular.

In computing, the concept of granularity exists in many forks and layers.  Users deal frequently with granular data, most typically when handling what appears to exist in many parts but which is, to the system, at least one layer, a single object.  For system administrators, it’s an especially handy attribute when it’s necessary to recover one small piece of data which has been copied or backed-up as something really huge and there are big machine operators which now routinely handle data sets of a size which only a few years ago were unimaginably large.  For them, the ability to look at the whole and be able to extract pieces, drilling down if need be to individual bytes, makes easily possible what would otherwise require much time and hardware; hence the metaphor of granularity, a mechanism to find a particular grain in a silo of many trillions.

That’s useful but really is just brute-force, the massive up-scaling up of something which has existed since the earliest forms of digital storage.  More intriguing is the recent emergence of Granular computing (GrC), a fork in information processing, the focus of which is information granules, entities created from the processes of data abstraction and derivations from data.  The source and structure of this data is not the imperative; what matters are the relationships (of which there may be many) which can, for example, simultaneously be both the extent of difference and a dependence on indistinguishability.  GrC, as it now exists, is more of a conceptual direction than a coherent process or even a theoretical perspective.  Its most promising implication is perhaps the granules which might form as relationships between previously disparate data sets are explored.  This may allow previously unrealized correlates to be identified, perhaps enabling humanity to mine the accumulate data sets for what Donald Rumsfeld (1932–2021: US Secretary of Defense 1975-1977 & 2001-2006) called the unknown knowns.  Rumsfeld may have been evil but his mind could sparkle and many unknown knowns may await.  

Colophon

Colophon (pronounced kol-uh-fon or kol-uh-fuhn)

(1) A publisher's or printer's distinctive emblem (or imprint, label, logo, mark, symbol trademark etc), used as an identifying device on its books and other works, appearing variously within the covers and at the base of the spine (replicated in the same place on a dust jacket).

(2) An inscription (historically at the end of a book or manuscript but of late frequently printed towards the beginning), widely used since the fifteenth century (although the practice pre-dates the invention of printing) and providing the title or subject of the work, selected details about the author(s), the name of the printer or publisher, the date and place of publication and (less commonly), technical details such as typefaces, bibliophilic information or the paper and method of binding used.

(3) By extension, in internet use, a page on a website identifying the details of its creation, such as the author's name, the technologies used (including copyright attribution) and many other details, some or all of which may replicate the metadata associated with objects in other digital contexts.

(3) In entomology, a genus of beetles in the stag beetle family Lucanidae.

(4) In art, music, poetry etc, a finishing stroke or crowning touch (archaic except as an artistic affectation).

(5) An city in Ancient Greece (in Lydia, Asia Minor); one of the twelve Ionian cities banded together in the eighth century BC and substantially depopulated in 286 BC (always initial capital).  It was romanized as Kolophṓn.

1615-1625: From the Late Latin colophōn, from the Ancient Greek κολοφών (kolophṓn) (peak, summit; finishing touch; a finishing stroke), from the primitive Indo-European root kel (to be prominent; hill).  A colophon should not be confused with colophonite (in mineralogy a coarsely granular variety of garnet) or technical words from medicine words like coloplasty (surgery on the colon (especially partial resection or an instance of such surgery)).  The adjective Colophonian is applied to (1) an inhabitant of the Lydian city of Colophon or (2) matters of or pertaining to that city.  The term colophony (for the type of rosin) is from colophonia resina (from the Ancient Greek Κολοφωνία ῥητίνη (Kolophōnia rhētinē)) which describes the hardened resin from the pine trees of Colophon, a substance valued by the craftsmen who made stringed musical instruments because its properties were uniquely helpful in increasing the friction of bow hairs (and now used in pharmaceutical preparations & soldering fluxes though it’s still prized by those who play the violin, viola, cello etc).  Colophon is a noun and colophonic is an adjective; the noun plural is colophons.

The etymological relationship between the colophon in publishing and the Ancient Greek city of Colophon lies in the original meaning of the word and the reverence in the West for the classical world which would have found a Latin or Greek form preferable to something in brutish English like “details page”.  The Greek word κολοφών (kolophṓn) meant “peak” or “summit” and thus the ancient Lydian city in Asia Minor (what is now the land mass of the modern Republic of Türkiye) which was said to be the oldest of the twelve of the Ionian League came to be known as Colophon because it was built upon a ridgeline which rose between Ephesus & Lebedos.  From the, in Greek, kolophṓn came to be used to mean “a city or town at the summit of a hill or a signpost at the end of a trail that indicated the name and location of the place” and thus “a finishing touch; a finishing stroke”.  From this duality of meaning came the use in publishing, the bibliographic addendum called a “colophon” in the metaphorical sense of a “crowning touch” and the historic placement at the end of a book or manuscript an allusion to “the signpost at the end”.  Although it would be centuries before anything like a standardized form emerged, the concept of the colophon has been identified in texts from antiquity, recognizable versions existing as early as the second century AD.

An emulation of a colaphon.

A colophon is not an essential component of a book but many publishers have long included one.  In its most simple modern form, a colophon is a summary of technical information which includes data such as the name & insignia of the publisher, the font(s) used, the details of photographs or art used on the covers and the names of the author(s) or editor(s), along with whatever biographical data they may care to reveal.  The nature of the text also influences what’s included, books with a technical bent (and certainly those covering IT matters) likely to list software used in the composition while those which focus on photography are likely to include much about cameras.  Reflecting environment concerns, increasingly colophons include mentions of thing like sustainability in the process (which can mean much or little) or the use of recycled materials.  A colophon differs from a blurb (often printed on the back cover or a cover flap) which is a blend of promotional puff-piece and a précis of the contents.  Traditionally part of the back matter, they’re now often found among the front pages along with the title page (a more modern innovation than the colophon) appearing with the usual entries such as the date & place of publication, the copyright stamp, ISBN references etc.  In a sense, a colophon can be considered a form of metadata (which references the concept of structured information which is about other data).

Paraphernalia

Paraphernalia (pronounced par-uh-fer-neyl-yuh or par-uh-fuh-neyl-yuh)

(1) Tools, equipment, apparatus or furnishing used in or necessary for a particular activity (sometimes used with a singular verb).

(2) Personal belongings (used with a plural verb).

(3) At common law, a historic term for the personal articles, apart from dower, reserved by law to a married woman as goods the title of which did not pass to her husband upon marriage (used with a singular verb).

1470-1480: From the Medieval Latin paraphernālia, from the Ancient Greek παράφερνα (parápherna) (goods which a wife brings over and above her dowry), the construct being παρά (pará) (beside) +‎ φερνή (phernḗ) (dowry), + the Latin -ālia, (noun use of neuter plural of –ālis), thus the “things additional to a dowry”.  Among the propertied classes, title to the possessions of a wife (the dowry) passes to the husband upon marriage while the paraphernalia which she brought remained her property. Paraphernalia is a noun and paraphernal is an adjective.  Paraphernalia, perhaps strangely, is now inherently singular because a paraphernalia is a granular construct made of a number of items.  The Medieval Latin paraphernālia was the neuter plural of paraphernlis, pertaining to the parápherna (a married woman's property exclusive of her dowry) so in the Latin it was a plural and the singular was paraphernlis but the word has been absorbed into English as a plural.  Paraphenalium has been suggested but is likely just undergraduate humor.

Twenty-first century paraphernalia.

Paraphernalia in what is now the normal conversational sense refers to the “stuff” associated with and sometimes specific to some activity, modern usage by analogy, unrelated to status of ownership.  Hooks, and sinkers are part of the paraphernalia of fishing, brushes and easels those of painting.  The word has become a favorite of police who, when searching for drugs, don’t actually need to find any to bring charges, drug paraphernalia being enough to convince some judges, especially if accused has “a bit of previous”.  The more elaborate synonyms of paraphernalia are appurtenances, accoutrements, parapherna or trappings but most useful and certainly best understood is “stuff”.

Public service announcement: Lindsay Lohan sends the message.

In the context of the illicit use of narcotics, the term “paraphernalia” is sometimes referenced in legislation but there’s often not any attempt to list exactly which items may be considered thus, the definition hanging on purpose rather than form.  It refers to any equipment, product or material used primarily or intended for use in connection with the production, preparation, or consumption of illicit drugs.  Drug users can be imaginative in the adoption of hardware for purposes other than what was in the designer’s mind and a wide range of stuff has appeared as exhibits in prosecutions.  In some jurisdictions, possession, sale or distribution of drug paraphernalia can be unlawful, even if there’s no evidence of the presence of narcotics.  Examples of drug paraphernalia include:

(1) Smoking devices: Pipes, bongs, water pipes, hookahs, and rolling papers used for smoking marijuana, crack cocaine, or methamphetamine.  Obviously, some of these items can also be used lawfully to consume (dual-use in the language of sanctions) substances like tobacco so the possibility of prosecution depends on the circumstances of each case.

(2) Syringes and needles: These typically are associated with intravenous drug use, most infamously heroin and other opioids but there are many substances (including Diazepam (Valium) and other pharmaceuticals) which can appear in liquid form.

(3) Spoons and straws: Small spoons or hollow tubes (often depicted in popular culture being rolled from high-value US$ bills) are used to “snort” drugs supplied or rendered in powdered form, of which cocaine is the best known.  The popular association of spoons with cocaine led to the comparison “silver spoon vs paper plate” to contrast the user profile with that of the much cheaper crack cocaine.

(4) Grinders: Devices used to break down marijuana buds into smaller particles for smoking or vaporization.  There are specialized products for this but others use the regular kitchen item intended for grinding herbs such as mint when making mint sauce.  Weed smokers like to give their grinders affectionate names like “mull-o-matic”.

(5) Scales: High-precision scales are used to weigh drugs for distribution or sale.  Modern electronics mean these can now be very small.

(6) Roach clips: There are metal or plastic clips used to hold the end of a joint, allowing users to smoke without risk of burning the finger tips.  It’s just common sense really.

(7) Pill bottles and pill crushers: These are used to store and crush prescription medications for illicit use.  In recent years there’s also been a crackdown on pill making devices which also have a legitimate purpose in communities such as the “holistic health” set who make their own pills from (non-narcotic) herbs.

(8) Freebase kits: One of the part-numbers associated with the trade of the dark web, the kits include the tools needed to convert cocaine hydrochloride into a smokable form, such as crack cocaine.

Historically, at common law, upon marriage, a woman’s assets became possessions of her husband, title passing automatically.  The exception was her paraphernalia which tended to include things inherently personal (clothes, sewing equipment, shoes etc) but could in certain circumstances include items of jewelry.  A husband could neither appropriate nor sell paraphernalia without her explicit consent and they did not accrue to his estate upon death but a woman could include paraphernalia in her will.  Concept is now obsolete in all common law jurisdictions but can still be cited in disputes over wills, though only in argument and the scope is limited.

Medieval paraphernalia.

Inherited from Greek and Roman law, in English law, paraphernalia differed from some of the property rights granted to women and mentioned in various iterations of the Magna Carta (1215-1225) in that it wasn't mentioned and assumed an at times strained co-existence with customary practice, the procedures of the Church, common law and civil law, judges feeling often constrained to distinguish between "our law" and "spiritual law", the latter tending always to be more generous to a widow.  All the medieval evidence however does hit that attempts to enforce ecclesiastical law were probably fitful although it may be that matters involving disputes about paraphernalia were either rare or nor recorded.  Where matters are recorded, they concerned not stuff like pins and needles but variations of apparel, a wide category which could include anything a woman might wear and that might be shoes, gowns or jewelry; in other words, like just about any dispute brought to court, money was involved.  Some jurisdictions were more accommodating still, The late-medieval and early-modern Court of Canterbury recognizing a "widow's chamber" which included her bed, the contents of her bedchamber, her apparel, her jewels and the chest in church all was stored.  There exists even records of proto-feminist husbands counter-signing their wife's list of what she considered her paraphernalia; a kind of early pre-nuptial arrangement.  The common law courts of course always preferred the rules of common law to any recognition of customary practice but in the Chancery courts of equity, successive chancellors recognized the local rules of London and York which, although abolished respectively in 1692 and 1724 and neither had anyway mentioned paraphernalia.  Despite the abolition however, at least in some instances, courts in London continued to make awards to widows based on the old rules.

Eighteenth century paraphernalia.

The most significant definitional development regarding paraphernalia dates from 1585 and it turned on the meaning of "apparel", extending the meaning of the term at common law.  What it did was confirm what some earlier judgements had at least implied: That it was no longer confined to pins and petticoats, items of little financial value, the wife in this case claiming as paraphernalia jewels and items of precious metal.  The plaintiff, citing medieval authorities, claimed it was established law that all the apparel of a woman was not paraphernalia but only that which was necessary and essential, ad necessitatem, not baubles and jewels which were ad ornamentum. How the court might have ruled on that as a general principle isn’t known because the matter appears to have been decided on the basis of the social status of the widow, a viscountess, the fourth wife of the viscount and some forty years his junior.  Whether the age difference attracted a sympathetic eye from the bench isn’t noted but the judge agreed that “parapherna” should be allowed to a widow according to her degree and viscountess being of a suitably high degree, he allowed he claim.  She kept the jewels.  While she may not have set a precedent in the narrow technical sense, the report of the case suggests this was not the first occasion where judges had been called upon to define what could be considered apparel based on the social and economic position of the widow, the viscountess certainly seems to have started a trend.  Just about every reported case thereafter, the paraphernalia sought was almost always jewelry.

So there was progress and by the end of the eighteenth century a widow was likely to keep many more of her personal possessions than women six-hundred years earlier, both the common law and equity courts expanding the definitional framework of paraphernalia well beyond the clothes on her back and case law existed to establish a husband could not by the operation of his will deprive his widow of her rights.  However, much still lay ahead, a husband’s debts in some cases still able to absorb paraphernalia, nothing prevented a husband giving away any of his wife’s possessions during his lifetime and a cleverly arranged trust could still defeat just about anything.  Still, progress there had been.

The legal progress attracted not just the odd viscountess but also the author Anthony Trollope (1815–1882), one with an eye for antics of an avaricious aristocracy.  In The Eustace Diamonds (1871), he tracks the progress of the beautiful but entirely unprincipled and recently widowed Lizzie Eustace through the dual plot of her husband-hunting and attempts to keep a cluster of diamonds, it being consequential whether they were an heirloom and therefore the property of her late husband’s heirs, or part of her paraphernalia and thus her own.  Most modern fiction may be worthless but Trollop is rewarding; everyone should read the Chronicles of Barsetshire (1855-1867).

Gully

Gully (pronounced guhl-ee)

(1) A small valley or ravine originally worn away by running water and serving as a drainage-way after prolonged or heavy rain.

(2) A ditch or gutter.

(3) In cricket, a position in the off-side field (some 30^o behind square), between point and the widest of the slips (or wicket-keeper if no slip is set); the fielder occupying this position.

(4) In tenpin bowling, either of the two channels at the side of the bowling lane.

(5) To make gullies in the ground or an object

(6) In hydrology, to form channels by the action of water.

(7) In slang, or relating to the environment, culture, or life experience in poor urban neighborhoods; vulgar, raw, or authentic and sometimes used as an alternative to ghetto.

(8) In (US) slang, as gullywasher, an intense, but typically brief rain event, the form dating from 1887.

(9) In Scotland and northern England, a knife, especially a large kitchen or butcher’s knife (the alternative spelling gulley).

(10) In some parts of the English-speaking word, a synonym for valley, especially one heavily wooded; a deep, wide fissure between two buttresses in a mountain face, sometimes containing a stream or scree (although in most traditions gullies are usually dry, water flowing only after heavy rain or a sudden input of water from other drainage systems.

(11) In engineering slang, any channel like structure which is available to be used for some purpose such as ducts or cables (applied to anything from computer motherboards to nuclear reactors).

(12) In engineering, a grooved iron rail or tram plate (mostly UK).

(13) In civil engineering, sometimes used as a descriptor for drop-kerbs, gutters etc.

(14) Of liquid, noisily to flow (obsolete).

(15) In South Asia (chiefly India but known also in Pakistan, Bangladesh & Sri Lanka), an alleyway or side street.     

1530–1540: Etymologists have traced several possible sources of the word and it’s not impossible the word evolved independently in different places.  It may have been a variant of the Middle English golet (esophagus, gullet), from Old French goulet (the French –et ultimately replace by –y), from Latin gula (throat) and the meaning-shift in the Middle English to "water channel, ravine" may have been influenced by Middle English gylle, gille & galle (deep narrow valley, ravine), hence gill for some time being a synonym.   An alternative source from The French has been suggested as goulet (neck of a bottle).  The use is South Asia is more certain, borrowed from Hindi गली (galī) and the Urdu گَلی‎ (galī) with the spelling evolving under the Raj under the influence of English.  It was inherited from Ashokan Prakrit galī and was cognate with the Punjabi ਗਲੀ (galī) / گَلی‎ (galī), the Gujarati ગલી (galī), the Sindhi ڳَليِ‎ / ॻली, the Marathi गल्ली (gallī) and the Bengali গলি (gôli), the Latin callis, the Italian calle and Spanish calle (street, lane or path).  The first reference (in Scottish English) to the knife (the spelling gully or gulley) dates from circa 1575–1585, the origin unknown.  Gully is a noun & verb and gullied & gullying are verbs; the noun plural is gullies.

Fielding positions in cricket.  Although some seem now mysterious, at some point all would have made sense to someone.

Historically, a gully was a natural formation of water flows which was usually dry except after periods of heavy rainfall or a sudden input of water from other drainage systems after more remote flooding or the melting of snow or ice.  Over the years the meaning has become less precise and other words are sometimes used to describe what are understood by many as gullies.  The noun ravine (long deep gorge worn by a stream or torrent of water) dates from 1760 and was from the mid seventeenth century French ravin (a gully), from the Old French raviner (to pillage; to sweep down, cascade), and the French ravine (a violent rush of water, a gully worn by a torrent), from the Old French ravine (violent rush of water, waterfall; avalanche; robbery, rapine).  Both the French noun and verb ultimately came from the Latin rapina (act of robbery, plundering (related to rapine and the source of much modern confusion because “rape” was long used in the sense of “pillage” or “kidnapping”)) with sense development influenced by the Latin rapidus (rapid).  Entries for ravine appear in early seventeenth century dictionaries with the meaning “a raging flood” whereas in fourteenth century Middle English, both ravin & ravine meant “booty, plunder, robbery”, this circa 1350-1500 borrowing of the Latin influenced French word.  Dating from 1832, the noun gulch (deep ravine), despite being of recent origin, is a mystery.  It may have been from the obsolete or dialectal verb gulsh (sink in to the soil) or "gush out" (of water), from the early thirteenth century Middle English gulchen (to gush forth; to drink greedily), the most evocative use of which was the mid thirteenth century gulche-cuppe (a greedy drinker).  Despite the vague similarities, etymologists maintain these forms had no etymological connection with gully.  Other words (trench, culvert, crevasse, chasm, notch, chase, watercourse, channel, gutter gorge watercourse etc), even when they have precise meanings in geography or hydrology, are also sometimes used interchangeably with gully.

Japanese manhole covers (マンホールの蓋 (Manhōru no futa)) can be delightful or functional (in a typically thoughtful Japanese manner, some include a locality map with directions) but usually provide little inspiration for those designing wheels.

In the nineteenth century, German picked up Gully from English in the sense of “a road drain, a drainage channel” (synonym: Straßenablauf), the covering of a road drain or gully being Ablaufgitter & Ablaufdeckel.  One adaptation quickly coined was Gullydeckel (manhole cover), the construct being gully + deckel, (an untypically economical construct in German given the usual forms for manhole were Kontrollschacht & Einstiegschacht), an alternative to Kanaldeckel (manhole cover).  Deckel (lid, cap, cover of a container) was an ellipsis of Bierdeckel (beer mat) and also used in humorous slang to mean “headwear, hat” although it was most productive in the formation of compounds with cap in the sense of “an artificial or arbitarily imposed upper limit or ceiling” such as Preisdeckel (price cap), the common synonym being Deckelung (capping).

A German Gullideckel (left), a Mercedes-Benz “Gullideckel” aluminum wheel (centre) and a 1988 Mercedes-Benz 560 SL so equipped.

The alternative spelling was Gullideckel and it was this which was picked up to describe the design of aluminum wheel adopted by Mercedes-Benz in 1982.  The reference is explained by the wheel’s design bearing a similarity to that typically used by German manhole covers although Mercedes-Benz dryly explained their concerns were less artistic or a tribute to Teutonic urban hydrology than a reflection of the imperatives of optimizing the air-flow required for brake cooling and a reduction in drag compared to their earlier, long-serving design.  It was in the 1980s that the greatest improvement in the aerodynamic efficiency of cars was achieved and wheels were a significant, though often little-noticed part of the process.

Top row: Mercedes-Benz C111 at Hockenheimring, 1969 (left).  The C111 series was originally a rolling test bed for the evaluation of Wankel engines ad it was on the C111 that the new wheels (then called “Premier”) were first shown although no production versions (centre) were ever made so wide.  The 6½ inch versions were first used on the 450 SEL 6.9 (right).  Bottom row: A bundt cake tin (left); like the wheels, the tins are made from aluminum but are always cast or pressed, not forged.  A ginger bundt cake (centre) and a lemon blueberry bundt cake with vanilla icing (right).      

Aunger magazine advertisement, Australia, 1974.  Not all wheels use an existing circular product as a model.  A style popular in the 1970s, it was known colloquially as the “jellybean”, “slotted” or “beanhole”.  Later in the decade, “phonedial” wheels (and wheel covers) arrived. 

The earlier design used by Mercedes-Benz was apparently not inspired by any existing product but the public soon found nicknames.  Introduced in 1969 and soon an option throughout the range except du Grosser (the 600 (W100) 1963-1981) until 1986, the factory initially listed them as the “Premier Wheel” (ie the “top of the range”) but in the public imagination the nicknames prevailed.  First informally dubbed "Baroque" because of what was then considered an ornate design, the name which endured was “Bundt” an allusion to the popular “bundt cakes”, a circular cake with a hole in the centre and there was certainly some resemblance.  Produced by the Otto Fuchs (pronounced fuks) Company of Meinerzhagen (near Cologne), the early versions were all painted silver (though not clear-coated) and available only in a 14 x 6-inch size, 5½ inch versions soon offered to suit the lower powered cars while in the mid-1970s, production began of 6½ inch versions to handle the tyres fitted to the much faster 450 SEL 6.9 (W116) and 450 SLC 5.0.  Demand for the bundt wheel option grew rapidly, forcing Fuchs to add a line of cast wheels in the same design, the casting process able to achieve both higher volumes and a lower unit cost.  The process of forging aluminum requires great heat and immense pressure (Fuchs used as much as 7,000 tons of force) and realigns the granular structure of the material in the direction of the flow, creating a more homogeneous and less porous micro-structure.  Forging renders aluminum as strong as steel for less weight and provides a notably higher resistance to fatigue and corrosion but the process is expensive.  Fuchs also manufactured small runs of a 15 x 7-inch version and today these are much sought after but, being expensive, they remain rare.  Such is the appeal of the style, specialists in the US have fabricated versions in both a 16 & 17-inch format to enable the use of the larger, more capable tyres now available.  Today, factories often offer a variety of designs of aluminum wheels with some styles available only briefly but for over fifteen years, the bundt was the only one available on a Mercedes-Benz.

Five-leaf clover: Fuchs wheels on Porsche 911s in matte, (left), polished (centre) & with painted "recessed areas" (right).  The five spoke wheel is a matter of particular interest to the originality police in the Porsche collector community and great attention is paid to date-stamping and paint, it being very important that where appropriate the wheels variously should be polished, painted or raw metal.  The Porsche pedants (who in intensity and seriousness recall seventeenth century Jesuit priests) do not tolerate any deviance from what was done by the factory and have an encyclopaedic knowledge of the way paint was sometimes applied to recessed areas.  

Half a decade earlier, the neighbors in Stuttgart had also designed an aluminum wheel.  Porsche had planned a 1965 release for its new 911S, at that time the fastest, sportiest version of the 911 which had been on sale since 1963 and the distinctive five-spoke shape would first be sold in 1966 and remain on the option list until 1989, the popularity so enduring it’s since been reprised more than once.  Distinctive though it was, there were really only two requirements for the new wheel: It needed to be durable and light, strong enough to endure the stresses the higher speed of the 911S and delivering a reduction in un-sprung mass weight significant enough to enhance handling.  The design target was an aluminum wheel which weighted 3 kg (6½ lb) less than steel wheel of the same dimensions.

1957 Volkswagen Microbus Deluxe with 15 inch Fuchs-style chromed wheels (not a VW part-number).  Between 1951-1967, the Microbus was offered as the Kleinbus Sonderausführung (small bus, special version) which was marketed variously as the Microbus Deluxe, Sunroof Deluxe & Samba; the most obvious distinguishing features were the folding fabric sunroof and the unusual “skylight” windows which followed the curve of sides of the roof, a technique borrowed from tourist train carriages, busses and sightseeing boats.  Sambas faithfully restored to original specification have sold for over US$300,000 but on those which have been modified (larger displacement engines often fitted), the "five-leaf clover" wheels sometimes appear.  

Porsche had also used the Otto Fuchs Company, impressed by the foundry having developed a new manufacturing process which, instead of using a cast rim, manufactured it in one piece from an alloy made of 97% aluminum with the remainder composed mostly of magnesium, silicon, manganese & titanium, the technique still used by the company today.  The five-leaf clover design was based on nothing in particular and done in-house by Porsche, the only change from the original prototype apparently a smoothing of the scalloped shape which first adorned the spokes.  The design proved adaptable, the original 15 x 4½-inch wide wheels growing eventually to eight inches when fitted to the rear of the 911 Turbo (930; 1975-1989), the additional rubber required to tame (to some degree) the behavior of a machine which some labeled the “widow maker”.  Later designs have offered various specific improvements but none has matched the charm of the original and Fuchs have continued its manufacture for later model 911s, some in larger diameters to accommodate advances in suspension geometry and tyres.

Top row, gas-burners butt-to-butt: Lindsay Lohan using gas-burner as improvised cigarette lighter, Terry Richardson (b 1965) photo-shoot, 2012 (left) and 1970 Porsche 914/6 with Mahle “gas-burner” wheels.  Bottom row: Five-hob Kenmore gas-burner stove, circa 1950 (left) and a quintet of five-lug Mahle “gas-burners” (option code 975, part number 901.361.017.00, 5½"J x 15", 42mm offset).  The five-lug wheels were used on the 911 & 914/6 while the four lug version (part number 914-361-015-00) was for the 914.

Although the five-leaf clover design never picked-up an association with circular shapes like manhole covers or cakes, there was another Porsche wheel which did.  Produced by Mahle GmbH and quickly dubbed “gas-burners” (an allusion to the resemblance to the hobs on gas-stoves), they were available on the 911, 912 & 914-6 between 1970-1972 and although generally not thought as attractive as Fuchs’ creations, the gas-burners have a cult following based on pure functionality: pressure cast in magnesium and available only in a 15 x 5½-inch format, at 4.3 kg (9½ lb) they’re said to be the lightest 15-inch wheel ever made, more svelte even than the 15 x 6-inch units Michelin rendered in glass fibre & resin for the Citroën SM (1970-1975) (the so-called “plastic wheels”).

1972 Porsche 917/10.

The Mahle “gas-burners” usually were seen in unadorned metal and over the years that hasn’t changed, Porsche owners usually resisting any temptation to have them chrome-plated, a commendable restraint which didn’t extend to many with Mercedes-Benz SLs, SECs, CLs and such, the lure of the shiny apparently afflicting only those of certain German cargo cults.  The Mahles did though in 1974 have one colourful outing, Porsche making a thousand-odd 914 LEs (Limited Edition) models to celebrate the success of the 917/10 & 917/30 in the 1972 & 1973 Can-Am (Canadian-American Challenge) Cup series.  The LE version came with the 914’s mechanical specification unchanged so it was a modest tribute to one of the most extraordinary racing cars ever built (one which routinely took to the track with 1,000 horse power (HP) and in qualifying trim could be tuned to generate close to 1,500) but it was a difficult era (post emission control & pre modern electronics) in which to make street-legal high-performance variants so colors & bundled extras it had to be.

1972 Porsche 917/30.

The plan had been for the run to be called the “914 Can-Am” but while the SCCA (Sports Car Club of America, the sanctioning body for the series) was in principle agreeable, the parties, after some haggling, couldn’t agree on the per-vehicle royalty fee so the bland (and free) “LE” moniker was used; on the option list, the package appeared as M-778 (Can-Am equipment) so presumably the material was printed in anticipation of agreement being reached with the SCCA.  All the LEs left the factory in the spring of 1974 and, in the way Porsche then did things, their specification was close to identical with the odd variation, things like tinted glass or the rear demister sometimes fitted, sometimes not.  The Porsche clubs account for this by the LEs not being produced in a single, dedicated batch (The VINs (vehicle identification number) span a range of 2400-odd) with the parts fitted as cars came down the line, meaning the LEs were interpolated with standard 914s.  There were two basic LEs: some 500 in Black (LO41) with Sunflower Yellow (L13K) highlights (code U1V) and 500 in a Light Ivory (L80E) & Phoenix Red (L32K and visually close to orange) mix (code U2V9), the former picking up the predictable nickname “Bumblebee” the latter, more imaginatively, dubbed “Creamsicle” (a type of ice cream with a similar color scheme).  Rumours of a Yellow & Green combo were apparently an urban legend so the “Grasshopper” was a mythical beast although some 914s have privately been transformed thus.

1974 Porsche 914 LE “Bumblebee”.

All the LEs were shipped to North America for sale in the US and Canada and along with the RPO (regular production option) Appearance Group option (Code 06, fog lamps and centre console with clock and additional gauges (oil temperature & voltmeter) at US$300), the LE package (an additional US$320) included special interior appointments, the Mahle “gas-burner” wheels, a front air-dam (spoiler), front and rear anti-sway bars and, of course, the two unique paint combinations, highlighted by a “negative stripe” just above the rocker panels, spelling out “Porsche”.  All LEs were fitted with the 1971 cm³ (120 cubic inch) Volkswagen-based flat four which, rated at 91 HP (as certified for use in the US) had made the 914 more competitive than when fitted with the original 1795 cm³ (110 cubic inch), the characteristics of which were judged “marginal” in a sports car and the factory must have agreed, the fraction in its claim of 72½ HP a hint every little bit helped.  Few though ever complained about the handling the mid-engined configuration offered and the four-wheel disc brakes also attracted praise.

1974 Porsche 914 LE “Creamsicle”.

The 914 LE was a one-off but it did pass on some bits and pieces used later in the 914’s run (1969-1976), the most obvious of which was the front air-dam (part number 914.503.235.10), listed eventually on the RPO list for US$145 and supplied as a dealer-fitted kit with a pair of mounting brackets (left 914.503.237.10 & right 914.503.238.10); it replaced the standard metal valence.  In common with many fittings of its type, the air dam was susceptible to impacts with kerbs and it’s the part of the LE least likely to have survived the years; while reproductions have been made, the Porsche community notes the quality of the OEM (original equipment manufacturer) units was superior.  Also available in the aftermarket are reproduction side stripes and they exist because (1) some cars were (at the customer’s request) supplied un-striped and (2) there was in 1974 some market resistance to the distinctive color schemes so dealers sometimes resorted to restoring them to what were essentially plain Black or Light Ivory 914s, an approach taken in 1970-1971 by some Plymouth dealers who found the wildly styled Superbird sometimes a “hard sell”.  However, the 914 LE now has a cult following and when one is discovered without its distinctive fittings, a restoration is common although collectors note the twenty-first century’s reproduction Phoenix Red vinyl doesn’t quite match what was done in 1974.

Shaker

Shaker (pronounced shey-ker)

(1) A person or thing that shakes or the means by which something is shaken.

(2) A container with a perforated top from which a seasoning, condiment, sugar, flour, or the like is shaken onto food.

(3) Any of various containers for shaking beverages to mix the ingredients (eg cocktail shaker).

(4) A dredger or caster.

(5) A member of the Millennial Church, originating in England in the middle of the eighteenth century (initial capital letter).

(6) Noting or pertaining to a style of something produced by Shakers and characterized by simplicity of form, lack of ornamentation, fine craftsmanship, and functionality (initial capital letter).

(7) As the later component in mover and shaker, one who is important, influential or a dynamic forced in some field or generally.

(8) An exposed air-intake system for internal combustion engines, attached directly to the induction and thus intended to shake as the engine vibrates.

(9) A variety of pigeon.

(10) In railway line construction, one who holds spikes while they are hammered.

(11) In music, a musical percussion instrument filled with granular solids which produce a rhythmic sound when shaken.

(12) A kind of straight-sided, stackable glass.

1400-1450: From the late Middle English, the construct being shake +‎ -er.  Shake is from the Middle English schaken, from the Old English sċeacan & sċacan (to shake), from the Proto-West Germanic skakan, from the Proto-Germanic skakaną (to shake, swing, escape), from the primitive Indo-European (s)keg- & (s)kek- (to jump, move).  It was cognate with the Scots schake & schack (to shake), the West Frisian schaekje (to shake), the Dutch schaken (to elope, make clean, shake), the Low German schaken (to move, shift, push, shake) & schacken (to shake, shock), the Norwegian Nynorsk skaka (to shake), the Swedish skaka (to shake), the Dutch schokken (to shake, shock) and the Russian скака́ть (skakát) (to jump).  The –er suffix is from the Middle English –er & -ere, from the Old English -ere, from the Proto-Germanic -ārijaz, thought usually to have been borrowed from Latin –ārius and reinforced by the synonymous but unrelated Old French –or & -eor (The Anglo-Norman variant was -our), from the Latin -(ā)tor, from the primitive Indo-European -tōr.  Added to verbs (typically a person or thing that does an action indicated by the root verb) and forms an agent noun.  The plural is shakers.

The Shakers

The Millennial Church later called the Shakers, dates from 1747, the name shaker first casually applied circa 1750 although it had been used to describe similar practices in other sects since the 1640s and, as an adjective, shaker was first applied to their stark furniture in 1866.  The first cocktail shaker was mentioned in 1868 (the ancient Greeks had seison (a kind of vase) which translated literally as “shaker".  The modern-sounding “movers and shakers” is attested as early as 1874.  The Shakers began as a sect of the English Quakers, the movement founded in 1747 by Jane and James Wardley.  Correctly styled as the United Society of Believers in Christ’s Second Appearing, the Shakers were a celibate, millenarian group that established a number of communal settlements in the United States during the eighteenth century.  The early movement was based on the revelations of Ann Lee (1736–1784; addressed within as Mother Ann Lee) who had been active in the English church for almost twenty years after becoming a devotee of the preaching of the Wardleys to whom she confessed her sins; central to her vision was the necessity of repentance and the forsaking of sin as the pathway to redemption.

Movers and shakers: Shakers shaking in worship, New York, 1858.

Promising a vision of a heavenly kingdom to come, Shaker teaching emphasized simplicity, celibacy, & work and communities were flourishing by the mid-nineteenth century, contributing to American culture the style of architecture, furniture, and handicraft for which the movement is today best remembered.  The distinctive feature of their form of worship was the ecstatic dancing or "shaking", which led to them being dubbed “the Shaking Quakers”, later generally shorted to “Shakers”.  The physicality of their practices was neither novel or unique, nor anything particularly associated with Christianity, many religions or sects within, noted for rituals involving shaking, shouting, dancing, whirling, and singing, sometimes in intelligible words, often called “in tongues” (the idea often being what was spoken coming directly from God).

The much-admired Shaker furniture.

Austere though they may have appeared, the Shakers were genuinely innovative in agriculture and industry, their farms prosperous and their ingenuity produced a large number of (usually unpatented) inventions including, the screw propeller, babbitt metal, a rotary harrow, an automatic spring, a turbine waterwheel, a threshing machine and the circular saw.  In agri-business, they were the first in the world to package and market seeds and were once the US’s largest producers of medicinal herbs.  Shaker dance and music is now regarded as a fork in American folk art as well as its religious tradition and the simplicity, functionality and fine craftsmanship of their architecture, furniture and artefacts have had a lasting influence on design.

Although intellectually primitive, Mother Ann’s theology was elaborate but with celibacy as the cardinal principle, the continuity of the communities depended on a constant flow of converts rather than the organic regeneration planned by other sects but the numbers attracted were never sufficient to maintain a critical mass and in the late nineteenth and early twentieth centuries the movement went into decline.  From its height in the 1840s, when some six-thousand members were active, by 1905 there were barely a thousand, compelling the shakers to resort to advertising for members, emphasizing physical comfort of the lifestyle as well as spiritual values.  It became and increasing hard sell in an era of increasing urbanisation and materialism and the convulsion of the twentieth century did little to arrest the trend.  In 1957, the leaders met and voted to close the Shaker Covenant, the document which all new members need to sign to become members.  Membership was thus closed forever and by the turn of the century, there was but one working Shaker village in Sabbathday Lake, Maine; it had fewer than ten members and, in 2023, there appear to be only one or two left alive.

The concept of the cocktail shaker is ancient and ceramic versions dating back some 10,000 years have been found in the Middle East and South & Central America.  The use to which they were put seems in all places to have been essentially the same: a means of mixing fermented fluids with herbs and spices added for flavor, after which a gauze-like fabric could be stretched over the opening so the unwanted residue could be strained off.  Innkeepers for centuries doubtlessly improvised (presumably using two suitably shaped & sized glasses or goblets) their own shakers but it was in cities of the north-east US (New York & Boston factions both claiming the credit) during the early nineteenth century the first commercially produced units were advertised.  By mid-century they were widely used, their functionality and convenience cited by some as one of the reasons there was in the era such an upsurge in the number of recipes publish for mixed drinks.  One of the earliest innovations was the integration of a strainer mechanism although bartenders apparently preferred the detachable devices (said to be much better when working with crushed or shaved ice) and the volume of patent applications for variations on the design of strainers hints at their popularity.  Now, most cocktail shakers are either two-piece (sold with and without a fitted shaker) or (and aimed at the home market) three-piece with a built in shaker, the additional component being a fitted cap which can be used as a measure for spirits or other ingredients.

The shaker and the induction system

1969 Ford Mustang 428 CobraJet.

Shakers were air intakes bolted directly to the induction path of an internal combustion engine’s carburetor(s), the advantage being a measurable increase in power using cool, dense air rather than the inherently warmer under-bonnet air.  Cold-air induction systems weren’t uncommon in the 1960s and 1970s but the shaker’s novelty was that being attached to the engine and protruding through a carefully shaped lacuna in the hood (bonnet), the things shook as the engine vibrated on its mounts.  Men still are excited by such things.

1971 Plymouth Hemi Cuda.

Early advertising material from Chrysler referred to the device as the Incredible Quivering Exposed Cold Air Grabber but buyers called must have thought that a bit much (IQECAG one of history's less mnemonic initializms) and they’ve only ever been referred to as shakers.  The IQECAG was undeniably a sexy scoop and much admired by the males aged 17-39 to whom it was designed to appeal.  Sometimes less is more.  Adolf Hitler (1889-1945; Führer (leader) and German head of government 1933-1945 & head of state 1934-1945) suggested a good title for his book might be Viereinhalb Jahre [des Kampfes] gegen Lüge, Dummheit und Feigheit (Four and a Half Years of Struggle against Lies, Stupidity and Cowardice) but his publisher thought that a bit ponderous and preferred the more succinct Mein Kampf: Eine Abrechnung and even that was clipped to Mein Kampf for publication.  Unfortunately, the revised title was the best thing about it, the style and contents truly ghastly and it's long and repetitious, the ideas within able easily to be reduced to a few dozen pages (some suggest fewer but the historical examples cited for context do require some space).

1974 Pontiac Firebird Trans Am SD-455.

The reverse facing shakers (and air intakes generally) were designed, like cowl-induction, to take advantage of the properties of fluid dynamics which, at speed, produced an accumulation of cold, high-pressure air in the space at the bottom of the windscreen.  Their use created an urban myth that Holly certain makes of carburetor (the Holly and the Rochester among those mentioned) didn't like being "force-fed" which (if done badly) was sort of true but nothing to do with the low-pressure bonnet-mounted devices.  Engineers had long understood the principle and cowl-induction systems were first seen on racing cars in 1910.

1970 Chevrolet Chevelle SS454 (LS6).

A genuine problem with the external induction systems was rain.  In torrential rain, including when the car was parked, moisture entry could cause problems.  Some manufacturers included a flap, providing a protective seal.  The early ones were manually activated but later versions were vacuum-controlled, the extent of opening cognizant of the pressure being applied to the throttle so it opened and closed and engine speed rose and fell.  As a means of getting cold air, this was of course thought most cool.

1964 Ford Fairlane 427 Thunderbolt.

Actually, the bonnet mounted intakes, regardless of which way they faced, weren’t the optimal way to deliver cold air to the induction system but they were the most–admired and something for which buyers were prepared to pay extra so, although they were the most expensive system to produce, they were also the most profitable. Simple ducting from within the wheel-wells delivered most of the benefits but the most efficient harvest of high-pressure air which gained also a “ram-air” effect which, helpfully, increased as speeds rose, was to duct from a forward-facing inlet in the front bumper bar or grill.  Enjoying a much higher pressure than the area around the cowl, with well-designed ducting, a ram-air tube can operate at up to 125% the efficiency of a cowl intake, able to generate a pressure of 2-3 psi (14-20 pascals) at high speed.  Ford in 1936 & 1964 found that by happy coincidence, the inside set of headlights on their Galaxies and Fairlanes were positioned to suit such ducting almost as if they'd been placed there by design so on the limited production "Lightweight" Galaxie and the Fairlane "Thunderbolt", the lens were removed and the apertures re-purposed.  Only 100 of the Thunderbolts were produced, all intended for use in drag racing and this machine secured the 1964 NHRA (National Hot Rod Association) championship in the Super Stock class.