Impressionism

Impressionism (pronounced im-presh-uh-niz-uhm)

(1) In fine art (an appropriated by others), a style of painting developed in the late nineteenth century, characterized by short brush strokes of bright colors in immediate juxtaposition to represent the effect of light on objects and a focus on everyday subject matters (by convention usually with an initial capital).

(2) A manner of painting in which the forms, colors, or tones of an object are lightly and rapidly indicated and there’s sometimes an attempt deliberately to include discordant subjects.

(3) In sculpture, a compositional style in which volumes are partially modeled and surfaces roughened to reflect light unevenly.

(4) In poetry, a style which used imagery and symbolism to convey the poet's impressions

(5) In literature, a theory and practice which emphasizes immediate aspects of objects or actions without attention to details.

(6) In musical composition, a movement of the late nineteen and early twentieth centuries (in parallel with the developments in painting) which eschewed traditional harmonies, substituting lush pieces with subtle rhythms, the unusual tonal colors used as evocative devices.

1880–1885: The construct was impression + -ism.  Impression was from the Old French impression, from the Latin impressio, from imprimo (push, thrust, assault, onslaught; squashing; stamping; impression), the construct being in- (the prefix which usually to some extent nullified but here in its rare form as an intensifier) +‎ premō (to press), from the Proto-Italic premō which may be linked with the primitive Indo-European pr-es- (to press), from per- (to push, beat, press).  The –ism suffix was from the Ancient Greek ισμός (ismós) & -isma noun suffixes, often directly, sometimes through the Latin –ismus & isma (from where English picked up ize) and sometimes through the French –isme or the German –ismus, all ultimately from the Ancient Greek (where it tended more specifically to express a finished act or thing done).  It appeared in loanwords from Greek, where it was used to form abstract nouns of action, state, condition or doctrine from verbs and on this model, was used as a productive suffix in the formation of nouns denoting action or practice, state or condition, principles, doctrines, a usage or characteristic, devotion or adherence (criticism; barbarism; Darwinism; despotism; plagiarism; realism; witticism etc).  Impressionism and impressionist are nouns; the noun plural is impressionisms.

Lindsay Lohan rendered in the style of nineteenth century Impressionism by Gemini.ai.  The digital version was based on a photograph of her in a Jil Sander (b 1943) gown while attending the Disney Legends Awards ceremony, Anaheim, California, August, 2024.  On the day, although the environment was not optimized for photography, the light and even the breeze cooperated, the gown’s fabric swishing in a way the Impressionists would have painted, even had the air been still.

The meanings of impressionism are wholly unrelated to impressionistic which is used to describe an opinion reached by means of subjective reactions as opposed to one which was the product of research or deductive reasoning (ie based on impression rather than reason or fact).  The most extreme example of the impressionistic is a gaboso (the acronym of "Generalized Association Based On Single-Observation") such as assuming if one known Terf has a particular haircut, anyone sporting that style must be "a terf".  As a noun an impressionist is (1) one who in art, music or literature produced work in the tradition of impressionism or (2) an entertainer who performs impressions of others (a mimic).  Although by some used in philosophy since 1839, impressionism really isn’t a recognized field in the discipline, instead used metaphorically (and often critically) to describe certain tendencies which share similarities with the artistic movement.  Those who describe themselves as impressionist philosophers reject the idea that objective knowledge or absolute truths exist and instead stress the importance of individual perception and personal experience, arguing that individual (and debatably collective) understanding of the world is determined only by the wholly subjective: senses and emotions.  They’re thus much concerned with perception, consciousness, and the nature of reality.  In all that there’s obviously some overlap with earlier traditions and mainstream philosophers tend to be dismissive, some suggesting impressionism is less a philosophical school than a mode of which has been explored for millennia.

Le pont du chemin de fer à Argenteuil (The Railroad Bridge in Argenteuil (1873-1874)), oil on canvas by Claude Monet (1840-1926), Musée d’Orsay, Paris).

Impressionism was an art movement that emerged in France in the late nineteenth century and was a romantic form, the core of which was the capturing of a fleeting moment (ie an impression) in time and place, characterized by the play of light and color, rendered with what gave the impression of loose (even careless) brushwork, the paint often applied in brief, broken strokes.  Breaking from the intricacy and preciseness which had distinguished high art since the Renaissance, the artists sought a feeling of spontaneity rather than the staged effect engendered by meticulously rendered details.  The whole idea was to “capture the moment” of those transitory scenes one might view humdres of times a day, the subject matter often the vistas of everyday, the apparent casualness of the composition an important psychological aspect because recollections of such visions often are hazy because the mind tends to remember only the part which has "caught the eye".  Accordingly, artists handled the peripheral surroundings with a “sense of the blurred”, summoning the notion of things vaguely being “filled in” from an incomplete memory; what they wanted to represent was the immediate sensory impressions of a particular moment rather than a polished and wholly realistic composition.  Given all this, it’s not surprising the Impressionists so frequently painted en plein air (ie outdoors) because there, natural light and breezes made for an ever-changing environment, ideal for a technique dedicated to capturing the ephemeral.

The Church at Auvers (1890), oil on canvas by Vincent van Gogh (1853-1890), Musée d'Orsay, Paris.

In the way of such things, from Impressionism, very late in the nineteenth century came post-impressionism.  Deliberately positioned as a reaction against what had come to be regarded as the strictures and limitations of Impressionism, it was noted especially for an expressive and symbolic use of color which neglected and sometimes even abandoned the link with naturalistic representation, the intensity of shade itself a vehicle of an artist’s personal interpretations.  It also distorted form and perspective, the exaggerations wildly beyond anything in the mannerist tradition and the influence upon the cubists who would follow is undeniable.  Something of a preview of post-modernism, the concerns were more with laying bare the underlying structure rather than showing anything directly representational.  However, despite the perceptions of some, technical innovation was rare and even the techniques most associated with the movement had been seen before although famously, the post-impressionists delighted in non-naturalistic color schemes.  While this was something which caught the eye, it wasn’t exactly new and claims it somehow created a heightened emotional impact have always seem hard to sustain although they certainly displeased Adolf Hitler (1889-1945; Führer (leader) and German head of government 1933-1945 & head of state 1934-1945) who decried most forms of "modern art".  Whether he ever said the quote attributed to him: “...anyone who sees and paints a sky green and fields blue ought to be sterilized” has never been verified but it certainly encapsulates his world view.  Still, the work post-impressionists influenced Fauvism and Cubism and there are critics who maintain post-impressionism was the first discernible epoch in modern art and a kind of proto-surrealism.

The Seine at Courbevoie (1885), oil on canvas by Georges Seurat (1859-1891).

Although post-impressionism can to some extent be seen as something new, the companion neo-impressionism really was a fork.  The alternative name of the movement was Divisionism which hints at the scientific basis which underlay many of the works, most notably Pointillism (the use of tiny dots which blended optically when viewed from a distance) which explored the principles of the physics of color and light by rendering paintings almost as a mathematical exercise and one far removed from the spontaneous brushwork of Impressionism.  Color under this regime came to be understood in itself as a theory, the concept of “simultaneous contrast” expressed in the placement of contrasting or complementary colors explored to exploit the way the brain processed the relationship by either “toning down” or making more luminous the visual experience.  The work was thus in the impressionist tradition of using light and color but it was different in that instead of representing an impression of how nature was seen, it deployed a scientific understanding of how the mind perceived and interpreted light and color to produce something which enhanced the effect.  In that sense it can be understood as a structuralist movement.

Separation (1896), oil on canvas by Edvard Munch (1963-1944), Munch Museum, Oslo.

Neo-impressionism should not be confused with Expressionism, a contemporary movement from Germany which some have characterized (not wholly unfairly) as “painting Friedrich Nietzsche’s (1844–1900) nightmares”.  The expressionists sought to convey the subjective emotions, inner experiences and psychological states of the artist; the viewer was there simply to view and understand the feelings of the artist who seem frequently drawn to the darker aspects of human existence.  They used distorted and exaggerated forms, heavy brushwork, and non-naturalistic colors designed expressly to be discordant.  The classic example of Expressionism is Edvard Munch’s The Scream (1893).

Lindsay Lohan (2012), oil on canvas by Lucas Bufi.

Florida-based Lucas Bufi describes himself as “modern Impressionist artist, guided by light and shadows”.  Definitely, this was an application of "light and shadow" to canvas in a way very different to the technique perfected by the chiaroscurists.  For those with a responsibility for categorizing works of art, it can be difficult to determine where impressionism ends and expressionism begins and what credit should being given to the influences of mannerism.  For that reason, some use the term “pop art” as a kind of dumping ground, displeasing those who are quite protective about the genre's boundaries.  Mr Bufi's take on Lindsay Lohan was based on one of the images from a 2011 photo-shoot for the January/February 2012 issue of Playboy magazine which featured her as the cover model.  By 2011, Playboy's sales were in sharp decline because of the availability of on-line content but the photo-shoot induced a short-lived “Lindsay Lohan led recovery”, the magazine's founder Hugh Hefner (1926-2017) tweeting on X (then known as Twitter): “The January-February Double Issue is breaking sales records.”  Unfortunately for Mr Hefner, the blip was a one-off and didn't attract “conquest customers”, the sales numbers not matched with the decline continuing until publication ceased during the COVID-19 pandemic (it was in 2025 resurrected as “an annual” but its future remains uncertain). 

Establishment

Establishment (pronounced ih-stab-lish-muhnt)

(1) The act or an instance of establishing.

(2) The state or fact of being established.

(3) Something established; a constituted order or system.

(4) The existing power structure in society; the dominant groups in society and their customs or institutions; institutional authority (ie “the Establishment” in the popular imagination which in this context should be used with an initial capital).  “The Establishment” is a nuanced synecdoche for “ruling class” with the emphasis on a dedication to the preservation of the status quo.

(5) As a modifier, belonging to or characteristic of “the Establishment” (the dominant or hegemonic “power elite” in a field of endeavor, organization etc (“the political establishment”, “the literary establishment” etc) or their “world view” (the “establishment interpretation of history”).

(6) A household; place of residence including its furnishings, grounds etc; a body of employees or servants

(7) A place of business together with its employees, merchandise, plant, equipment etc.

(8) A permanent civil, military, or other force or organization (often used to describe the defined number of personnel, in aggregate or sectionally, the “establishment” being the approved size, composition, and equipment of a unit.  In the military, the word is often modified (peacetime-establisnment, war-establishment, overseas-establishment etc).

(9) Any institution (university, hospital, library etc).

(10) The recognition by a state of a church as the state church.  In Christianity, the church so recognized, the term most associated with the Church of England (and historically the Church of Wales and Church of Ireland).

(11) A fixed or settled income (archaic).

1475–1485: A compound word, the construct being establish + -ment, from the Middle English establishment, stablishment & stablisshement, from the Old French establissement (which endures in Modern French as établissement), from the verb establir.  The noun establishment was from the late fourteenth century verb establish, from the Old French establiss-, the present participle stem of the twelfth century establir (cause to stand still, establish, stipulate, set up, erect, build), (which endures in Modern French as établir), from the Latin stabilire (make stable), from stabilis (stable).  The -ment suffix was from the Middle English -ment, from the Late Latin -amentum, from -mentum which came via Old French -ment.  It was used to form nouns from verbs, the nouns having the sense of "the action or result of what is denoted by the verb".  The suffix is most often attached to the stem without change, except when the stem ends in -dge, where the -e is sometimes dropped (abridgment, acknowledgment, judgment, lodgement etc), with the forms without -e preferred in American English.  The most widely known example of the spelling variation is probably judgment vs judgement.  In modern use, judgement is said to be a "free variation" word where either spelling is considered acceptable as long as use is consistent.  Like enquiry vs inquiry, this can be a handy where a convention of use can be structured to impart great clarity: judgment used when referring to judicial rulings and judgement for all other purposes although the approach is not without disadvantage given one might write of the judgement a judge exercised before delivering their judgment.  To those not aware of the convention, it could look just like a typo.  Establishment is a noun; the noun plural is establishments.

The noun establishmentarian describes “an adherent of the principle of an established church” dates from 1839 which of course begat the noun establishmentarianism (the doctrine of the establishmentarians).  What came first however was antidisestablishmentarianism, every schoolboy’s favorite long word although in scientific English there are constructions longer still and even the most alphabetically prolifically forms in English are short compared to those in languages such as Welsh, German and Maori.  It’s not clear who coined antidisestablishmentarianism but William Ewart Gladstone (1809–1898; prime-minister 1868–1874, 1880–1885, Feb-July 1886 & 1892–1894) used the word in his two volume work The state in its relations with the church (1841), a critique of “the ecclesiastical system established by law” and specifically the status of Church of England; it was a discussion of the implications of disestablishment (the act of withdrawing the church from its privileged relation to the state).  As words, neither establishmentarianism nor antidisestablishmentarianism now much disturb the thoughts of many in England and the only role for the latter has long been as a entry in the internet’s many lists of long, obscure or weird words.  In the narrow technical sense, the curious beast that is the Church of England became “an established church” only after the Act of Settlement (1701) and the subsequent Acts of Union (1707) which formalized the status of the institution, first in England and later Great Britain.  Functionally however, the English church can be considered “established” since the Act of Supremacy (1534) which abolished papal authority in England and declared Henry VIII (1491–1547; King of England (and Ireland after 1541) 1509-1547) Supreme Head of the Church of England, the culmination of a process the king had triggered in 1527 when Clement VII (1478–1534; pope 1523-1534) proved tiresome in the matter of divorce law.  Although other sixteenth century statutes (notably the Act of Supremacy (1558) & Act of Uniformity (1558) which usually are referred to collectively as the “Elizabethan Religious Settlement”) added to the framework, the changes were mechanistic and procedural rather than substantive and simply built upon what had since 1534 been the established “state church” while the eighteenth century acts were essentially codifications which formalized the position in constitutional law.  Legally, little since has changed and 26 Church of England bishops (all appointed by the prime-minister (on the recommendation of the Archbishop of Canterbury)) continue (as the “Lords Spiritual”, their lay colleagues being the “Lords Temporal”) to sit in the House of Lords.

In English, establishment's original fifteenth century meaning was “a finalized and settled arrangement” (ie of income or property) while the sense of “the established church” entered the language in 1731, reflecting what had been the legal position since 1534.  The sense of “a place of business” emerged in the early 1830s while the idea of “a social matrix of ruling people and institutions” was in use as early as the mid 1920s although the phrase “the Establishment” (in the socio-political sense) didn’t enter popular use until the late 1950s, influenced by the publication in 1956 of The Power Elite by US sociologist Charles Wright Mills (1916–1962 and usually styled C Wright Mills).  Mills took a structuralist approach and explored the clusters of elites and how their relationships and interactions work to enable them to exert (whether overtly or organically) an essentially dictatorial control over US society and its economy.  Mills, while acknowledging some overlap between the groups, identified six clusters of elites: (1) those who ran the large corporations, (2) those who owned the corporations, (3) popular culture celebrities including the news media, (4) the upper-strata of wealth-owning families, (5) the military establishment (centred on the Pentagon’s Joint Chiefs of Staff) and (6), the upper echelons of government (the executives, the legislatures the judges, the senior bureaucracy and the duopoly of the two established political parties.  The overlaps he noted did not in any way diminish the value of his description, instead illustrating its operation.

When the establishment fractured: Republican (for Goldwater, left) & Democratic (against Goldwater, right), 1964 presidential campaign buttons, 1964.  This was before the color coding (Republican red, Democratic blue) was standardized in 2000 by the arbitrary choice of the TV networks.

The term “Establishment Republican” (a “moderate” or “liberal” member of the US Republican Party (as opposed to the right-wing fanatics who staged a hostile take-over) emerged in the 1980s to replace “Rockefeller Republican”.  Nelson Rockefeller (1908–1979; US vice president 1974-1977) was the archetype of the “liberal republican” in the decade between crazy old Barry Goldwater (1909–1998) losing the 1964 presidential election and crooked old Richard Nixon (1913-1994; US president 1969-1974) in 1974 resigning from office in the wake of the Watergate scandal.  It was in those years the right-wing began their “march through the party establishment”, a process accelerated during the Reagan (Ronald Reagan (1911-2004; US president 1981-1989) years and the moderates came to prefer the term “Establishment Republican” because Rockefeller was tainted by his association with the north-east, something with less appeal as the party’s centre of gravity shifted to the Mid-West and south of the Mason-Dixon Line.  The few surviving Establishment Republicans are now derided by the right wing fanatics as RINOs (Republicans in name only) and in 2024 the more useful descriptors are probably “pre-Trump Republican” & “post-Trump Republican”.  That linguistic moment may pass but the party at this time shows little inclination of seeking to find the centre ground, a wisdom advocated even by Richard Nixon.  In the pre-Thatcher (Margaret Thatcher (1925–2013; UK prime-minister 1979-1990)) UK, where the existence of “the Establishment” was quite obvious, it was the journalist Henry Fairlie (1924-1990) who popularized the term, explaining the concept as a kind of individual & institutional symbiosis by which “the right chaps” came to control the country’s “levers of power, influence and social authority”, exercised through social connections established between families or at the elite schools such men attended: “By the 'Establishment' I do not mean only the centers of official power—though they are certainly part of it—but rather the whole matrix of official and social relations within which power is exercised. The exercise of power in Britain (more specifically, in England) cannot be understood unless it is recognised that it is exercised socially.”

The Rover P5B, the car of the Establishment

In the UK, the Establishment had survived two world wars, the Great Depression, an abdication and even a couple of Labour governments but, by the 1960s, the acceptance of its once effortless hegemony was being challenged, not because people were becoming convinced by the writings of political theorists but as a consequence of the antics of those from the very heart of the Establishment (the Profumo scandal, the “Cambridge Five” spies etc).  In retrospect, it was the ten-odd years prior to 1973 that were the last halcyon days of the “old Establishment” for after that the UK’s anyway troubled “old” economy stagnated, triggering a series of events, notably the assault on the system from within by the improbable anti-Establishment figure of Margaret Thatcher.  The changes wrought in the last five decades shouldn’t be overstated because what happened was one Establishment was replaced by another and there was a substantial overlap in institutional and individual membership but it’s now a very different apparatus from that of the 1960s.

In A Spy Among Friends: Kim Philby and the Great Betrayal (2014), Ben Macintyre (b 1963) told the tale of the most famous of the Cambridge Five (Kim Philby (1912-1988)) and recounted a classic example of the establishment in operation.  One of the intelligence officers employed by the SIS (Secret Intelligence Service and popularly known as MI6) was summoned to an interview by the service’s newly appointed head of internal security (ie a spy who spied on spies) who was vetting all staff:

Security Officer: “Sit down, I’d like to have a frank talk with you.”

Intelligence Officer: “As you wish colonel.”

SO: “Does your wife know what you do?”

IO: “Yes.”

SO: “How did that come about?”

IO: “She was my secretary for two years and I think the penny may have dropped.”

SO: “Quite so.  What about your mother?”

IO: “She thinks I’m in something called SIS which she believes stands for the Secret Intelligence Service.”

SO: “Good God!  How did she come to know that?”

IO: “A member of the War Cabinet told her at a cocktail party.”

SO: “Then what about your father?”

IO: “He thinks I’m a spy.”

SO: “Why should he think you’re a spy?”

IO: “Because the Chief [of SIS] told him in the bar at White’s.”

A passage that could have appeared as a vignette in a Graham Greene (1904-1991) novel, the exchange encapsulates the way the establishment worked and illustrates why the Cambridge Five went so long undetected: it would never have occurred to most to suspect them and those who did were for years ignored or "shunted off somewhere".  The London club White’s, the SIS and the Cabinet were all part of the establishment and the members of each were a kind of family (in a very modern sense of the word none of them would have understood) connected by a shared background of “right” (the right schools, the right universities, the right hobbies, the right families etc).  While between members of the establishment there were fueds, hatreds and much low skulduggery, as an institution it survived for so long because it was so effective at self-replication and keeping out outsiders.  Although the word is often used, it’s misleading to speak of the Cambridge Five as having “infiltrated” the security services: they were invited to join and welcomed aboard; they were “one of us”.  In his memoir, (My Silent War (1968)), Philby noted what most protected the Cambridge five from suspicion was the "...genuine mental block which stubbornly resisted the belief that respected members of the establishment could do such things."

Rover 3.5 Coupé.

One charming Establishment symbol from those years which are for most not in living memory was the ultimate “Establishment car”, one which while not the biggest, fastest, or most expensive available, possessed the qualities to appeal to the “right chaps”.  The Rover P5 was in production between 1958-1973, running from around the time that old patrician Harold Macmillan (1894–1986; UK prime-minister 1957-1963) told the working class “…most of you have never had it so good” to the last days before the first oil shock ended the West’s long, post-war economic prosperity (although the British experience of that was patchy).  The P5’s presence throughout was somehow reassuring because from its debut it embodied the virtues for which Rovers had during the 1950s come to be valued: solidity, quality, comfort and an indifference to fashions and fads.  The P5 was a presence also in parts of the old British Empire and it enjoyed a following in both Australia & New Zealand, valued because it had an “Establishment air” yet was not flashy like a Pontiac or Jaguar (the mostly badge-engineered Daimlers a remarkably effective piece of product differentiation) or a statement of wealth like a Mercedes-Benz would by the mid-1960s become.

Rover 3 Litre engine schematic.

The P5 was sold originally as the 3 Litre in three releases (Mark 1, 1958-1962; Mark II, 1962-1965 & Mark III 1965-1967), using a 3.0 litre (183 cubic inch) straight-six with an implementation of the “F-head” design in which the inlet valve sat at the top of the combustion chamber with a side-mounted exhaust valve, an arrangement which offered some advantages when designing combustion chambers suited to the lower octane fuel then used in many markets and allowed the use of larger valves than would have been possible with a conventional OHV (overhead valve) arrangement).  The latter was a matter of some significance because the Rover six came from a time when the taxation regime was based on bore diameter, something which resulted in generations of British small bore, long-stroke engines and the 3 litre six was a famously smooth device, the advertising sometimes showing a circular coin sitting (on its edge) on the air-cleaner with the engine running, the coin not even vibrating.  Technologically though, for passenger vehicles, it was a cul-de-sac and more modern power-plants from the US, Europe (and even the UK) were out-performing the old F-Head.

What transformed the P5 was the adoption of the 3.5 litre (215 cid) V8 which Rover had purchased from General Motors (GM) which, in versions made by Buick, Oldsmobile & Pontiac (BOP), had been used for the new compact lines between 1961-1963.  The UK’s industry made many mistakes in the post-war years but what became the Rover V8 was an inspired purchase, remaining in production in displacements between 3.5 litres (215 cubic inch) and 5.0 (305) from 1967 until 2006, powering everything from the original Range Rovers to executive sedans and sports cars  It was related also to the Oldsmobile version (Rover used Buick’s variant) on which Repco in Australia based the 3.0 litre (193 cubic inch) SOHC (single overhead camshaft) V8 the Brabham team would use to secure the Formula One drivers & constructors championships in 1966 & 1967.

Look of the past; glimpse of the future: 1967 Rover 3.5 Saloon (left) and 1967 NSU Ro80 (right).  In fairness, what lay under the Rover's hood (bonnet) would last well into the next century while the NSU's Wankel engine would, in automotive applications, prove a cul-de-sac.  More enduring were the Ro80's lines which would for decades be influential.

It was in late 1967 the Rover 3.5 was released and the press reception was generally favourable, the improvements in performance and fuel consumption (not something often achieved when adding cylinders and displacement) attributed to a combination of greater mechanical efficiency and reduced weight, the all-aluminum V8 some 200 lb (90 kg) lighter than the hefty old six although some did note the new engine couldn’t quite match the legendary smoothness of the old.  By 1967 however the testers seemed to be aware that whatever its charms, it was a design from the drawing boards of the mid-1950s and the world had moved on although to be fair, Rover had too, it’s P6 (2000), released in 1963 was very much a modernist take (and one which would in 1968 also be transformed by the V8, becoming the 3500 (1968-1976)).  Between 1967 and the end of production in 1967, the flavor of the press commentary about the 3.5 was very much: “outmoded but satisfying”.

Released in September 1967: NSU Ro80 (left) and Rover 3.5 saloon (right), partially exposed at October's International Motor Show, Earls Court, London.

Like the 3.5, the NSU Ro80 had been released in September that year and the contrast was obviously between the past and the future, the German car influencing design for more than a generation (with the obvious exception of the ill-fated Wankel engine) while what the Rover represented was already almost extinct, few of the others in its market segment (the Vanden Plas Farinas, the Humber Super Snipe, the Vauxhall Viscount, the Daimler Majestic Major and the Austin 3 Litre) to see the 1970s.  Nor did other manufacturers make much effort to compete for buyers who clearly wanted something lighter and more modern although, after taking over Rootes Group, to replace the defunct Super Snipe and Imperial, Chrysler did embark on a quixotic venture to prove demand still existed by taking advantage of the old Commonwealth tariff preference scheme (the last relic of the chimera of imperial free trade) by importing the Australian-built Valiant (built on the US A-Body) in both straight-six & V8 form.  Even before the first oil shock hit the West in 1973 it registered barely a blip on the sales charts although, remarkably, the range remained available until 1976 by which time the writing was on the wall for Chrysler’s entire European operation and the UK had for three years been a member of the Common Market.

A UK government 3.5 saloon waiting outside No 10 Downing Street (left) and Harold Wilson about to enter his (right).

For many however, the Rover’s reassuring presence was more appealing than modernity (although the rakish Rostyle wheels may have been a shock for some).  It certainly appealed to those at the heart of the establishment and the first prime minister to have been driven in one was the pipe-smoking Harold Wilson (1916–1995; UK prime minister 1964-1970 & 1974-1976) who, although he’d once promised to revitalize the economy with the “white heat of technological change”, was a cautious and conservative character; the car suited him and he appreciated the custom-built ashtray which held his pipe.  Edward "Ted" Heath (1916-2005; UK prime-minister 1970-1974), James "Jim" Callaghan (1912–2005; prime minister of the UK 1979-1979) and Mrs Thatcher followed him into the backseat, something made possible because the Ministry of Supply (advised production was ending in 1973), purchased a batch from the final run, stockpiling them for future VIP use, the same tactic some police forces would later adopt to secure warehouses full of Rover SD1s (another recipient of the ex-Buick V8), the FWD (front-wheel-drive) replacements they knew were in the pipeline not a compelling choice for the highway patrol.  Not until 1981 was Mrs Thatcher's Rover retired and replaced with a Daimler.

1955 Chrysler C-300 (top left and dubbed retrospectively the 300A), 1970 Mercedes-Benz 280 SE 3.5 Coupé (top right), Rover 3.5 Coupé (bottom left) and Rover 3.5 Saloon (bottom right).

On sale only during the 1955-1956 seasons, the restrained lines of Chrysler’s elegant “Forward Look” range didn’t last long in the US as an early case of "irrational exuberance" washed over Detroit's studios but the influence endured longer in Europe, both the Mercedes-Benz W111 (1961-1971) & W112 Coupes (1962-1967) and the Rover P5 (1958-1967) & P5B (1967-1973) interpreting the shape.  The Rover was a tale of two rooflines: the “Establishment” Saloon and the rakish Coupé, the latter the sort of thing described in barristers' slang as a "co-respondent's car" (ie the type driven by the sort of chap inclined to sleep with other men's wives and thus be cited in divorce proceedings while the man with the unfaithful wife would have driven a 3.5 Saloon).

US-delivered 1965 Rover 3 Litre Coupé with California "blue plate".

Prior to 1967 when safety and emissions legislation rendered continuing sales of the low-volume model unviable, Rover did ship a small number of P5s to the US, made possible because the line was anyway produced in LHD (left-hand-drive) for European sale.  There were a number of changes such as the amber turn-indicators being replaced with red lens but although, sensibly, the Americans spelled “coupe” without the l'accent aigu (acute accent), the “Coupé” badge was retained.  California between 1969-1987 issued licence plates with yellow characters over a blue background so, because P5s were last sold in the US in early 1968, this one may not originally have had a "blue plate" unless it shifted interstate.  However, the California DMV (Department of Motor Vehicles) has for some years offered the CLLPP (California Legacy License Plate Program) which allows owners to order replica blue and yellow plates and the scheme is popular among those wanting a "period correct look".

In automobiles, by the 1960s, the English-speaking world had (more or less) agreed a coupé was a two door car with a fixed roof and (if based on a sedan), often a shorter wheelbase, designed put a premium on style over utility.  There were hold-outs among a few UK manufacturers who insisted there were fixed head coupés (FHC) and drop head coupés (DHC), the latter described by most others as convertibles or cabriolets but mostly the term had come to be well-understood.  It was thus a surprise when Rover in 1962 displayed a “four-door coupé”, essentially their 3 Litre sedan with a lower roof-line and a few “sporty” touches such as a tachometer and a full set of gauges.  One intriguing part of the tale was why, defying the conventions of the time, the low-roof variation of the four-door was called a coupé (and Rover did use the l'accent aigu to ensure the “traditional pronunciation” was imposed although the Americans were no more persuaded by the spelling than the car).  The rakish lines, including more steeply sloped front and rear glass were much admired although the original vision had been more ambitious still, the intention being a four-door hardtop with no central pillar.  Strangely, although the Americans and Germans had managed this satisfactorily for mass-production, a solution eluded Rover which had to be content with a more slender B-pillar.

Lindsay Lohan with Porsche Panamera 4S four-door coupé (the factory doesn't use the designation but many do), Los Angeles, 2012.

The etymology of coupé is that it’s from couper (to cut off) but the original use in the context of horse-drawn coaches referred to the platform being shortened, not lowered.  Others too have been inventive, Cadillac for decades offering the Coupe De Ville (they used also Coupe DeVille) and usually it was built to exactly the same dimensions as the Sedan De Ville, differing on in the door count.  So Rover probably felt entitled to cut where they preferred; in their case it was the roof and in the early twentieth century, the four-door coupe became a thing, the debut in 2004 of the Mercedes-Benz CLS influencing other including BMW, Porsche, Volkswagen and Audi.  The moment for the style clearly hasn’t passed because when CLS production ended in August 2023, the lines were carried over to the new E-Class (W214, 2023-) but there are no longer references to a “four-door coupé”.

JGY 280: Windsor Castle, London.

One of Elizabeth II's (1926-2022; Queen of the UK and other places, 1952-2022) P5B Saloons outside the gates of Windsor Castle (left) and the sovereign at the wheel (right), reputedly on the way to church.  While one of her 3.5s won’t quite be “only driven to church on Sunday by little old lady”, being in the Royal Mews, it would have been well-maintained and nor would it have long-lingered outside, Her Majesty not approving of vicars prone to prolixity and believing a service should take no more than 40 minutes.  Although for almost 20 years a fixture outside No 10 Downing Street, the most famous P5B owner was Elizabeth II who in 1968 upgraded from a 3 Litre and, although not noted for being sentimental about machinery, until 1987 ran one of the several maintained in the Royal Mews during her reign of over 70 years.  Like her ministers, Her Majesty drove only the saloons, although they usually had a chauffeur who, in the new, democratic age, were styled "drivers".  

Rover P5B headrests (left & right) and the mounting assembly for the reading lamps in the front units (centre).

Most of the focus on the Rover 3.5 has always been about the transformative engine or the more illustrious of the passengers but one detail of note is the unusual bulk of the headrests, optional fittings in most markets.  Quite why they were so big isn’t clear although the shape of the rear units presumably made for an easier mounting through the parcel shelf, meaning the seat's frames & covers needed no modification and it’s apparently not an urban myth some used by the British government had a bullet-proof panel inserted; there was certainly the space to accommodate even a thick metal plate.  The front headrests were used also to house the optional reading lamps, the wiring harness within well concealed.  Should any historian of such things ever write the book "Landmarks in Headrest Design", the Rover P5 will merit a page or two.

Barracuda

Barracuda (pronounced bar-uh-koo-duh)

(1) Any of several elongated, predaceous marine fishes of the genus Sphyraena, certain species of which are used for food. The large fish are notoriously voracious and are found world-wide in tropical & sub-tropical waters; the collective noun is "battery".

(2) In slang, a treacherous, greedy person (obsolete).

(3) In slang, one who uses harsh or predatory means to compete.

(3) A car produced by the Plymouth division of Chrysler Corporation in three generations between 1964-1974 (as both Barracuda and 'Cuda).

1670-1680: From American Spanish, thought derived from customary use in the Caribbean, borrowed from the Latin American Spanish barracuda, perhaps from a Cariban word, most likely the Valencian-Catalan barracó (snaggletooth), first recorded as barracoutha.  There was the suggestion barracó may come from Latin in which the word barra could be used to mean "bar", the idea being this was a reference to to the elongated, bar-like shape of the fish; the theory is thought as speculative.  Barracuda is a noun and barracudalike is an adjective; the noun plural is is barracuda or barracudas.

The plural of fish is an illustration of the inconsistency of English.  As the plural form, “fish” & “fishes” are often (and harmlessly) used interchangeably but in zoology, there is a distinction, fish (1) the noun singular & (2) the plural when referring to multiple individuals from a single species while (3) fishes is the noun plural used to describe different species or species groups.  The differentiation is thus similar to that between people and peoples yet different from the use adopted when speaking of sheep and, although opinion is divided on which is misleading (the depictions vary), those born under the zodiac sign Pisces are referred to variously as both fish & fishes.  So, for most folk, the best advice if a plural of "barracuda'" is needed is to (1) use which ever produces the most elegant sentence and (2) be consistent in use.  However, ichthyologists (and probably zoologists in general) will note the barracuda genus "Sphyraena" consists of 29 species and will use "barracuda" if speaking of many fish of the one species and "barracudas" if fish of more than one species are involved.  The danger presented by barracuda in open water is well documented.  The USN's (US Navy) heavy cruiser USS Indianapolis (CA-35) was the warship that in July 1945 delivered to Tinian Naval Base the critical components for "Little Boy", the atomic bomb (a uranium device, for decades a genuine one-off, all other nuclear weapons built with plutonium until (it’s suspected) the DPRK (North Korea) used uranium for at least one of its tests) used against Hiroshima, the ship torpedoed and sunk by a submarine of the Imperial Japanese Navy.  Due to the communications protocols applying in "designated combat areas", the sinking remained to US authorities for some four days and of the crew of 1195, only 316 survived of the 890 who made it into the water, many of the rest taken by “sharks and five-foot long barracudas”

Sphyraena barracuda (great barracuda).

The barracuda, most notably the Sphyraena barracuda (great barracuda), can grow quite large with lengths of 3-5 feet (0.9-1.5 metres) being common but specimens have been verified at just over 6 feet (1.8 metres), weighing in excess of 100 lb (45 KG) although most caught by recreational fishers tend to be around 20-30 lb (9-14 KG).  They’re a fast, powerful predator, making them a much sought-after target for the more adventurous anglers, attracted by their aggressive strikes, impressive speed, and challenging fights, most hunting done in warmer coastal waters.  The techniques employed include including trolling, casting with artificial lures and live bait fishing but because of their sharp teeth and aggressive nature, specialized equipment such as wire leaders is often used to prevent them cutting through fishing lines.  Among recreational fishers, the pursuit is often on the basis of “the thrill of the chase” because the species can pose genuine health risks if eaten because of ciguatera poisoning, a toxin which accumulates in the fish’s flesh when they consume smaller, contaminated fish.

Hofit Golan (b 1985; left) and Lindsay Lohan (b 1968; right) fishing off Sardinia, July 2016 (left).  Fortunately perhaps, Ms Lohan didn’t hook a barracuda and caught something less threatening.  Apparently also fishing for “the thrill of the chase” (right), she posted on Instagram: “Bonding with nature. I let my little friend swim away after.” 

Barracuda (1977) was US horror movie set on the Florida coast; as everybody knows, stuff happens in Florida.  The plot-line involved the inhabitants of a small town being menaced by batteries of barracuda that have become highly aggressive because of chemical intervention by a former military doctor who has gone mad while conducting secret government research into hypoglycaemia (when one's blood glucose level drops below normal; in medical slang it sometimes appears as "hypo") and its effect on human behavior.  The film was not well-reviewed and critics noted the "derivative & dubious plot, poorly executed special effects and lack of focus on the title character (the fish)".  Although the limited enthusiasm for Barracuda meant no studio was tempted to produce a prequel or sequel, the film's essential elements (mad scientist, evil government research projects, dangerous mutant animals stalking and sometime killing attractive young ladies in bikinis etc) remain Hollywood staples.  

The Plymouth Barracuda & 'Cuda, 1964-1974

While the 1964 Ford Mustang is credited with creating the pony-car market, it was actually the Plymouth Barracuda which came first, released 17 days earlier.  Ford used the approach of draping a sexy new body over an existing, low-cost, platform and drive-train and Chrysler chose the same route, using the compact Valiant as Ford were using their Falcon.  In the years to come, there would be many manufacturers who adopted the method (which had for years, on a smaller scale (in every sense), been the technique of specialist Italian and other European coachbuilders), often with great success and on both sides of the Atlantic.  Predictably, given the Mustang's astonishing success, in the US, GM (General Motor), Chrysler and even (improbably as it would in 1964 have been thought) AMC (American Motors Corporation) created their own "pony cars" and the pond Ford (most lucratively) had inhabited almost alone was by the late 1960s a thriving ecosystem.  Illustrating the benefit of "segment creation", while some of the competition's pony cars came and went (sometimes severally), the Mustang remained in continuous production and six-odd decades on, one can still be bought in showrooms in many countries.  Despite the chronology (acknowledging Plymouth's 17 day advantage), it's the Mustang that deserves credit for the linguistic innovation, the term "pony car" an allusion to the equine association in the Ford's name and a nod also to the thing being (in US terms at the time), a "smaller" car.  If was only after the Mustang had both created and defined the segment the Barracuda came to be called a pony car but had the Plymouth been the great success, presumably some of aquatic allusion would have been coined although it's hard to think of anything so catchy.  

1965 Ford Mustang "notchback".

Unfortunately for Plymouth, despite their project having been in the works for years, a sudden awareness Ford were well advanced meant Chrysler’s lower-budget development was rushed into production.  Despite the Valiant’s platform and drive-train being in many aspects technically superior to the less ambitious Falcon, the Barracuda was a bit of a flop, outsold by its competitor initially by around ten to one, the numbers getting worse as "Mustangmania" overtook the land.  While the Mustang got what was called “the body from central casting”, from the windscreen forward, the Barracuda retained the sheet-metal from the mundane Valiant, onto which was grafted a rear end certainly adventurous but stylistically disconnected from the front.

1964 Plymouth Barracuda.

It was an awkward discombobulation although, with the back-seat able to be folded down to transform the rear passenger compartment into a large luggage space, it was clever, practical design.  Although in the years to come, the notion of such lines being used for a "liftback" or "hatchback" would appear, even during the design process, it was never envisaged the rear window might be made to open.  At the time, the matter of of installing the big, heavy piece of glass and its frame was thought challenge enough without having add the necessary hinges and body-mounting points (a significant task for the body-engineers).  Although not a stressed panel, the glass did contribute to structural rigidity which was good but it also produced much heat-soak into the interior; driving an early Barracuda on a hot' sunny day could be a "sticky" experience, vinyl upholstery a standard fitting, air-conditioning expensive and more than a generation away from becoming commonplace.  

1971 Jensen FF Mark III, one of 15 built.

The novelty of the Barracuda's rear-end was a giant window which, at 14.4 square feet (1.34m³), was at the time the largest ever installed in a production car.  In 1966, even grander glazing was seen on the Jensen Interceptor (1966-1976 and styled by Italy’s Carrozzeria Touring), but there it was ascetically successful, the lines of the big trans-Atlantic hybrid more suited to such an expanse of glass.  Unlike Plymouth, Jensen took advantage of the possibilities offered and had the glass double as a giant, glazed trunk (boot) lid.  It didn't quite create one of the shooting brakes so adored by the nouveau riche (the style's origins as a machine of the gentry as much an attraction as the functionality) but did enhance the practicality of what quickly was regarded as the ultimate "dirty weekend" car. Using Chrysler's big-block V8s and (but for a handful built with manual gearboxes) TorqueFlite automatic transmission, the Interceptor was no thoroughbred but it offered effortless performance and the bullet-proof reliability for which the US power-trains of the era were renowned.  Jensen also were innovative, the Interceptor FF (Ferguson Formula) featuring AWD (all-wheel-drive, then still called 4WD (four-wheel-drive)) and and an early implementation of (mechanical) ABS (anti-lock brakes, ABS (Anti-Bloc System) the name adopted in 1966 when Daimler-Benz and the Heidelberg electronics company Teldix (later absorbed by Bosch) began a co-development of a hybrid analogue-electronic system), the latter adapted from aviation units fitted to aircraft using icy runways.  For technical reasons, the FF was only ever available in RHD (right-hand-drive) so it was never possible to achieve economies of scale, production ending after a liesurey run of 320.  The FF's replacement was the SP (Six-Pack, 1972-1973), using a triple carburetor version of the 440, a batch of which Jensen had been able to purchase because US exhaust emission rules had rendered the engine unlawful for sale in the home market.  For a variety of reasons, Jensen's SP venture didn't end well.   

1968 Plymouth Barracuda Coupe.

The extraordinary success of the Mustang nevertheless encouraged Chrysler to persist and the Barracuda, though still on the Valiant platform, was re-styled for 1967, this time with the vaguely "Italianesque" influences (more apparent perhaps in Detroit than Turin) seen also in 1965 with the release of the second series of Chevrolet’s doomed, rear-engined Corvair (1959-1969).  Although the rear-engine configuration proved a cul-de-sac, aesthetically, the later Corvairs were among the finest US designs of the era and, unusually, the lovely lines were implemented as successfully in four-door form as on the coupe, the Corvair unique in being the industry's only "compact" four-door hardtop.  Visually, the revised Barracuda didn't quite scale the heights achieved by Chevrolet but greatly it improved on the original and was offered with both notchback and convertible coachwork, as well as the fastback the Mustang had made popular but, because of the economic necessity of retaining some aspects of the Valiant’s structure, it wasn’t possible to realise the short-deck, long-hood (bonnet) the Mustang had established the pony car design language used still today.

1969 Pontiac Firebird Trans Am.

GM's answer to the Mustang wasn’t as constrained by the fiscal frugality that had imposed so many compromises on the Barracuda, the Chevrolet Camaro and the visually similar Pontiac Firebird both introduced in 1966 with a curvaceous interpretation of the short-deck, long-hood idea, the relationship maintained with the GM’s then voguish “cokebottle” designs.  In a twist on the pony car process, the Camaro and Firebird were built on an entirely new platform that would later be used for Chevrolet’s compact competitor for the Valiant and Falcon, the Nova (1968-1979, replacing the old Chevy II (1962-1967).  Intra-corporate platform-sharing was of course the key to amortizing investment costs (the Nova would even provide the basis for Cadillac's original "small" Seville (1976-1979), a remarkably accomplished product given the origins and one that proved highly profitable) but, just as the dimensions of the Valiant's underpinnings had limited the design possibilities of the original Barracuda, so the Camaro’s platform imposed compromises in space utilization on the Nova, a few inches of the passenger compartment sacrificed by the need to create a "long hood".  For 1967, Ford released an updated Mustang, visually similar to the original but notably wider, matching the Camaro and Firebird in accommodating big-block V8s, not something Chrysler easily could do with the Barracuda.

1969 Plymouth 'Cuda 440.

This was however the less-regulated world of the 1960s and while Chrysler couldn’t easily install a big-block, they could with difficulty and so they did, the 1967 models offering a 383 cubic inch (6.3 litre) V8 and, in 1969, in a package now called ‘Cuda, (the name adopted for the high-performance versions) a few with the 440 (7.2 litre).  At first glance it looked a bargain, the big engine not all that expensive but having ticked the box, the buyer then found added a number of "mandatory options" so the total package did add a hefty premium to the basic cost.  The bulk of the big-block 440 was such that the plumbing needed for disc brakes wouldn’t fit so the monster had to be stopped with the antiquated drum-type and nor was there space for power steering, quite a sacrifice in a car with so much weight sitting atop the front wheels.  A fine example of how good Chrysler's basic engineering was in the era (the quality of the mechanical components not always matched by what came from the drawing boards in the styling studio), the 440 generated impressive power but the Barracuda's origins in the 1960 Valiant (not upon introduction envisaged as being offered with any sort of V8) were apparent in testing, the prototype built with a manual gearbox so frequently snapping rear suspension components the engineers were forced to insist on installing a automatic transmission, the fluid cushion softening impact between torque and tarmac.  Still, in a straight line, the things were quick enough to entice almost 350 buyers, many of whom tended to enjoy the experience a ¼ mile (402 metres) at a time, the drag-strip it's native environment.  To this day the 440 remains the second-largest engine used in a pony car, only Pontiac's later 455 (7.5) offering more displacement.

1968 Plymouth Barracuda Convertible.

For what most people did most of the time (including braking and turning corners), the better choice, introduced late in 1967, was an enlarged version of Chrysler’s small-block (LA) V8, now bored-out to 340 cubic inches (5.6 litres); it wouldn’t be the biggest of the LA series but it was the best.  A high-revving, free-breathing thing from the days when only the most rudimentary emission controls were required, the toxic little (a relative term) 340 gave the Barracuda sparkling performance and in a straight line it was quicker than the 383 and up to close to 100 mph (160 km/h) it would run with the 440; coupled with superior braking and handling prowess, critic soon were recommending the 340 as "the best all-rounder".  One of the outstanding engines of the era and certainly one of Detroit's best small-block V8s, it lasted, gradually detuned, until 1973 by which time interest in performance cars had declined in parallel with the engineers ability economically to produce them while also complying with increasingly onerous anti-pollution rules.

1968 Hemi Barracuda, supplied ex factory with un-painted black fibreglass front fenders and hood.  It was a single-purpose machine: "Super Stock" drag racing.

Of course, for some even a 440 ‘Cuda wouldn't be enough and anticipating this, in 1968, Plymouth took the metaphorical shoehorn and installed the 426 cubic inch (6.9 litre) Street Hemi V8, a (slightly) civilised version of their racing engine.  Listed as option code BO29, 50 were built (Dodge also did a run of 80 Hemi-powered Darts (option code LO23)) and with fibreglass panels and all manner of acid-dipping tricks to reduce weight, Plymouth didn’t even try to pretend the things were intended for anywhere except the drag strip.  The power-to-weight ratio of the 1968 Hemi Barracudas & Darts remains the highest of the era.  The things sometimes are described as "1968 Hemi 'Cudas" but in the factory documentation they were only ever referred to as "Hemi Barracuda" because the 'Cuda designation wasn't introduced until the next season.  

1971 Plymouth 'Cuda coupe.

The third and final iteration of the Barracuda was introduced as a 1970 model and lasted until 1974.  Abandoning both the delicate lines of the second generation and the fastback body, the lines were influenced more by the Camaro than the Mustang.  This time the range comprised (1) the Barracuda which could be configured with either of the two slant sixes (198 (3.2) & 225 (3.6)) or one of the milder V8s, (2) the Gran 'Cuda which offered slightly more powerful V8s and some additional luxury appointments including the novelty of an overhead console (obviously not available in the convertible) and (3) the 'Cuda, oriented towards high-performance and available with the 340, 383, 440 and 426 units, the wide (E-body) platform able to handle any engine/transmission combination.  Perhaps the best looking of all the pony cars, sales encouragingly spiked for 1970, even the Hemi ‘Cuda attracting over 650 buyers, despite the big engine increasing the price by about a third and it would have been more popular still, had not the insurance premiums for such machines risen so high.  With this level of success, the future of the car seemed assured although the reaction of the press was not uncritical, one review of the Dodge Hemi Challenger (the Barracuda's slightly longer but substantially similar stable-mate), finding it an example of “…lavish execution with little thought to practical application”.  Still, even if in some ways derivative (and as the subsequent, second generation Chevrolet Camaro & Pontiac Firebird would at the time suggest, outdated), the styling (the team led by John Herlitz (1942–2008)) has since been acknowledged as a masterpiece and when the "retro" take on the Challenger was in the next century released, those were the lines reprised, the new Mustang and Camaro also following the 1960s, not the 1970s.

1970 Plymouth Barracuda with 225 cubic inch (3.7 litre) slant-6 (left) and 1970 Plymouth Barracuda Gran Coupe (right).

It's the most powerful (The Hemis and triple-carburetor 440s) of the third generation Barracudas that are best remembered but production of those things (produced only for 1970 & 1971) never reached four figures.  Of the 105,000 Barracudas (some 26,000 of which were 'Cudas) made between 1970-1974, most were fitted with more pedestrian power-plants like the long-serving 318 (5.2) V8 and the 198 & 225 Slant-6, the latter pair catering to what used to called the "grocery-getter" market (which in those less-enlightened times was known also as the “secretary's” or “women's” market); the sales breakdown for the other pony cars (Mustang, Camaro, Firebird, Challenger & Javelin) all to some degree revealed the same trend; occasionally 50%-odd of Mustang or Camaro sales could be six-cylinder versions.  The Gran Coupe was the “luxury” version of the Barracuda, the engine options limited to the 225, 318 & 383 but with a better-trimmed interior, (something welcome in what was otherwise a quite austere environment of hard, unforgiving plastic) and some exterior bling including body sill, wheel lip and belt-line moldings.  The most notable fitting in the Gran Coupe was the overhead console, something earlier seen in the Ford Thunderbird.  A fairly large fitting for its limited utility (it included little more than an overhead light, low-fuel and door-ajar warning lights), other manufacturers would extend their functionality.  The overhead console wasn't available in the convertible version which was still sold as a "Gran Coupe", Plymouth using "coupe" as just another model name, applying it to two and four-door sedans and well as the blinged-up Gran.

1970 Plymouth AAR 'Cuda in "Lemon Twist" over black.

In 1970, there was a run of “AAR ‘Cudas”, a promotional model tied in with the cars run in the Trans-Am (Trans-American) series by the AAR (All American Racers) team run by US driver Dan Gurney (1931-2018).  Unlike the earlier cars produced in a certain volume in order to fulfil homologation requirements for eligibility in the Trans-Am (the Chevrolet Camaro Z28 (1967) (which in the factory’s early documents appeared as both Z-28 & Z/28) and Fords Boss 302 Mustang (1969), the AAR ‘Cudas were built in a more permissive regulatory environment, the requirement to homologate an engine within the 5.0 litre (305 cubic inch) limit dropped, teams permitted to “de-stroke” larger, mass-produced units.  The change was made explicitly to tempt Chrysler to compete, removing the expensive business of developing a special engine, exactly what Chevrolet and Ford had earlier been compelled to do and the spirit of compromise was at the time in the air, NASCAR (National Association for Stock Car Auto Racing) recently having nudged their 7.0 litre (quoted as 427 cubic inch) displacement limit to 430 to accommodate Ford’s new 429 (the 385 series V8).  So, although homologated, the AAR ‘Cudas didn’t have as close a relationship with what Gurney’s operation ran on the circuit compared with that enjoyed by the earlier Z28 Camaros and Boss Mustangs.

Underbody of 1970 Plymouth AAR 'Cuda in "Lemon Twist" over black.

The much admired side exhausts emulated the look of the (unlawful) "cut-out" systems some hot-rodders used but the AAR units were ducted using special mufflers with inlets & outlets both at the front.  Something of an affectation and probably a structural inefficiency in terms of gas-flow, they were undeniably a sexy look and AMG in the twenty-first century would adopt the "cut-out" look for the Mercedes-Benz G55 & G63 although without the convoluted path.

Even if the relationship with what was under the hood was by 1970 not quite as close as in earlier seasons, the AAR machines certainly looked the, equipped with a black fibreglass hood (complete with lock-pins and a functional scoop), rear & (optional) front spoilers and a very sexy “side exhaust system” exiting just behind the doors.  Uniquely, the 340 in the “Trans-Am” cars ran a triple carburetor induction system (unlike the actual 5.0 litre race cars which were limited to a single four-barrel) rated at 290 (gross or SAE (Society of Automotive Engineers) HP (horsepower), a somewhat understated figure apparently settled on because the modest number was quoted also for the 302s in the Camaro Z28 and Boss 302 Mustang.  The engine genuinely was improved, the block a “special run” using an alloy of cast iron with a higher nickel content and including extra metal to permit the race teams to install four-bolt main bearings (none of the AAR road cars so configured).  Just to make sure buyers got the message, the front tyres were fat Goodyear E60x15s while the rears were an even beefier G60x15, a mix a first for Detroit that produced a pronounced forward rake still much emulated.  So, even if the AAR ‘Cudas really weren’t exactly “race-ready”, they looked like they were which was of course the point of the whole exercise and they proved popular, Plymouth making 2724 (all coupes), 1604 of which were fitted with the TorqueFlite 727 automatic transmission, something not seen on the Trans-Am circuits but ideally suited to drag strips and street use.  Dodge’s companion “homologation special” was the Challenger T/A in an identical configuration and of the 2400 coupes made, 1411 were automatics.

1970 Plymouth AAR 'Cuda with dealer-fitted (or re-production) front "chin" spoiler (option code J78) (left) and 1970 Plymouth AAR 'Cuda with standard rear "ducktail" spoiler (mandatory option J82) (right).

The black ABS plastic rear "ducktail" spoiler (mandatory option code J82) was standard on the AAR 'Cudas (and differed from the "wing" style unit optional on other 'Cudas) while the pair of front "chin" spoilers (J78) were optional.  The chin spoilers were not fitted by the factory but supplied as a "dealer-install kit" and shipped in the car's trunk (boot), the result being some variations in the mounting position so cars so configured.  The chin spoilers are available as re-productions (some even including the original Mopar part-number) and because they were dealer-installed it can be hard to tell if they're original equipment, the slight variations in the positioning of in dealerships further muddying the waters.  For the “originality police” for whom “matching numbers” is the marker of the highest form of collectability, the small ABS protuberances are thus a challenge because while a rare dealer receipt or shipping list from 1970 can prove the provenance, an alleged authenticity can be difficult to disprove because there are now documented techniques by which plastic can be “aged”, a la the tricks art forgers once used to make a recent painting appear centuries old, one especially skilled cheating even Hermann Göring (1893–1946; leading Nazi 1922-1945, Hitler's designated successor & Reichsmarschall 1940-1945), something that seems hardly an offence.  Scientific analysis presumably could be applied to determine the truth; there’s no record of the originality police ever having resorted to that but it may yet happen because in the collector market the difference in value between “original” and “not original” can be significant.

1970 Plymouth Barracuda Option M46 detail sheet (left) and 1970 Plymouth Barracuda with M46 (or re-production) rear (non-functional) quarter-panel (sill) scoop (right).  In appearance, the part is similar to the duct on the mid-engined Lamborghini Miura (1966-1973).

The reproduction of obscure and once rarely ordered options has meant there doubtlessly are more AAR ‘Cudas with the chin spoilers than were ever left the dealer in that form and even the less desirable Barracudas are serviced by the industry.  In 1970 there was option code M46 which included (1) an Elastomeric (elastomer a rubbery material composed of long, chain-like molecules (or polymers) capable of recovering their original shape after suffering an impact) rear quarter-panel (sill) air scoop in front of the rear wheels, (2) matte black lower-body trim with white and red pinstripes, (3) a rear-panel black-out (similar to that used on the ‘Cuda), complemented with chrome trim from the Gran Coupe and (4) blacked-out front & rear valences.  Offered only for 1970 Barracudas, Chrysler’s records indicate fewer than 450 were built but the reproduction scoops are sometimes seen even on later models, including ‘Cudas on which they were never available.  Unlike the AAR’s chin spoilers, option code M46 was factory-fitted so authenticity can be verified by the fender tag.  Unlike the spoilers (that would have had some aerodynamic effect), option M46 was purely a “dress-up”, the quarter-panel scoop “non-functional” and only emulating the “rear-brake cooling ducts” sometimes used on race cars or exotic machines.  

1971 Plymouth 'Cuda Convertible.

Circumstances conspired to doom the ‘Cuda, the 426 Hemi, the Challenger and almost the whole muscle car ecosystem.  Some of the pony cars would survive but for quite some time mostly only as caricatures of their wild predecessors.  Rapidly piling up were safety and emission control regulations that were consuming an increasing proportion of manufacturers’ budgets but just as lethal was the crackdown by the insurance industry on what were admittedly dangerously overpowered cars which, by international standards, were extraordinarily cheap and often within the price range of the 17-25 year old males most prone to high-speed accidents on highways.  During 1970, the insurance industry looked at the data and raised the premiums even higher and late that year, were it possible to buy insurance for a Hemi ‘Cuda and its ilk, it was prohibitively expensive and sales flopped from around 650 in 1970 to barely more than a hundred the next year, of which but a dozen-odd were convertibles.  Retired with the Hemi was the triple carburetor option for the 440; 1971 was the last time such a configuration would appear on a US-built vehicle.

It was nearly over.  Although in 1972 the Barracuda & Challenger were granted a stay of execution, the convertible and the big-block engines didn’t re-appear and the once vibrant 340 soon was replaced by a more placid 360 (5.9).  Sales continued to fall, soon below the point where the expensive to produce E-body was no longer viable, production of both Barracuda and Challenger ending in 1974.  From a corporate point-of-view, the whole E-Body project had proved a fiasco: not only did it turn out to be labour-intensive to build, it was only ever used by the Barracuda & Challenger, a financial death sentence in an industry where production line rationalization was created by "platform-sharing".  Even without the factors which led to the extinction however, the first oil-crisis, which began in October 1973, would likely have finished them off, the Mustang having (temporarily) vacated the market segment and the Camaro and Firebird survived only because they were cheaper to build so GM profitably could maintain production at lower levels; later in the decade, GM would be glad about that for the Camaro and Firebird enjoyed long, profitable Indian summers.  That career wasn't shared by the Javelin (1968-1974), AMC's belated entry in the pony car market; although more successful than the Barracuda, it outlived it by only months.

1971 Hemi 'Cuda Convertible at 2021 auction.  Note the "gills" on the front fender, an allusion to the "fish" theme although anatomically recalling a shark more than a barracuda.  

It was as an extinct species the third generations ‘Cudas achieved their greatest success... as used cars.  In 2014, one of the twelve 1971 Hemi ‘Cuda convertibles sold at auction for US$3.5 million and in 2021, another attracted a bit of US$4.8 million without reaching the reserve.  In the collector market, numbers do "bounce around a bit" and while the "post-COVID" ecosystem was buoyant, by 2026 things are more subdued but, like Ferrari's Dino 246 GT & GTS, the 1971 Hemi 'Cuda convertibles remains a "litmus-paper" car, regarded as one of the weather-vanes of the state of the collector market.  The next time one appears on the auction circuit, the fall of the hammer will be watched with interest.

Even by 1970 it was noticed Detroit’s intra-corporate self-cannibalization was blurring the distinctions between a company’s divisions, something that a decade earlier had at least in part contributed to Ford axing Edsel and Chrysler shuttering the much older DeSoto brand.  However, in 1970, Chrysler still retained four operational divisions (Imperial, Chrysler, Dodge & Plymouth) and although there was now some overlap in pricing, their “market positioning” remained distinct, albeit not as sharply defined as in the 1950s.  That was in the home market but in the overseas operations things were different; through corporate M&A (mergers & acquisitions) activities, during the 1960s, Chrysler had acquired four brands in the UK (Humber, Sunbeam, Singer & Hillman) and two in France (Simca & Talbot) and while that lasted for a few years, when in 1970 Chrysler in France and the UK introduced the 180 (1970-1982 ( “large” in European terms; a “sub-compact by US standards)) it was sold as a “Chrysler”, presumably an indication of future plans, Singer, Sunbeam and (soon) Humber already doomed.  In Australia there was another variation, Valiants there sold as “Chryslers” with the big Dodge Phoenix (actually a Canadian Plymouth with Dodge badges) offered as a "prestige" model.  That sounds like "Marketing 101" except between 1967-1971, the Valiant Wayfarer (the “ute” version of the sedan, sold in South Africa as the “Rustler” and in 1971 re-named “Utility” for Australasian sales) was also available in a cheaper, utilitarian form with lower equipment levels and sold as a “Dodge”.

Ecurie Chrysler's 1970 Hemi 'Cuda.

In 1970, things were simpler in France, the relative handful of Plymouths sold there all badged and registered as “Chryslers”.  Although never making much of a blip on the French sales charts, one 1970 Hemi ‘Cuda sold there enjoys the distinction of being the most successful of the breed in competition (other than in drag racing).  In series-production racing, there were relatively few categories for which the Hemi ‘Cuda would have been eligible but what there were in France, the car imported by Ecurie Chrysler (Chrysler's French Competition Group) at times dominated, between 1971-1973 winning 45 FIA-sanctioned circuit races and hill-climbs, securing the French Group 1 (Touring Class International Category) Circuit Championships in 1971, 1972 & 1973 and the 1972 Hill-climb title.  Painted the traditional FRB (French Racing Blue, a shade of “duck-egg blue”), it would have been a spectacular sight as rapidly it depleted the nation’s fossil fuel reserves and the stellar record in hill-climbs should not be unexpected; were a racing driver to choose, most would probably suggest a Hemi ‘Cuda would be at close to its best going uphill; certainly, it might be a better experience than a fast downhill run, under brakes.  Still, it gained multiple victories at storied circuits including Montlhery, Paul Ricard, Magny Cours, Dijon, Nogaro and Croix en Ternoix, reflecting the extensive development programme untaken by the engineers responsible for Matra's (Ecurie Chrysler's Joint Venture Partner) racing team (victorious in the Le Mans 24 Hour endurance classic in 1971, 1972 & 1973).  Probably, no other Hemi ‘Cuda ever went so well around corners.