Embellish

Embellish (pronounced m-bell-lysh)

(1) To decorate, garnish, bedeck or embroider an object.

(2) To beautify by ornamentation; to adorn.

(3) To enhance a statement or narrative with fictitious additions.

1300–1350: From the Middle English embelisshen from the Anglo-French, from the Middle French embeliss- (stem of embelir), the construct being em- (The form taken by en- before the labial consonants “b” & “p”, as it assimilates place of articulation).  The en- prefix was from the Middle English en- & in-.  In the Old French it existed as en- & an-, from the Latin in- (in, into); it was also from an alteration of in-, from the Middle English in-, from the Old English in- (in, into), from the Proto-Germanic in (in).  Both the Latin and Germanic forms were from the primitive Indo-European en (in, into) and the frequency of use in the Old French is because of the confluence with the Frankish an- intensive prefix, related to the Old English on-.) + bel-, from the Latin bellus (pretty) + -ish.  The –ish suffix was from the Middle English –ish & -isch, from the Old English –isċ, from the Proto-West Germanic -isk, from the Proto-Germanic –iskaz, from the primitive Indo-European -iskos.  It was cognate with the Dutch -s; the German -isch (from which Dutch gained -isch), the Norwegian, Danish, and Swedish -isk & -sk, the Lithuanian –iškas, the Russian -ский (-skij) and the Ancient Greek diminutive suffix -ίσκος (-ískos); a doublet of -esque and -ski.  There exists a welter of synonyms and companion phrases such as decorate, grace, prettify, bedeck, dress up, exaggerate, gild, overstate, festoon, embroider, adorn, spiff up, trim, magnify, deck, color, enrich, elaborate, ornament, beautify, enhance, array & garnish.  Embellish is a verb, embellishing is a noun & verb, embellished is a verb & adjective and embellisher & embellishment are nouns; the noun plural is embellishments.

The meaning "dress up (a narration) with fictitious matter" was first noted in the mid-fifteenth century and was an acknowledgement of a long (if sometimes hardly noble) literary tradition.  It was exemplified by the publication in 1785 by German author Rudolf Erich Raspe (1736-1794) of Baron Munchausen's Narrative of his Marvellous Travels and Campaigns in Russia, a collection of extraordinary stories, based (loosely) on the tales told by the real-life Baron Hieronymus Karl Friedrich, Freiherr von Münchhausen (1720-1797).  The real baron was prone to quite some exaggeration in the tales of his travels but never went as far as Herr Raspe had his fictional baron flying to the moon.  The technique of enhancing a statement or narrative with fictitious additions (ie lies) was later perfected by the author and one-time Tory politician Lord Archer of Weston-super-Mare (b 1940) and crooked Hillary Clinton (b 1947).

Lindsay Lohan in bikini embellished with faux (synthetic) fur, photo-shoot for the fifth anniversary of ODDA magazine, April 2017.

In the matter of Stormy Daniels and Donald Trump

Various matters relating to a payment allegedly made by (b 1946; US president 2017-2021) to adult film star (and director in the same genre) Stormy Daniels (Stephanie Gregory Clifford; b 1979) are currently before a New York criminal court.  When a member of Mr Trump’s legal team suggested she may have a  “propensity to embellish” when giving evidence, counsel was using the word “embellish” in the crooked Hillary sense of “lie”.  Lawyers have many ways to suggest those being cross-examined are lying and embellish is one of the more euphemistic though not as inventive as “economical with the truth”.  That one will forever be associated with former UK cabinet secretary Sir Robert Armstrong (1927-2020; later Baron Armstrong of Ilminster) who, under cross-examination in the “Spycatcher” trial (1986), when referring to a letter, answered: “It contains a misleading impression, not a lie. It was being economical with the truth.”  Whether the old Etonian was aware of much post-Classical writing isn’t known (at Christ Church, Oxford he read the “Greats” (the history and philosophy of Ancient Greece & Rome)) but he may have been acquainted with Mark Twain’s (1835-1910) Following the Equator (1897) in which appeared: “Truth is the most valuable thing we have.  Let us economize it.” or the earlier thoughts of the Anglo-Irish Whig politician Edmund Burke (1729-1797) who in his Two Letters on the Proposals for Peace with the Regicide Directory (1796) noted: “Falsehood and delusion are allowed in no case whatsoever: But, as in the exercise of all the virtues, there is an economy of truth.”  Just as likely however is that Sir Robert had been corrupted by his long service in HMG (Her Majesty’s Government) and was thinking of: “The truth is so precious, it deserves an escort of lies.”, a phrase often attributed (as are many) to Sir Winston Churchill (1875-1965; UK prime-minister 1940-1945 & 1951-1955), but there’s some evidence to suggest he may have picked it up from comrade Stalin (1878-1953; Soviet leader 1924-1953) and even if it wasn’t something the old seminarian coined, it was the mantra by which he lived so he deserves some credit.  Sir Robert’s phrase entered the annals of legal folklore and was good enough to have been lifted from a script from the BBC satire Yes Minister.

Courtroom sketch of defendant, judge, prosecutor & witness by Jane Rosenberg (b 1949), Manhattan Criminal Court, New York, 7 May 2024.

The work of courtroom sketch artists became a feature of the trial process in many Western courts during the years when photography was banned and Ms Rosenberg has since 1980 become of of the most highly regarded practitioners.  Of her art, she was quoted, in a statement she stressed was non-political and not a comment on the legal merit of his case, that Mr Trump was “fun to draw”.  Something of the character of law will be lost if the courtroom sketch artist is replaced by an artificial intelligence (AI) bot.

The exchange on 7 May wasn’t the first time “propensity” and “embellish” had been entered into the trial transcript.   On 23 April, the court heard about former National Enquirer publisher David Pecker’s (b 1951) “secret arrangement” negotiated in 2015 with Mr Trump and his then attorney (and “fixer”) Michael Cohen (b 1966), the terms of which included the publication (1) promoting Mr Trump’s presidential ambition and (2) publicizing Mr Cohen’s “research” relating to Mr Trump’s opponents: “He would send me information [about the others seeking the Republican nomination for the 2016 presidential election] and that was the basis for our story, and we would embellish (in the National Enquirer tradition "embellish" is a spectrum word ranging in meaning from "exaggerate" to "untrue").” Mr Pecker testified, adding the arrangement was kept secret from all but a handful of his senior executives: “I told them [the National Enquirer’s East and West Coast bureau chiefs] we were going to try and help the campaign, and to do that we would keep it as quiet as possible.”  National Enquirer has bureaux; who knew?

Stormy Daniels.

The day before, Mr Trump’s team pursued a line of questioning designed to cast doubt on Mr Cohen’s credibility, suggesting that for him Mr Trump has become “an obsession” and that he wishes to see him incarcerated and has “a propensity to lie.”  “He has a goal, an obsession, with getting Trump.  I submit to you he cannot be trusted.  His entire financial livelihood depends on President Trump’s destruction… You cannot make a serious decision about President Trump by relying on the words of Michael Cohen.” Counsel argued.  Mr Cohen had certainly left no doubt the case was on his mind, the previous night posting on-line that he’d experienced some “…mental excitement about this trial...” and the testimony he would deliver.

The highlight thus far however came when the state called to the stand Ms Daniels where in greater detail than expected she described the encounter with Mr Trump which led to the hush-money scheme.  The word the press seemed to settle on for their reports was “salacious” but the two things which most struck legal analysts was (1) the unusually wide interpretative latitude the judge appeared to allow himself when deciding the nature of the many details Ms Daniels should be allowed to introduce and (2) the curious reticence of defence counsel in objecting to the course things were taking.  Both of these aspects may be considered if the case goes on appeal when often a ruling is made on what evidence is relevant and what is so prejudicial that under the evidentiary rule it shouldn’t have been admitted and heard by the jury.

Stormy expression: Donald Trump at the defense table, Manhattan Criminal Court, New York, 7 May 2024.

Over lunch, Mr Trump’s team must have discussed these matters because they moved a motion requesting the judge declare a mistrial on the grounds Ms Daniels’ testimony contained prejudicial and irrelevant comments which: “…aside from pure embarrassment…,” these details did nothing but “…inflame the jury.”  The judge did acknowledge Ms Daniels was a difficult witness to control and agreed: “...it would have been better if some of these things had been left unsaid.” but denied the motion, saying defense counsel should have raised more objections during the testimony and that cross-examination would permit them to redress things, adding that at one point he had intervened to limit her statements simply because the defence had not.  The defense did actually raise a number of objections, a slew of which the judge upheld, after which he cautioned the witness: “Just listen to the question, and answer the question.”  Some may have recalled the infamous cross-examination of Hermann Göring (1893–1946; leading Nazi 1922-1945, Hitler's designated successor & Reichsmarschall 1940-1945) by Justice Robert Jackson (1892–1954; US Supreme Court Justice 1941-1954; Chief US Prosecutor at the Nuremberg (IMT) trials of Nazi war criminals 1945-1946) at the first Nuremberg Trial (1945-1946) when the judges of the IMT (International Military Tribunal) declined to “control the witness”, leaving Justice Jackson increasingly exasperated by Göring’s long answers which the prosecutor though mostly irrelevant but which were of great interest to at least some of the judges and permitted under the terms of the court’s charter.  Of course, the IMT wasn’t limited by New York’s rules on admissibility of evidence.

Stormy Daniels (2019) by Robert Crumb.  Robert Crumb (b 1943) is an US cartoonist, associated since the 1960s with the counter-culture and some strains of libertarianism; he was one of the most identifiable figures of the quasi-underground (in the Western rather than the Warsaw Pact sense) comix movement.

However, in one exchange during defense cross examination, there was no question of any propensity to embellish, counsel asking: “Am I correct in that you hate President Trump?” to which Ms Daniels replied: “Yes.”  No ambiguity there and although not discussed in court, her attitude may not wholly be unrelated to Mr Trump’s rather ungracious description of her as “horse face”.  Really, President Trump should be more respectful towards a three-time winner of F.A.M.E.'s (Fans of Adult Media and Entertainment) much coveted annual "Favorite Breasts" award.

Donald Trump leaving Manhattan Criminal Court, New York, 7 May 2024.

Speaking briefly to reporters after leaving the court, Mr Trump said: “This was a very big day, a very revealing day, as you see, their case is totally falling apart, they have nothing on the books and records and even something that should bear very little relationship to the case, it's just a disaster for the DA.”

Crumb

Crumb (pronounced kruhm)

(1) A small particle of bread, cake, biscuit etc that has broken off.

(2) A small particle or portion of anything; fragment; bit.

(3) The soft inner portion of a bread, as distinguished from the crust (archaic).

(4) In the plural crumbs, a cake topping made of sugar, flour, butter, and spice, usually crumbled on top of the raw batter and baked with the cake.

(5) In slang, a nobody; a contemptibly objectionable or worthless person (rare).

(6) In cooking, to dress, coat or prepare with crumbs or to remove crumbs from (literally to de-crumb).

(7) To break into crumbs or small fragments.

(8) In the industrial production of food, a mixture of sugar, cocoa and milk, used to make bulk cooking chocolate.

(9) In (predominately historic military) slang, a body louse (Pediculus humanus).

Pre 1000: From the Middle English crome, cromme, crumme & crume, from the Old English cruma (crumb, fragment), from the Proto-Germanic krumô & krūmô (fragment, crumb), from the primitive Indo-European grū-mo- (something scraped together, lumber, junk; to claw, scratch), from ger- (to turn, bend, twist, wind).  It was cognate with the Dutch kruim (crumb), the Low German Krome & Krume (crumb), the Middle High German krūme & German Krume (crumb), the Danish krumme (crumb), the Swedish dialectal krumma (crumb) & the Swedish inkråm (crumbs, giblets), the Icelandic krumur (crumb), the Latin grūmus (a little heap (usually of earth) and the Ancient Greek grumea (from ψιχίον (psichion)) (bag or chest for old clothes).

The un-etymological -b- appeared in the mid-fifteenth century as in limb & climb to match crumble and words like dumb, numb & thumb although there may also have been the influence of French words like humble (where it makes sense, unlike in in English where it’s just silly given crumb should be spelled “crum” or “krum”.  The slang meaning "lousy person" dates from 1918, linked to US troops who had picked up crumb as a word to describe the body-louses well known in the trenches on the Western Front in France.  The use to refer to louses, base on the resemblance, was from another war, attested from 1863 during the US Civil War.  The obsolete alternative spelling was the dialectal crimb.  Crumb, crumbling, crumbler, crumbling & crumble are nouns & verbs, crumbled is a verb, crumbly is a noun & adjective and crumbable is an adjective; the noun plural is crumbs.

The adjective crummy dates from the 1560s in the sense of “easily crumbled" but within a decade had come also to mean "like bread", the slang adoption of which to suggest "shoddy, filthy, inferior, poorly made" in use by 1859, either from the earlier sense or influenced by the more recent used to refer to the louse.  In one curiosity thought probably related to the resemblance to certain loaves of bread, crummy was briefly (although dialectical use did persist) used in the eighteenth century to describe a woman, "attractively plump, full-figured, buxom" although any link with Robert Crumb’s later work Stormy Daniels is mere coincidence.  The related forms are crummily & crumminess.  The adjective crumby (full of crumbs) is from 1731 and while it overlapped with crummy, it seems almost always to have been applied literally.

The verb crumble is from the late-fifteenth century kremelen (to break into small fragments (transitive)), from the Old English crymelan, thought to be the frequentative of gecrymman (to break into crumbs), from cruma; the intransitive sense of "fall into small pieces" dating from the 1570s.  As a noun, crumb has meant "a fragment" at least since the 1570s but as a cake or dessert-topping (made of sugar, flour, butter, and spice, usually crumbled on top of the raw batter and baked with the dish), the first known reference is in English newspapers in 1944, one of the techniques recommended as a culinary innovation during the wartime food rationing, the best remembered of which is the vegetarian “Woolton Pie”, named after Lord Woolton (1883-1964; UK Minister of Food 1940-1943)

Stormy Daniels (2019) by Robert Crumb.

Robert Crumb (b 1943) is an US cartoonist, associated since the 1960s with the counter-culture and some strains of libertarianism; he was one of the most identifiable figures of the quasi-underground comix movement.  There is a genre-description of the long-typical women in his work as “Crumb women” based on the depiction of the physical characteristics he most admired although, for reasons he’s widely discussed, he no longer feels the need to draw women in that manner.  He still draws women but the work is now more literally representational, his portrait of pornographic actress & director Stormy Daniels (Stephanie Gregory Clifford; b 1979) a more sympathetic interpretation than Donald Trump's (b 1946; US president 2017-2021) ungracious description of her as “horse face”.  Really, President Trump should be more respectful towards a three-time winner of F.A.M.E.'s (Fans of Adult Media and Entertainment) much coveted annual "Favorite Breasts" Award.

Handed down on Tuesday 30 November 2021, Set the Standard is a report by sex discrimination commissioner Kate Jenkins (b 1968) on behalf of the Human Rights Commission, exploring bullying, sexual harassment and sexual assault experienced by those working in commonwealth parliamentary workplaces in Australia.  The report recommends (1) codes of conduct which should apply to both parliamentarians and their staff and (2) standards of conduct within the parliamentary space.  The printed version includes evidence from some seventeen hundred individuals, including almost 150 current or former parliamentarians and some 900 current or former staffers.  At this time, it appears the only restriction placed on politician’s behavior is the so-called “bonk-ban”, the proscription of ministers and their staff enjoying sex together, a thing imposed in the wake of the revelation of Barnaby Joyce's (b 1967; thrice (between local difficulties) deputy prime-minister of Australia 2016-2022) adulterous affair with the taxpayer-funded help.  The way around that is apparently for ministers to arrange staff-swaps with other offices because the bonk-ban doesn’t extend to sex with other people’s staff and it’ll be fun to see what tricks and techniques are adopted as work-arounds to avoid what little will be done between the three months it takes for the Jenkins’ report to work its way through the system and the following three weeks it takes to forget about it.  The politicians like things the way they are; expect more of the same.

Although it didn’t make it into the report, one group of enablers of poor conduct subsequently identified were the “crumb ladies”, the female politicians who are doughty defenders of the predatory male politicians who are the perpetrators of abuse inflicted on women, the reference to crumbs being the pathetic and insignificant rewards tossed their way by the male establishment who divide the spoils of office mostly among themselves.  While the men enjoy the important jobs, the most lucrative perks and the best travel to civilized spots, the "crumb ladies", knowing their place and toeing the line, might pick up the odd appointment as an "assistant something" or a holiday (disguised as a study trip) to somewhere where (usually) it’s safe to drink the water.  The existence of the parliament’s “crumb ladies” alludes to the use of crumbs as a device in the New Testament.  Crumbs which fall from the table appear in an increasing number of translations and of particular theological interest are Matthew 15:27 and Mark 7:28.  However, the best illustration in this context is probably Luke 16:21: "...and desiring to be fed with the crumbs which fell from the rich man's table".

Lindsay Lohan MH Crumble Cake #'d Tobacco cards 462 (left) & 463 (right).

Rhubarb & Apple Crumble

All crumble recipes are forks of apple crumble and the same instructions can be used with just about any combinations of fruit.  Crumbles can be assemble to emphasize tartness, sweetness or a blend of the two.  Among the favorites to mix and match are rhubarb, apple, pineapple, apricot, peach, boysenberry, & strawberry.  The extent of the sweetness can further be enhanced by adding more sugar (brown sugar is recommended) although many prefer to use honey.

Core Ingredients

450g rhubarb, cut into 1 inch (25 mm) slices.
350g apples (Granny Smith recommended), peeled and cut into 1 inch (25 mm) chunks.
1 vanilla pod, split open (or 1 teaspoon of vanilla paste or extract).
120g golden caster sugar.
Ice cream, custard or thickened cream (as preferred) to serve.

Topping Ingredients

200g plain flour.
1 tsp ground ginger (optional).
100g cold salted butter, chopped.
70g light soft brown sugar

Instructions

(1) Pre-heat oven to 200^oC / 390^oF (180^oC / 360^oF if fan forced).

(2) Place rhubarb, apples, vanilla and sugar together in an ovenproof dish and toss to ensure vanilla & sugar coating is consistent.

Roast for 10 minutes.

(4) Place flour in a large bowl, mixing in ginger if it’s being used.  Using fingertips, rub in butter to create a chunky breadcrumb-like textured mixture.

(5) When texture is achieved, stir through the sugar (creating the crumble).

(6) Sprinkle crumble topping onto the fruit and cook for a further 30-35 minutes or until the topping is a light, golden brown.

(7) Serve with ice cream, custard or thickened cream as preferred.

Breadvan

Breadvan (pronounced bred-vann)

(1) A delivery vehicle adapted for carrying loaves of bread or other bakery items for delivery to retail outlets, hotels, cafés etc.

(2) As the Ferrari 250 GT SWB “Breadvan”, a one-off vehicle produced in 1962.

(3) As a descriptor of the “breadvan” style applied to the rear of vehicles to seek aerodynamic advantages in competition, variously applied, mostly during the 1960s.

1840s: The construct was bread + van.  Bread was from the Middle English bred & breed (kind of food made from flour or the meal of some grain, kneaded into a dough, fermented, and baked), from the Old English brēad (fragment, bit, morsel, crumb), from the Proto-West Germanic braud, from the Proto-Germanic braudą (cooked food, leavened bread), from the primitive Indo-European berw- & brew- (to boil, to see).  Etymologists note also the Proto-Germanic braudaz & brauþaz (broken piece, fragment), from the primitive Indo-European bera- (to split, beat, hew, struggle) and suggest bread may have been a conflation of both influences.  It was cognate with the Old Norse brauð (bread), the Old Frisian brad (bread), the Middle Dutch brot (bread) and the German Brot (bread), the Scots breid (bread), the Saterland Frisian Brad (bread), the West Frisian brea (bread), the Dutch brood (bread), the Danish & Norwegian brød (bread), the Swedish bröd (bread), the Icelandic brauð (bread), the Albanian brydh (I make crumbly, friable, soft) and the Latin frustum (crumb).  It displaced the non-native Middle English payn (bread), from the Old French pain (bread), having in the twelfth century replaced the usual Old English word for "bread," which was hlaf.  Van was short for caravan, from the Middle French caravane, from the French caravane, from the Old French carvane & carevane, (or the Medieval Latin caravana), from the Persian کاروان‎ (kârvân), from the Middle Persian (kārawān) (group of desert travelers), from the Old Persian ultimately from the primitive Indo-European ker- (army).  Most famously, the word was used to designate a group of people who were travelling by camel or horse on the variety of routes referred to as the Silk Road and it reached the West after being picked up during the Crusades, from the Persian forms via the Arabic qairawan and connected ultimately to the Sanskrit karabhah (camel).  Breadvan (also as bread-van) is a noun; the noun plural is breadvans.

Horse-drawn breadvan.

The breadvans were first horse-drawn and came into use in the in the 1840s.  These vans were used to transport freshly baked bread from bakeries to homes and businesses in cities and towns in the UK, Europe, North America and Australasia.  The breadvan was adopted as an efficiency measure, being a significant improvement on the traditional system of delivery which was usually a “baker’s boy” carrying baskets of bread on foot to customers.  The horse-drawn breadvans allowed bakers increase production and expand their customer base.  The construction of the vehicles was not particularly specialized but they did need to be (1) waterproof to protect the goods from the elements and (2) secure enough that the bread was accessible either to opportunistic birds, dogs or thieves.

Breadvan: Morris Commercial J-type (1949-1961)

The Breadvans

Enzo Ferrari (1898-1988) is famous for the cars which carry his name but his imperious attitude to customers and employees alike led to a number of them storming out of Maranello and creating their own machines.  Some, like Lamborghini survived through many ups & downs, others like Bizzarrini survived for a while and ATS (Automobili Turismo Sport) produced a dozen exquisite creations before succumbing to commercial reality.  Another curious product of a dispute with il Commendatore was the Ferrari 250 GT SWB “Breadvan”.

Ferrari 250 GT SWB “Breadvan”.

Ferrari’s 250 GTO became available to customers in 1962 and one with his name on the list was Count Giovanni Volpi di Misurata (b 1938), principal of the Scuderia Serenissima Republica di Venezia (ssR) operation but when Enzo Ferrari found out Volpi was one of the financial backers of the ATS project, he scratched the count’s name from the order book.  Through the back channel deals which characterize Italian commerce. Volpi did obtain a GTO but he decided he’d like to make a point and decided to make something even better for his team’s assault on the 1962 Le Mans 24 hour endurance classic.  In the ssR stable was what was reputed to be the world’s fastest Ferrari GT SWB (serial number 2819 GT) and it was decided to update this to to a specification beyond even that of the GTO, a task entrusted to Giotto Bizzarrini (1926-2023) who, with remarkable alacrity, performed the task in the workshops of noted coachbuilder Piero Drogo (1926–1973).

The Breadvan leading a 250 GT SWB, the car on which it was based.

The changes were actually quite radical.  To obtain the ideal centre of gravity, the 3.0 litre (180 cubic inch) V12 engine was shifted 4¾ inches (120 mm) rearward, sitting entirely behind the front axle and mounted lower, something permitted by the installation of a dry sump lubrication system.  Emulating the factory GTO, six downdraft, twin choke Weber carburetors sat atop the inlet manifold, the tuned engine generating a healthy 300 bhp.  Given the re-engineering, on paper, the car was at least a match for the GTO except it lacked the factory machine’s five-speed gearbox, running instead the standard four-speed.  What really caught the eye however was body Bizzarrini’s striking bodywork, the sharp nose so low Perspex cover had to be fabricated to shield the cluster of a dozen velocity stacks of the Webers that protruded above the bonnet-line.  Most extraordinary however was the roofline which extended from the top of the windscreen to the rear where it was sharply cut-off to create what remains perhaps the most extreme Kamm-tail ever executed.

The count was impressed, the creation matching the GTO for power while being 100 kg (220 lb) lighter and aerodynamically more efficient.  Accordingly he included it in the three-car Ferrari team he assembled for Le Mans along with the GTO and a 250 TR/61 and it appearance caused a sensation, the French dubbing it la camionnette (little truck) but it was the English nickname “Breadvan” which really caught on.  To a degree the count proved his point.  Under pressure from Ferrari the organizers forced the Breadvan to run in the prototype class against pure racing cars rather than against the GTOs in the granturismo category but in the race, it outpaced the whole GT field until, after four hours, a broken driveshaft forced its retirement.  It was campaigned four times more in the season scoring two GT class victories and a class track record before being retired.  Volpi sold the car in 1965 for US$2,800 and its current value is estimated to be around US$30 million.  It remains a popular competitor on the historic racing circuit.

1965 Ford GT40 Mark I (left) 1966 Ford J Car (centre) & 1967 Ford GT40 Mark IV (right).

As well as the ATS, Lamborghinis and Bizzarrinis, Enzo Ferrari’s attitude to those who disagreed with him also begat the Ford GT40, a well-known tale recounted in the recent film Ford vs Ferrari (20th century Fox, 2019).  In 7.0 litre (427 cubic inch) form, the GT40 Mark II won at Le Mans in 1966 but Ford’s engineers were aware the thing was overweight and lacked the aerodynamic efficiency of the latest designs so embarked on a development program, naming the project the “J Car”, an allusion to the “Appendix J” regulations (one of the FIA’s few genuinely good ideas) with which it conformed.  The aluminum honeycomb chassis was commendably light and, noting the speed advantage gained by the Ferrari Breadvan in 1962, a similar rear section was fabricated and testing confirmed the reduction in drag.  Unfortunately, the additional speed it enabled exposed the limitation of the breadvan lines: Above a certain speed the large flat surface acted like an aircraft’s wing and the ensuing lift provoked lethal instability and in one fatal crash in testing, the lightweight chassis also proved fragile.  The “J Car” and its breadvan was thus abandoned and a more conventional approach was taken for both the chassis and body of the GT40 Mark IV and it proved successful, in 1967 gaining the second of Ford’s four successive victories at Le Mans (1966-1969).

Ford Anglia, Rallye Monte-Carlo, 1962 (left) & Ford Anglia "breadvans" built for New Zealand Allcomer racing during the 1960s. 

Marketing opportunity for niche players: A Lindsay Lohan breadvan, Reykjavik, Iceland.

In the US, Ford spent millions of dollars on the GT40’s abortive breadvan but in New Zealand, it doubtful the amateur racers in the popular “Allcomers” category spent very far into three figures in the development of their “breadvans”.  In the Allcomer category, the “breadvans” (again a nod to the Count Volpi’s 1962 Ferrari) were Ford Anglias with a rear section modified to gain some aerodynamic advantage.  The English Ford Anglia (1959-1968) had an unusual reverse-angle rear-window, a design chosen to optimize the headroom for back-seat passengers.  That it did but it also induced some additional drag which, while of no great consequence at the speeds attained on public roads, did compromise the top speed, something of great concern to those who found the little machines were otherwise ideal for racing.  In the spirit of improvisation for which New Zealand Allcomer racing was renowned, “breadvans” soon proliferated, fabricated variously from fibreglass, aluminum or steel (and reputedly even paper-mache although that may be apocryphal) and the approach was successful, Anglias competitive in some forms of racing well into the 1970s by which time some had, improbably, been re-powered with V8 engines.

Soupçon

Soupçon (pronounced soop-sawn)

(1) A slight trace, dash, hint, modicum or vestige, as of a certain taste or flavour; a very small amount; a hint; a trace, slight idea; an inkling.

(2) A suspicion; a suggestion (dated; now rare).

1766: From the Middle French soupçon (suspicion), from the twelfth century Old French sospeçon (suspicion, worry, anxiety) derived from the Medieval Latin suspectiōnem & suspectiōn (stem of suspectiō), from the Classical Latin suspīciō (suspicion) and a doublet of the now obsolete suspection.  In Late Latin, the word seems to have evolved as suspectionem although there no consensus among etymologists.  It is not a doublet of suspicion although such use has been seen.

In English, use of soupçon spiked after the French Revolution (1789), something owed less to literature than to political pamphleteers and technical writers such as the authors of cookbooks.  It tended to decline in the twentieth century and beyond as the fashion for the interpolation of obviously foreign words faded, especially when English offered so many well-known and serviceable synonyms (although more than a soupcon of those enjoyed a recent foreign past): crumb, drop, pinch, scintilla, shred, bit, smidgen, trace, whiff, dab, dash, hint, iota, particle, speck, suggestion, tinge, whisper, modicum & vestige.  Although there will always be those inclined to “drop it in” wherever possible, it’s probably most natural in English if writing of something French, a recipe, a style, a cut, an era et al although not all approve of “Gallicisms”.  In his A Dictionary of Modern English Usage (1926), Henry Fowler (1858–1933) noted the evolution of English had for centuries depended on the absorption of “…words and phrases that were once Gallicisms but, having prospered, are no longer recognizable as such; and of the number now on trial, some will doubtless prosper in like manner” and commended “...the conversational usage of educated people in general, not… predilections or a literary fashion of the moment.”

Lindsay Lohan and her lawyer in court, Los Angeles, December 2011.