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Thursday, October 16, 2025

Demand

Demand (pronounced dih-mand (U) or dee–mahnd (non-U))

(1) To ask for with proper authority; claim as a right.

(2) To ask for peremptorily or urgently.

(3) To call for or require as just, proper, or necessary.

(4) In law, to lay formal claim to.

(5) In law, to summon, as to court.

(6) An urgent or pressing requirement.

(7) In economics, the desire to purchase, coupled (hopefully) with the power to do so.

(8) In economics, the quantity of goods that buyers will take at a particular price.

(9) A requisition; a legal claim.

(10) A question or inquiry (archaic).

1250-1300: From Middle English demaunden and Anglo-French demaunder, derived from the Medieval Latin dēmandāre (to demand, later to entrust) equivalent to  + mandāre (to commission, order).  The Old French was demander and, like the English, meant “to request” whereas "to ask for as a right" emerged in the early fifteenth century from Anglo-French legal use.  As used in economic theory and political economy (correlating to supply), first attested from 1776 in the writings of Adam Smith.  The word demand as used by economists is a neutral term which references only the conjunction of (1) a consumer's desire to purchase goods or services and (2) hopefully the power to do so.  However, in general use, to say that someone is "demanding" something does carry a connotation of anger, aggression or impatience.  For this reason, during the 1970s, the language of those advocating the rights of women to secure safe, lawful abortion services changed from "abortion on demand" (ie the word used as an economist might) to "pro choice".  Technical fields (notably economics) coin derived forms as they're required (counterdemand, overdemand, predemand etc).  Demand is a noun & verb, demanding is a verb & adjective, demandable is an adjective, demanded is a verb and demander is a noun; the noun plural is demands.

Video on Demand (VoD)

Directed by Tiago Mesquita with a screenplay by Mark Morgan, Among the Shadows is a thriller which straddles the genres, elements of horror and the supernatural spliced in as required.  Although in production since 2015, with the shooting in London and Rome not completed until the next year, it wasn’t until 2018 when, at the European Film Market, held in conjunction with the Internationale Filmfestspiele Berli (Berlin International Film Festival), that Tombstone Distribution listed it, the distribution rights acquired by VMI, Momentum and Entertainment One, and VMI Worldwide.  In 2019, it was released progressively on DVD and video on demand (VoD), firstly in European markets, the UK release delayed until mid-2020.  In some markets, for reasons unknown, it was released with the title The Shadow Within.

Video on Demand (VoD) and streaming services are similar concepts in video content distribution but there are differences.  VoD is a system which permits users to view content at any time, these days mostly through a device connected to the internet across IP (Internet Protocol), the selection made from a catalog or library of available titles and despite some occasionally ambiguous messaging in the advertising, the content is held on centralized servers and users can choose directly to stream or download.  The VoD services is now often a sub-set of what a platform offers which includes content which may be rented, purchased or accessed through a subscription.

Streaming is a method of delivering media content in a continuous flow over IP and is very much the product of the fast connections of the twenty-first century.  Packets are transmitted in real-time which enables users to start watching or listening without waiting for an entire file (or file set) to download, the attraction actually being it obviates the need for local storage.  There’s obviously definitional and functional overlap and while VoD can involve streaming, not all streaming services are technically VoD and streaming can also be used for live events, real-time broadcasts, or continuous playback of media without specific on-demand access. By contrast, the core purpose of VoD is to provide access at any time and streaming is a delivery mechanism, VoD a broad concept and streaming a specific method of real-time delivery as suited to live events as stored content.

The Mercedes-Benz SSKL and the Demand Supercharger

Modern rendition of Mercedes-Benz SSLK in schematic.  It's misleading because the four or five SSKLs built were all commissioned in 1931 (although it's possible one or more used a modified chassis which had been constructed in 1929).  All SSKs left the factory between 1928-1931. 

The Mercedes-Benz SSKL was one of the last of the road cars which could win top-line grand prix races.  An evolution of the earlier S, SS and SSK, the SSKL (Super Sports Kurz (short) Leicht (light)) was notable for the extensive drilling of its chassis frame to the point where it was compared to Swiss cheese; reducing weight with no loss of strength.  The SSKs and SSKLs were famous also for the banshee howl from the engine when the supercharger was running; nothing like it would be heard until the wail of the BRM V16s twenty years later.  It was called a demand supercharger because, unlike some constantly-engaged forms of forced-induction, it ran only on-demand, in the upper gears, high in the rev-range, when the throttle was pushed wide-open.  Although it could safely be used for barely a minute at a time, when running, engine power jumped from 240-odd horsepower (HP) to over 300.  The number of SSKLs built has been debated and the factory's records are incomplete because (1) the competition department, producing machines "for internal use" simply built "as required" and wasn't much concerned about documents and (2) many archives were lost as a result of bomb damage during World War II (1939-1945); most historians suggest there were four or five SSKLs, all completed (or modified from earlier builds) in 1931.  The SSK had enjoyed success in competition but even in its heyday was in some ways antiquated and although powerful, was very heavy, thus the expedient of the chassis-drilling intended to make it competitive for another season.  Lighter (which didn't solve but at least to a degree ameliorated the high tyre wear) and easier to handle than the SSK (although the higher speed brought its own problems, notably in braking), the SSKL enjoyed a long Indian summer and even on tighter circuits where its bulk meant it could be out-manoeuvred, sometimes it still prevailed by virtue of durability and sheer power.

Sometimes too it got lucky.  When the field assembled in 1931 for the Fünfter Großer Preis von Deutschland (fifth German Grand Prix) at the Nürburgring Nordschleife, even the factory acknowledged that at 1600 kg (3525 lb), the SSKLs, whatever their advantage in horsepower, stood little chance against the nimble Italian and French machines which weighed-in at some 200 KG (440 lb) less.  However, on the day there was heavy rain with most of race conducted on a soaked where the light-weight, twitchy Alfa Romeos, Maseratis and the especially skittery Bugattis proved less suited to the slippery surface than the truck-like but stable SSKL, the lead built up in the rain enough to secure victory even though the margin narrowed as the surface dried and a visible racing-line emerged.  Time and the competition had definitely caught up by 1932 however and it was no longer possible further to lighten the chassis or increase power so the factory had aerodynamics specialist Baron Reinhard von Koenig-Fachsenfeld (1899-1992) design a streamlined body, the lines influenced both by his World War I (1914-1918 and then usually called the "World War") aeronautical experience and the "streamlined" racing which had been seen in the previous two decades.  At the time, the country greatly was affected by economic depression which spread around the world after the 1929 Wall Street crash, compelling Mercedes-Benz to suspend the operations of its competitions department so the one-off "streamliner" was a private effort (though with some tacit factory assistance) financed by the driver (who reputedly borrowed some of the money from his mechanic).  This coaxed from the SSKL a victory in its final fling.  Crafted in aluminum by Vetter in Cannstatt, it was mounted on Manfred von Brauchitsch's (1905-2003) race-car and proved its worth at the at the Avusrennen (Avus race) in May 1932; with drag reduced by a quarter, the top speed increased by some 12 mph (20 km/h) and the SSKL won its last major trophy on the unique circuit which rewarded straight-line speed like no other.  It was the last of the breed.  Subsequent grand prix cars would be pure racing machines with none of the compromises demanded for road-use.

Evolution of the front-engined Mercedes-Benz grand prix car, 1928-1954

1928 Mercedes-Benz SS.

As road cars, the Mercedes-Benz W06  S (1927-1928) & SS (1928-1930) borrowed unchanged what had long been the the standard German approach in many fields (foreign policy, military strategy, diplomacy, philosophy etc): robust engineering and brute force; sometimes this combination worked well, sometimes not.  Eschewing refinements in chassis engineering or body construction as practiced by the Italians or French, what the S & SS did was achieved mostly with power and the reliability for which German machinery was already renowned.  Although in tighter conditions often out-manoeuvred, on the faster circuits both were competitive and the toughness of their construction meant, especially in the adverse environments then found on many road circuits, they would outlast the more more nimble but fragile opposition.

1929 Mercedes-Benz SSK.

By the late 1920s it was obvious an easier path to higher performance than increasing power was to reduce the SS's (Super Sport) size and weight.  The former easily was achieved by reducing the wheelbase, creating a two-seat sports car still suitable for road and track, tighter dimensions and less bulk also reducing fuel consumption and tyre wear, both of which had plagued the big, supercharged cars.  Some engine tuning and the use of lighter body components achieved the objectives and the SSK was in its era a trophy winner in sports car events and on the grand prix circuits.  Confusingly, the "K" element in the name stood for kurz (short) and not kompressor (supercharger) as was applied to some other models although all SSKs used a supercharged, 7.1 litre (433 cubic inch) straight-six. 

1931 Mercedes-Benz SSKL.

The French, British and Italian competition however also were improving their machinery and by late 1930, on the racetracks,  the SSK was becoming something of a relic although it remained most desirable as a road car, demand quelled only by a very high price in what suddenly was a challenging economic climate.  Without the funds to create anything new and with the big engine having reached the end of its development potential, physics made obvious to the engineers more speed could be attained only through a reduction in mass so not only were body components removed or lightened where possible but the chassis and sub-frames were drilled to the point where the whole apparatus was said to resemble "a Swiss cheese".  The process was time consuming but effective because, cutting the SSK's 1600 KG heft to the SSKL's more svelte 1445 (3185), combined with the 300-odd HP which could be enjoyed for about a minute with the supercharger engaged, produced a Grand Prix winner which was competitive for a season longer than any had expected and one also took victory in the 1931 Mille Miglia.  Although it appeared in the press as early a 1932, the "SSKL" designation is retrospective, the factory's extant records listing the machines either as "SSK" or "SSK, model 1931".  No more than five were built and none survive (rumors of a frame "somewhere in Argentina" apparently an urban myth) although some SSK's were at various times "drilled out" to emulate the look and the appeal remains, a replica cobbled together from real and fabricated parts sold in 2007 for over US$2 million at auction; this was when a million dollars was still a lot of money.  

1932 Mercedes-Benz SSKL, die Gurke.

The one-off bodywork (hand beaten from aircraft-grade sheet aluminum) was fabricated for the 1932 German Grand Prix held at Berlin's unique Automobil-Verkehrs- und Übungsstraße (Avus; the "Automobile traffic and training road") which featured two straights each some 6 miles (10 km) in length, thus the interest in increasing top speed and while never given an official designation by the factory, the crowds dubbed it die Gurke (the cucumber).  The streamlined SSKL won the race and was the first Mercedes-Benz grand prix car to be called a Silberpfeil (silver arrow), the name coined by radio commentator Paul Laven (1902-1979) who was broadcasting trackside for Südwestdeutsche Rundfunkdienst AG (Southwest German Broadcasting Service); he was struck by the unusual appearance although the designer had been inspired by an aircraft fuselage rather than arrows or the vegetable of popular imagination.  The moniker was more flattering than the nickname Weiße Elefanten applied to S & SS which was a reference to their bulk, the appearance exaggerated by the unrelieved expanses of white paint (Germany's designated racing color) although despite what is sometimes claimed, Ettore Bugatti’s (1881–1947) famous “fastest truck in the world” was his back-handed compliment to W. O. Bentley’s (1888–1971) eponymous racers which he judged brutish compared to his svelte machines.  Die Gurke ended up silver only because such had been the rush to complete the build in time for the race, there was time to apply the white paint so it raced in a raw aluminum skin.  Remarkably, in full-race configuration, die Gurke was driven to Avus on public roads, a practice which in many places was tolerated as late as the 1960s.  Its job at Avus done, die Gurke was re-purposed for high-speed tyre testing (its attributes (robust, heavy and fast) ideal for the purpose) before "disappearing" during World War II.  Whether it was broken up for parts or metal re-cycling, spirted away somewhere or destroyed in a bombing raid, nobody knows although it's not impossible conventional bodywork at some point replaced the streamlined panels.  In 2019, Mercedes-Benz unveiled what it described as an "exact replica" of die Gurke, built on an original (1931) chassis.    

1934 Mercedes-Benz W25.

After building the replica Gurke, Mercedes-Benz for the first time subjected it to a wind-tunnel test, finding (broadly in line with expectations) its c(coefficient of drag) improved by about a third, recording 0.616 against a standard SSK's 0.914.  By comparison, the purpose-built W25 from 1934 delivered a 0.614 showing how effective Baron Koenig-Fachsenfeld's design had been although by today's standards, the numbers are not of shapes truly "slippery".  Although "pure" racing cars had for years existed, the W25 (Werknummer (works number) 25) was the one which set many elements is what would for a quarter-century in competition be the default template for most grand prix cars and its basic shape and configuration remains recognizable in the last front-engined car to win a Word Championship grand prix in 1960.  The W25 was made possible by generous funding from the new Nazi Party, "prestige projects" always of interest to the propaganda-minded party.  With budgets which dwarfed the competition, immediately the Mercedes-Benz and Auto Unions enjoyed success and the W25 won the newly inaugurated 1935 European Championship.  Ironically, the W25's most famous race was the 1935 German Grand Prix at the Nürburgring, won by the inspired Italian Tazio Nuvolari (1892–1953) in an out-dated and under-powered Alfa-Romeo P3, von Brauchitsch's powerful W25 shredding a rear tyre on the final lap.  However, the Auto Union's chassis design fundamentally was more farsighted; outstanding though the engine was, the W25's platform was, in many ways, eine bessere Gurke (a better cucumber) and because its limitations were inherent, the factory "sat out" most of the 1936 season to develop the W125.

1937 Mercedes-Benz W125.

Along with the dramatic, mid-engined,  V16 Auto Union Type C, the W125 was the most charismatic race car of the "golden age" of 1930s European circuit racing.  When tuned for use on the fastest circuits, the 5.7 litre (346 cubic inch) straight-eight generated over 640 HP and in grand prix racing that number would not be exceeded until the turbocharged engines (first seen in 1977) of the 1980s.  The W125 used a developed version of the W25's 3.4 (205) & 4.3 (262) straight-eights and the factory had assumed this soon would be out-performed by Auto Union's V16s but so successful did the big-bore eight prove the the Mercedes-Benz V16 project was aborted, meaning resources didn't need to be devoted to the body and chassis engineering which would have been required to accommodate the bigger, wider and heavier unit (something which is subsequent decades would doom a Maserati V12 and Porsche's Flat-16.  The W125 was the classic machine of the pre-war "big horsepower" era and if a car travelling at 100 mph (160 km/h) passed a W125 at standstill, the latter could accelerate and pass that car within a mile (1.6 km).


A W125 on the banked Nordschleife (northern ribbon (curve)) at Avus, 1937.  At Avus, the streamlined bodywork was fitted because a track which is 20 km (12 miles) in length but has only four curves puts an untypical premium on top-speed.  The banked turn was demolished in 1967 because increased traffic volumes meant an intersection was needed under the Funkturm (radio tower), tower and today only fragments of the original circuit remain although the lovely art deco race control tower still exists and was for a time used as restaurant.  Atop now sits a Mercedes-Benz three-pointed star rather than the swastika which flew in 1937. 

1938 Mercedes-Benz W154.

On the fastest circuits the streamlined versions of the W125s were geared to attain 330 km/h (205 mph) and 306 km/h (190 mph) often was attained in racing trim.  With streamlined bodywork, there was also the Rekordwagen built for straight-line speed record attempts and one set a mark of 432.7 km/h (268.9 mph), a public-road world speed record that stood until 2017.  Noting the speeds and aware the cars were already too fast for circuits which had been designed for, at most, velocities sometimes 100 km/h (50 mph) less, the governing body changed the rules, limiting the displacement for supercharged machines to 3.0 litres (183 cubic inch), imagining that would slow the pace.  Fast though the rule-makers were, the engineers were quicker still and it wasn't long before the V12 W154 was posting lap-times on a par with the W125 although they did knock a few km/h off the top speeds.  The rule change proved as ineffective in limiting speed as the earlier 750 KG formula which had spawned the W25 & W125.

1939 Mercedes-Benz W165.

An exquisite one-off, the factory built three W165s for the single purpose of contesting the 1939 Tripoli Grand Prix.  Remarkable as it may now sound, there used to be grand prix events in Libya, then a part of Italy's colonial empire.  Anguished at having for years watched the once dominant Alfa Romeos enjoy only the odd (though famous) victory as the German steamroller flattened all competition (something of a harbinger of the Wehrmacht's military successes in 1939-1940), the Italian authorities waited until the last moment before publishing the event's rules, stipulating the use of a voiturette (small car) with a maximum displacement of 1.5 litres  (92 cubic inch).  The rules were designed to suit the Alfa Romeo 158 (Alfetta) and Rome was confident the Germans would have no time to assemble such a machine.  However, knowing Adolf Hitler (1889-1945; Führer (leader) and German head of government 1933-1945 & head of state 1934-1945), still resenting what happened at the Nürburgring in 1935 would not be best pleased were his Axis partner (and vassal) Benito Mussolini (1883-1945; Duce (leader) & Prime-Minister of Italy 1922-1943) to enjoy even this small victory, the factory scrambled and conjured up the V8-powered (a first for Mercedes-Benz) W165, the trio delivering a "trademark 1-2-3" finish in Tripoli.  As a consolation, with Mercedes-Benz busy building inverted V12s for the Luftwaffe's Messerschmitts, Heinkels and such, an Alfa Romeo won the 1940 Tripoli Grand Prix which would prove the city's last.      
 
1954 Mercedes Benz W196R Strómlinienwagen (literally "streamlined car" but translated usually as "Streamliner".

A curious mix of old (drum brakes, straight-eight engine and swing axles) and new (a desmodromic valve train, fuel injection and aerodynamics developed in a wind-tunnel with the help of engineers then banned from being involved in aviation), the intricacies beneath the skin variously bemused or delighted those who later would come to be called nerds but it was the sensuous curves which attracted most publicity.  Strange though it appeared, it was within the rules and clearly helped deliver stunning speed although the pace did expose some early frailty in road-holding (engineers have since concluded the thing was a generation ahead of tyre technology).  It was one of the prettiest grand prix cars of the post war years and the shape (sometimes called "type Monza", a reference to the Italian circuit with long straights so suited to it) would later much appeal to pop-artist Andy Warhol (1928–1987) who used it in a number of prints.

1954 Mercedes-Benz W196R.  In an indication of how progress accelerated after 1960, compare this W196R with (1) the W25 of 20 years earlier and (2) any grand prix car from 1974, 20 years later. 

However, although pleasing to the eye, the W196R Strómlinienwagen was challenging even for expert drivers and it really was a machine which deserved a de Dion rear suspension rather than the swing axles (on road cars the factory was still building a handful with these as late as 1981 and their fudge of semi-trailing rear arms (the "swing axle when you're not having a swing axle") lasted even longer).  Of more immediate concern to the drivers than any sudden transition to oversteer was that the aluminium skin meant they couldn't see the front wheels so, from their location in the cockpit, it was difficult to judge the position of the extremities, vital in a sport where margins can be fractions of a inch.  After the cars in 1954 returned to Stuttgart having clouted empty oil drums (those and bails of hay was how circuity safety was then done) during an unsuccessful outing to the British Grand Prix at Silverstone, a conventional body quickly was crafted and although visually unremarkable, the drivers found it easier to manage and henceforth, the Strómlinienwagen appeared only at Monza.  There was in 1954-1955 no constructor's championship but had there been the W196R would in both years have won and it delivered two successive world driver's championships for Juan Manuel Fangio (1911–1995).  Because of rule changes, the three victories by the W196R Strómlinienwagen remain the only ones in the Formula One World Championship (since 1950) by a car with enveloping bodywork.

Friday, May 30, 2025

Tatterdemalion

Tatterdemalion (pronounced tat-er-di-meyl-yuhn or tat-er-di-mal-yuhn)

(1) A person in tattered clothing; a shabby person.

(2) Ragged; unkempt or dilapidated.

(3) In fashion, (typically as “a tatterdemalion dress” etc), garments styled deliberately frayed or with constructed tears etc (also described as “distressed” or “destroyed”).

(4) A beggar (archaic).

1600–1610: The original spelling was tatter-de-mallian (the “demalion” rhymed with “Italian” in English pronunciation), the construct thus tatter + -demalion, of uncertain origin although the nineteenth century English lexicographer Ebenezer Cobham Brewer (1810-1897) (remembered still for his marvelous Dictionary of Phrase and Fable (1894) suggested it might be from de maillot (shirt) which does seem compelling.  Rather than the source, tatter is thought to have been a back-formation from tattered, from the Middle English tatered & tatird, from the Old Norse tǫturr.  Originally, it was derived from the noun, but it was later re-analysed as a past participle (the construct being tatter + -ed) and from this came the verb.  As a noun a tatter was "a shred of torn cloth or an individual item of torn and ragged clothing" while the verb implied both (as a transitive) "to destroy an article of clothing by shredding" & (as an intransitive) "to fall into tatters".  Tatterdemalion is a noun & adjective and tatterdemalionism is a noun; the noun plural is tatterdemalions.

In parallel, there was also the parallel "tat", borrowed under the Raj from the Hindi टाट (ā) (thick canvas) and in English it assumed a variety of meanings including as a clipping of tattoo, as an onomatopoeia referencing the sound made by dice when rolled on a table (and came to be used especially of a loaded die) and as an expression of disapprobation meaning “cheap and vulgar”, either in the context of low-quality goods or sleazy conduct.  The link with "tatty" in the sense of “shabby or ragged clothing” however apparently comes from tat as a clipping of the tatty, a woven mat or screen of gunny cloth made from the fibre of the Corchorus olitorius (jute plant) and noted for it loose, scruffy-looking weave.  Tatterdemalion is a noun & adjective; the noun plural is tatterdemalions.  The historic synonyms were shoddy, battered, broken, dilapidated, frayed, frazzled, moth-eaten, ragged, raggedy, ripped, ramshackle, rugged, scraggy, seedy, shabby, shaggy, threadbare, torn & unkempt and in the context of the modern fashion industry, distressed & destroyed.  An individual could also be described as a tramp, a ragamuffin, a vagabond, a vagrant, a gypsy or even a slum, some of those term reflecting class and ethnic prejudice or stereotypes.  Historically, tatterdemalion was also a name for a beggar.

A similar word in Yiddish was שמאַטע‎ (shmate or shmatte and spelled variously as schmatte, schmata, schmatta, schmate, schmutter & shmatta), from the Polish szmata, of uncertain origin but possibly from szmat (a fair amount).  In the Yiddish (and as adopted in Yinglish) it meant (1) a rag, (2) a piece of old clothing & (3) in the slang of the clothing trade, any item of clothing.  That was much more specific than the Polish szmata which meant literally "rag or old, ripped piece of cloth" but was used also figuratively to mean "publication of low journalistic standard" (ie analogous the English slang use of "rag") and in slang to refer to a woman of loose virtue (used as skank, slut etc might be used in English), a sense which transferred to colloquial use in sport to mean "simple shot", "easy goal" etc.

Designer distress: Lindsay Lohan illustrates the look.

Tatterdemalion is certainly a spectrum condition (the comparative “more tatterdemalion”; the superlative “most tatterdemalion”) and this is well illustrated by the adoption of the concept by fashionistas, modern capitalism soon there to supply demand.  In the fashion business, tatterdemalion needs to walk a fine line because tattiness was historically associated with poverty while designers need to provide garments which convey a message wealth.  The general terms for such garments is “distressed” although “destroyed” is (rather misleadingly) also used.

Highly qualified content provider Busty Buffy (b 1996) in “cut-off” denim shorts with leather braces while beltless.

The ancestor of designer tatterdemalion was a pair of “cut off” denim shorts, improvised not as a fashion statement but as a form of economy, gaining a little more life from a pair of jeans which had deteriorated beyond the point where mending was viable.  Until the counter-culture movements of the 1960s (which really began the previous decade but didn’t until the 1960s assume an expression in mass-market fashion trends), wearing cut-off jeans or clothing obviously patched and repaired generally was a marker of poverty although common in rural areas and among the industrial working class where it was just part of life.  It was only in the 1960s when an anti-consumerist, anti materialist vibe attracted the large cohort of youth created by the post-war “baby boom” that obviously frayed or torn clothing came to be an expression of disregard or even disdain for the prevailing standards of neatness (although paradoxically they were the richest “young generation” ever).  It was the punk movement in the 1970s which took this to whatever extremes seemed possible, the distinctive look of garments with rips and tears secured with safety pins so emblematic of (often confected) rebellion that in certain circles it remains to this day part of the “uniform”.  The fashion industry of course noted the trend and what would later be called “distressed” denim appeared in the lines of many mainstream manufacturers as early as the 1980s, often paired with the acid-washing and stone-washing which previously had been used to make a pair of jeans appear “older”, sometimes a desired look.

Dolce & Gabbana Distressed Jeans (part number FTCGGDG8ET8S9001), US$1150.

That it started with denim makes sense because it's the ultimate "classless" fabric in that it's worn by both rich and poor and while that has advantages for manufacturers, it does mean some are compelled to find ways to ensure buyers are able (blatantly or with some subtlety) to advertise what they are wearing is expensive; while no fashion house seems yet to have put the RRP (recommended retail price) on a leather patch, it may be only a matter of time.  The marketing of jeans which even when new gave the appearance of having been “broken in” by the wearer was by the 1970s a define niche, the quasi-vintage look of “fade & age” achieved with processes such as stone washing, enzyme washing, acid washing, sandblasting, emerizing and micro-sanding but this was just to create an effect, the fabrics not ripped or torn.  Distressed jeans represented the next step in the normal process of wear, fraying hems and seams, irregular fading and rips & tears now part of the aesthetic.  As an industrial process that’s not difficult to do but if done in the wrong way it won’t resemble exactly a pair of jeans subject to gradual degradation because different legs would have worn the denim at different places.  In the 2010s, the look spread to T-shirts and (predictably) hoodies, some manufacturers going beyond mere verisimilitude to (sort of) genuine authenticity, achieving the desired decorative by shooting shirts with bullets, managing a look which presumably the usual tricks of “nibbling & slashing” couldn’t quite emulate.  Warming to the idea, the Japanese label Zoo released jeans made from material torn by lions and tigers, the company anxious to mention the big cats in Tokyo Zoo seemed to "enjoy the fun" and to anyone who has seen a kitten with a skein of wool, that will sound plausible.  Others emulated the working-class look, the “caked-on muddy coating and “oil and grease smears” another variant although one apparently short-lived; appearing dirty apparently never a fashionable choice.  All these looks had of course been seen for centuries, worn mostly by the poor with little choice but to eke a little more wear from their shabby clothes but in the late twentieth century, as wealth overtook Western society, the look was adopted by many with disposable income; firstly the bohemians, hippies and other anti-materialists before the punk movement which needed motifs with some capacity to shock, something harder to achieve than had once been the case.

Distressed top and bottom.  Gigi Hadid (b 1995) in distressed T-shirt and "boyfriend" jeans.

For poets and punks, improvising the look from the stocks of thrift shops, that was fine but for designer labels selling scruffy-looking jeans for four-figure sums, it was more of a challenge, especially as the social media generation had discovered that above all they liked authenticity and faux authenticity would not do, nobody wanting to look it to look they were trying too hard.  The might have seemed a problem, given the look was inherently fake but the aesthetic didn’t matter for its own sake, all that had to be denoted was “conspicuous consumption” (the excessive spending on wasteful goods as proof of wealth) and the juxtaposition of thousand dollar distressed jeans with the odd expensive accessory, achieved that and more, the discontinuities offering irony as a look.  The labels, the prominence of which remained a focus was enough for the message to work although one does wonder if any of the majors have been tempted to print a QR code on the back pocket, linked to the RRP because, what people are really trying to say is “My jeans cost US$1200”.

1962 AC Shelby American Cobra (CSX 2000), interior detail, 2016.

The value of selective scruffiness is well known in other fields.  When selling a car, usually a tatty interior greatly will depress the price (sometimes by more even than the cost of rectification).  However, if the tattiness is of some historic significance, it can add to car’s value, the best example being if the deterioration is part of a vehicle's provenance and proof of originality, a prized attribute to the segment of the collector market known as the “originally police”.  In 2016, what is recognized as the very first Shelby American AC Cobra (CSX 2000) sold for US$13.75 million, becoming the highest price realized at auction for what is classified as "American car".  Built in 1962, it was an AC Ace shipped to California without an engine (and apparently not AC's original "proof-of-concept" test bed which was fitted with one of the short-lived 221 cubic inch (3.6 litre) versions of Ford's new "thin-wall" Windsor V8) where the Shelby operation installed a 260 cubic inch (4.2 litre) Windsor and the rest is history.  The tatterdemalion state of the interior was advertised as one of the features of the car, confirming its status as “an untouched survivor”.  Among Cobra collectors, patina caused by Carroll Shelby's (1923–2012) butt is a most valuable tatterdemalion.

Patina plus and beyond buffing out: Juan Manuel Fangio, Mercedes-Benz W196R Stromlinienwagen (Streamliner), British Grand Prix, Silverstone, 17 July 1954.

Also recommended to be repaired before sale are dents, anything battered unlikely to attract a premium.  However, if a dent was put there by a Formula One (F1) world champion, it becomes a historic artefact.  In 1954, Mercedes-Benz astounded all when their new grand prix car (the W196R) appeared with all-enveloping bodywork, allowed because of a since closed loophole in the rule-book.  The sensuous shape made the rest of the field look antiquated although underneath it was a curious mix of old and new, the fuel-injection and desmodromic valve train representing cutting edge technology while the swing axles and drum brakes spoke to the past and present, the engineers’ beloved straight-eight configuration (its last appearance in F1) definitely the end of an era.  On fast tracks like Monza, the aerodynamic bodywork delivered great speed and stability but the limitations were exposed when the team ran the Stromlinienwagen at tighter circuits and in the 1954 British Grand Prix at Silverstone, Juan Manuel Fangio (1911–1995; winner of five F1 world-championship driver's titles) managed to clout a couple of oil-drums (those and bails of hay how track safety was then done) because it was so much harder to determine the extremities without being able to see the front wheels.  Quickly, the factory concocted a functional (though visually unremarkable) open-wheel version and the sleek original was thereafter used only on the circuits where the highest speeds were achieved.  In 1954, the factory was unconcerned with the historic potential of the dents and repaired the tatterdemalion W196R so an artefact of the era was lost.  That apart, as used cars the W196Rs have held their value well, an open-wheel version selling at auction in 2013 for US$29.7 million while in 2025 a Stromlinienwagen realized US$53.9 million.  

1966 Ferrari 330 GTC (1966-1968) restored by Bell Sport & Classic.  Many restored Ferraris of the pre-1974 era are finished to a much higher standard than when they left the showroom.  Despite this, genuine, original "survivors" (warts and all) are much-sought in some circles.

In the collector car industry, tatterdemalion definitely is a spectrum condition and for decades the matter of patina versus perfection has been debated.  There was once the idea that in Europe the preference was for a vehicle to appear naturally aged (well-maintained but showing the wear of decades of use) while the US market leaned towards cars restored to the point of being as good (or better) than they were on the showroom floor.  Social anthropologists might have some fun exploring that perception of difference and it was certainly never a universal rule but the debate continues, as does the argument about “improving” on the original.  Some of the most fancied machinery of the 1950s and 1960s (notably Jaguars, Ferraris and Maseratis) is now a staple of the restoration business but, although when new the machines looked gorgeous, it wasn’t necessary to dig too deep to find often shoddy standards of finish, the practice at the time something like sweeping the dirt “under the rug”.  When "restored", many of these cars are re-built to a higher standard, what was often left rough because it sat unseen somewhere now smoothed to perfection.  That’s what some customers want and the best restoration shops can do either though there are questions about whether what might be described as “fake patina” is quite the done thing.  Mechanics and engineers who were part of building Ferraris in the 1960s, upon looking at some immaculately “restored” cars have been known wryly to remark: that wasn't how we built them then.”

1939 Ford Deluxe coupe restored in “distressed-look green”.

The industry describes restorations which emulate the “worn survivor” appearance variously as “distressed look” or “patina look”.  There’s clearly a market for both machines restored to (or beyond) the state they’d have been in on the showroom floor and those finished in a way which resembles how they’d likely look if merely for decades well-used yet maintained.  The convention in the later is for mechanical components to be restored to original condition while interiors tend to be allowed to show some age if of leather but refurbished or renewed to an immaculate state if of a fabric.  Interior timbers are almost always restored.  Usually the exterior finish is rendered conventionally with paint but some use wraps which can make something like minor surface rust appear more realistic.  The sub-genres of restomods (older cars which maintain a substantially original appearance but fitted with modern mechanical components) and rat-rods (which create intentionally dilapidated appearance but with modern components beneath) both in their own way take a mix-n-match approach to things but while the classic restromod is a “Q-ship” in that while externally indistinguishable from an original, the performance is much higher, the rat-rod ethos is from the Dolly Parton (b 1946) school of “it takes a lot of money to look this cheap”.

Gucci offered Distressed Tights at US$190 (for a pair so quite good value).  Rapidly, they sold-out.

The fake patina business goes back quite a way.  Among antique dealers, it’s now a definite niche but from the point at which the industrial revolution began to create a new moneyed class of mine and factory owners, there was a sub-set of the new money (and there are cynics who suggest it was mostly at the prodding of their wives) who wished to seem more like old money and a trend began to seek out “aged” furniture with which a man might deck out his (newly acquired) house to look as if things had been in the family for generations.  The notoriously snobbish (and amusing) diarist Alan Clark (1928–1999) once referred to someone as looking like “they had to buy their own chairs”, prompting one aristocrat to respond: “That’s a bit much from someone whose father (the art historian and life peer Kenneth Clark (1903–1983)) had to buy his own castle.  The old money were of course snooty about the such folk and David Lloyd George (1863–1945; UK prime-minister 1916-1922) would lament many of the “jumped-up grocers” in his Liberal Party were more troublesome and less sympathetic to the troubles of the downtrodden than the "backwoodsmen" gentry in their inherited country houses.

Thursday, October 26, 2023

Nail

Nail (pronounced neyl)

(1) A slender, typically rod-shaped rigid piece of metal, usually in many lengths and thicknesses, having (usually) one end pointed and the other (usually) enlarged or flattened, and used for hammering into or through wood, concrete or other materials; in the building trades the most common use is to fasten or join together separate pieces (of timber etc).

(2) In anatomy, a thin, horny plate, consisting of modified epidermis, growing on the upper side of the end of a finger or toe; the toughened protective protein-keratin (known as alpha-keratin, also found in hair) at the end of an animal digit, such as fingernail.

(3) In zoology, the basal thickened portion of the anterior wings of certain hemiptera; the basal thickened portion of the anterior wings of certain hemiptera; the terminal horny plate on the beak of ducks, and other allied birds; the claw of a mammal, bird, or reptile.

(4) Historically, in England, a round pedestal on which merchants once carried out their business.

(5) A measure for a length for cloth, equal to 2¼ inches (57 mm) or 1⁄20 of an ell; 1⁄16 of a yard (archaic); it’s assumed the origin lies in the use to mark that length on the end of a yardstick.

(6) To fasten with a nail or nails; to hemmer in a nail.

(7) To enclose or confine (something) by nailing (often followed by up or down).

(8) To make fast or keep firmly in one place or position (also used figuratively).

(8) Perfectly to accomplish something (usually as “nailed it”).

(9) In vulgar, slang, of a male, to engage in sexual intercourse with (as “I nailed her” or (according to Urban Dictionary “I nailed the bitch”).

(10) In law enforcement, to catch a suspect or find them in possession of contraband or engaged in some unlawful conduct (usually as “nailed them”).

(11) In Christianity, as “the nails”, the relics used in the crucifixion, nailing Christ to the cross at Golgotha.

(12) As a the nail (unit), an archaic multiplier equal to one sixteenth of a base unit

(13) In drug slang, a hypodermic needle, used for injecting drugs.

(14) To detect and expose (a lie, scandal, etc)

(15) In slang, to hit someone.

(16) In slang, intently to focus on someone or something.

(17) To stud with or as if with nails.

Pre 900: From the Middle English noun nail & nayl, from the Old English nægl and cognate with the Old Frisian neil, the Old Saxon & Old High German nagal, the Dutch nagel, the German Nagel, the Old Norse nagl (fingernail), all of which were from the unattested Germanic naglaz.  As a derivative, it was akin to the Lithuanian nãgas & nagà (hoof), the Old Prussian nage (foot), the Old Church Slavonic noga (leg, foot), (the Serbo-Croatian nòga, the Czech noha, the Polish noga and the Russian nogá, all of which were probably originally a jocular reference to the foot as “a hoof”), the Old Church Slavonic nogŭtĭ, the Tocharian A maku & Tocharian B mekwa (fingernail, claw), all from the unattested North European Indo-European ənogwh-.  It was further akin to the Old Irish ingen, the Welsh ewin and the Breton ivin, from the unattested Celtic gwhīnā, the Latin unguis (fingernail, claw), from the unattested Italo-Celtic əngwhi-;the Greek ónyx (stem onych-), the Sanskrit ághri- (foot), from the unattested ághli-; the Armenian ełungn from the unattested onogwh-;the Middle English verbs naile, nail & nayle, the Old English næglian and cognate with the Old Saxon neglian, the Old High German negilen, the Old Norse negla, from the unattested Germanic nagl-janan (the Gothic was ganagljan).  The ultimate source was the primitive Indo-European h₃nog- (nail) and the use to describe the metal fastener was from the Middle English naylen, from the Old English næġlan & nægl (fingernail (handnægl)) & negel (tapering metal pin), from the Proto-Germanic naglaz (source also of Old Norse nagl (fingernail) & nagli (metal nail).  Nail is a noun & verb, nailernailless & naillike are adjectives, renail is a verbs, nailing is a noun & vern and nailed is a verb & adjective; the noun plural is nails.

Nail is modified or used as a modifier in literally dozens of examples including finger-nail, toe-nail, nail-brush, nail-file, rusty-nail, garden-nail, nail-fungus, nail-gun & frost-nail.  In idiomatic use, a “nail in one's coffin” is a experience or event that tends to shorten life or hasten the end of something (applied retrospectively (ie post-mortem) it’s usually in the form “final nail in the coffin”.  To be “hard as nails” is either to be “in a robust physical state” or “lacking in human feelings or without sentiment”. To “nail one's colors to the mast” is to declare one’s position on something.  Something described as “better than a poke in the eye with a rusty nail” is a thing, which while not ideal, is not wholly undesirable or without charm.  In financial matters (of payments), to be “on the nail” is to “pay at once”, often in the form “pay on the nail”.  To “nail something down” is to finalize it. To have “nailed it” is “to perfectly have accomplished something” while “nailed her” indicates “having enjoyed sexual intercourse with her”.  The “right” in the phrase “hit the nail right on the head” is a more recent addition, all known instances of use prior to 1700 being “hit the nail on the head” and the elegant original is much preferred.  It’s used to mean “correctly identify something or exactly to arrive at the correct answer”.  Interestingly, the Oxford English Dictionary (OED) notes there is no documentary evidence that the phrase comes from “nail” in the sense of the ting hit by a hammer.

Double-headed nails are used for temporary structures like fencing.  When the shaft is hammered in to the point where the surface of the lower head is flat against the surface of that into which it's being hammered, it leaves the upper head standing proud with just enough of the shaft exposed to allow a claw-hammer to be used to extract nail.  There is a story that as part of an environmental protest against the building or demolition of some structure (the tales vary), activists early one morning went to the temporary fencing around the contested site and hammered in all the double-headed nails.  This is believed to be an urban myth.

The sense of “fingernail” appears to be the original which makes sense give there were fingernails before there were spikes (of metal or any other material) used to build stuff.  The verb nail was from the Old English næglian (to fix or fasten (something) onto (something else) with nails), from the Proto-Germanic ganaglijan (the source also of the Old Saxon neglian, the Old Norse negla, the Old High German negilen, the German nageln and the Gothic ganagljan (to nail), all developed from the root of the nouns.  The colloquial meaning “secure, succeed in catching or getting hold of (someone or something)” was in use by at least the 1760; hence (hence the law enforcement slang meaning “to effect an arrest”, noted since the 1930s.  The meaning “to succeed in hitting” dates from 1886 while the phrase “to nail down” (to fix in place with nails) was first recorded in the 1660s.

As a noun, “nail-biter” (worrisome or suspenseful event), perhaps surprisingly, seems not to have been in common use until 1999 an it’s applied to things from life-threatening situations to watching close sporting contests.  The idea of nail-biting as a sign of anxiety has been in various forms of literature since the 1570s, the noun nail-biting noted since 1805 and as a noun it was since the mid-nineteenth century applied to those individuals who “habitually or compulsively bit their fingernails” although this seems to have been purely literal rather than something figurative of a mental state.  Now, a “nail-biter” is one who is “habitually worried or apprehensive” and they’re often said to be “chewing the ends of their fingernails” and in political use, a “nail biter” is a criticism somewhat less cutting than “bed-wetter”.  The condition of compulsive nail-biting is the noun onychophagia, the construct being onycho- (a creation of the international scientific vocabulary), reflecting a New Latin combining form, from the Ancient Greek νυξ (ónux) (claw, nail, hoof, talon) + -phagia (eating, biting or swallowing), from the Ancient Greek -φαγία (-phagía).  A related form was -φαγος (-phagos) (eater), the suffix corresponding to φαγεν (phageîn) (to eat), the infinitive of φαγον (éphagon) (I eat), which serves as aorist (essentially a compensator for sense-shifts) (for the defective verb σθίω (esthíō) (I eat).  Bitter-tasting nail-polish is available for those who wish to cure themselves.  Nail-polish as a product dates from the 1880s and was originally literally a clear substance designed to give the finger or toe-nails a varnish like finish upon being buffed.  By 1884, it was being sold as “liquid nail varnish” including shads of black, pink and red although surviving depictions in art suggests men and women in various cultures have for thousands of years been coloring their nails.  Nail-files (small, flat, single-cut file for trimming the fingernails) seem first to have been sold in 1819 and nail-clippers (hand-tool used to trim the fingernails and toenails) in 1890.

Pope Francis (b 1936; pope since 2013) at the funeral of Cardinal George Pell (1941-2023), St Peter’s Basilica, the Vatican, January 2023.

The expression "nail down the lid" is a reference to the lid of a coffin (casket), the implication being one wants to make doubly certain anyone within can't possible "return from the dead".  The noun doornail (also door-nail) (large-headed nail used for studding batten doors for strength or ornament) emerged in the late fourteenth century and was often used of many large, thick nails with a large head, not necessarily those used only in doors.  The figurative expression “dead as a doornail” seems to be as old as the piece of hardware and use soon extended to “dumb as a doornail” and “deaf as a doornail).  The noun hangnail (also hang-nail) is a awful as it sounds and describes a “sore strip of partially detached flesh at the side of a nail of the finger or toe” and appears in seventeenth century texts although few etymologists appear to doubt it’s considerably older and probably a folk etymology and sense alteration of the Middle English agnail & angnail (corn on the foot), from the Old English agnail & angnail.  The origin is likely to have been literally the “painful spike” in the flesh when suffering the condition.  The first element was the Proto-Germanic ang- (compressed, hard, painful), from the primitive Indo-European root angh- (tight, painfully constricted, painful); the second the Old English nægl (spike), one of the influences on “nail”.  The noun hobnail was a “short, thick nail with a large head” which dates from the 1590s, the first element probably identical with hob (rounded peg or pin used as a mark or target in games (noted since the 1580s)) of unknown origin.  Because hobnails were hammered into the leather soles of heavy boots and shoes, “hobnail” came in the seventeenth century to be used of “a rustic person” though it was though less offensive than forms like “yokel”.

Colors: Lindsay Lohan with nails unadorned and painted.

The Buick Nailhead

In the 1930s, the straight-8 became a favorite for manufacturers of luxury cars, attracted by its ease of manufacture (components and assembly-line tooling able to be shared with those used to produce a straight-6), the mechanical smoothness inherent in the layout and the ease of maintenance afforded by the long, narrow configuration.  However, the limitations were the relatively slow engine speeds imposed by the need to restrict the “crankshaft flex” and the height of the units, a product of the long strokes used to gain the required displacement.  By the 1950s, it was clear the future lay in big-bore, overhead valve V8s although the Mercedes-Benz engineers, unable to forget the glory days of the 1930s when the straight-eight W125s built for the Grand Prix circuits generated power and speed Formula One wouldn’t again see until the 1980s, noted the relatively small 2.5 litre (153 cubic inch) displacement limit for 1954 and conjured up a final fling for the layout.  Used in both Formula One as the W196R and in sports car race as the W196S (better remembered as the 300 SLR) the new 2.5 & 3.0 litre (183 cubic inch) straight-8s, unlike their pre-war predecessors, solved the issue of crankshaft flex (the W196's redline was 9500 compared with the W125's 5800) by locating the power take-off at the centre, adding mechanical fuel-injection and a desmodromic valve train to make the things an exotic cocktail of ancient & modern (on smooth racetracks and in the hands of skilled drivers, the swing axles at the back not the liability they might sound).  Dominant during 1954-1955 in both Formula One & the Sports Car Championship, they were the last of the straight-8s.

Schematic of Buick “Nailhead” V8, 1953-1966.

Across the Atlantic, the US manufacturers also abandoned their straight-8s.  Buick introduced their overhead valve (OHV) V8 in 1953 but, being much wider than before, the new engine had to be slimmed somewhere to fit between the fenders; it would not be until later the platform was widened.  To achieve this, the engineers narrowed the cylinder heads, compelling both an conical (the so-called “pent-roof”) combustion chamber and an arrangement in which the sixteen valves pointed directly upwards on the intake side, something which not only demanded an unusual pushrod & rocker mechanism but also limited the size of the valves.  So, the valves had to be tall and narrow and, with some resemblance to nails, they picked up the nickname “nail valves”, morphing eventually to “nailhead” as a description of the whole engine.  The valve placement and angle certainly benefited the intake side but the geometry compromised the flow of exhaust gases which were compelled through their anyway small ports to make a turn of almost 180o on their way to the tailpipe.

It wasn't the last time the head design of a Detroit V8 would be dictated by considerations of width.  When Chrysler in 1964 introduced the 273 cubic inch (4.5 litre) V8 as the first of its LA-Series (that would begat the later 318 (5.2), 340 (5.5) & 360 (5.9) as well as the V10 made famous in the Dodge Viper), the most obvious visual difference from the earlier A-Series V8s was the noticeably smaller cylinder heads.  The A engines used as skew-type valve arrangement in which the exhaust valve was parallel to the bore with the intake valve tipped toward the intake manifold (the classic polyspherical chamber).  For the LA, Chrysler rendered all the valves tipped to the intake manifold and in-line (as viewed from the front), the industry’s standard approach to a wedge combustion chamber.  The reason for the change was that the decision had been taken to offer the compact Valiant with a V8 but it was a car which had been designed to accommodate only a straight-six and the wide-shouldered polyspheric head A-Series V8s simply wouldn’t fit.  So, essentially, wedge-heads were bolted atop the old A-Series block but the “L” in LA stood for light and the engineers wanted something genuinely lighter for the compact (in contemporary US terms) Valiant.  Accordingly, in addition to the reduced size of the heads and intake manifold, a new casting process was developed for the block (the biggest, heaviest part of an engine) which made possible thinner walls.  Still, "light" is a relative term and the LA series was notably larger and heavier than Ford's "Windsor" V8 (1961-2000) which was the exemplar of the "thin-wall" technique.  This was confirmed in 1967 when, after taking control of Rootes Group, Chrysler had intended to continue production of the Sunbeam Tiger, by then powered by the Ford Windsor 289 (4.7 litre) but with Chrysler’s 273 LA V8 substituted.  Unfortunately, while 4.7 Ford litres filled it to the brim, 4.4 Chrysler litres overflowed; the Windsor truly was compact.  Allowing it to remain in production until the stock of already purchased Ford engines had been exhausted, Chrysler instead changed the advertising from emphasizing the “…mighty Ford V8 power plant” to the vaguely ambiguous “…an American V-8 power train”.

322 cubic inch Nailhead in 1953 Buick Skylark convertible (left) and 425 cubic inch Nailhead in 1966 Buick Riviera GS (with dual-quad MZ package) (right).  Note the “Wildcat 465” label on the air cleaner, a reference to the claimed torque rating, something most unusual, most manufacturers using the space to advertise horsepower or cubic inch displacement (cid).

The nailhead wasn’t ideal for producing ultimate power but it did lend itself to prodigious low-end torque, something much appreciated by Buicks previous generation of buyers who has enjoyed the low-speed responsiveness of the famously smooth straight-8.  However, like everybody else, Buick hadn’t anticipated that as the 1950s unfolded, the industry would engage in a “power race”, something to which the free-breathing Cadillac and Chrysler’s Hemis were well-suited.  The somewhat strangulated Buick Nailhead was not at all suited and to gain power the engineers were compelled to add high-lift, long-duration camshafts which enabled the then magic 300 horsepower number to be achieved but at the expense of smoothness and tales of Buick buyers returning to the dealer to fix the “rumpity-rump” idle became legion.  Still, the Nailhead was robust, relatively light and offered what was then a generous displacement and the ever inventive hot-rod community soon worked out the path to power was to use forced induction and reverse the valve use, the supercharger blowing the fuel-air mix through the exhaust ports and the exhaust gases through the larger intake ports.  Thus the for a while Nailhead enjoyed a career as a niche player although the arrival in the mid 1950s of the much more tuneable Chevrolet V8s ended the vogue for all but a few devotees who continued use well into the 1960s.  Buick acknowledged reality and, unusually, instead of following the industry trend and drawing attention to cubic inch displacement and horsepower, publicized their torque output, confusing some (though probably not Buick buyers who were a loyal crew).  The unique appearance of the old nail still retains some appeal for the modern hot-rod community and they do sometimes appear, a welcome change from the more typical small-block Fords or Chevrolets.

Lockheed SR-71 Blackbird (1964-1999).

Not confused was the United States Air Force (USAF) which was much interested in power for its aircraft but also had a special need for torque on the tarmac and that briefly meant another small niche for the Nailhead.  The Lockheed SR-71 Blackbird (1964-1979) was a long-range, high-altitude supersonic (Mach 3+) aircraft used by the (USAF) for reconnaissance between 1966-1998 and by the National Aeronautics & Space Administration (NASA) for observation missions as late as 1999.  Something of a high-water mark among the extraordinary advances made in aeronautics and materials construction during the 1950s & 1960s, the SR-71 used the Pratt & Whitney J58 turbojet engine which used an innovative, secondary air-injection system to the afterburner, permitting additional thrust at high speed.  The SR-71 still holds a number of altitude and speed records and Lockheed’s SR-72, a hypersonic unmanned aerial vehicle (UAV) is said to be in an “advanced stage” of design and construction although whether any test flights will be conducted before 2030 remains unclear, the challenges of sustaining in the atmosphere velocities as high as Mach 6+ onerous given the heat generated.

Drawing from user manual for AG330 starter cart (left) and AG330 starter cart with dual Buick Nailhead V8s.

At the time, the SR-71 was the most exotic aircraft on the planet but during testing and early in its career, to fly, it relied on a pair of even then technologically bankrupt Buick Nailhead V8s.  These were mounted in a towed cart and were effectively the turbojet’s starter motor, a concept developed in the 1930s as a work-around for the technology gap which emerged as aero-engines became too big to start by hand but no on-board electrical systems were available to trigger ignition.  The two Nailheads were connected by gears to a single, vertical drive shaft which ran the jet up to the critical speed at which ignition became self-sustaining.  The engineers chose the Nailheads after comparing them to other large displacement V8s, the aspect of the Buicks which most appealed being the torque generated at relatively low engine speeds, a characteristic ideal for driving an output shaft.  After the Nailhead was retired in 1966, later carts used Chevrolet big-block V8s but in 1969 a pneumatic start system was added to the infrastructure of the USAF bases from which the SR-71s most frequently operated, the sixteen-cylinder carts relegated to secondary bases the planes rarely used.