Pink (pronounced pingk)
(1) A definition
of perceived color varying between a light crimson to a pale reddish purple
(sometimes described as fuchsia); any of a group of colors with a reddish hue
that are of low to moderate saturation and can usually reflect or transmit a
large amount of light; a pale reddish tint.
(2) Any
of various Old World plants of the caryophyllaceous genus Dianthus, such as D.
plumarius (garden pink), cultivated for their fragrant flowers including the
clove pink or carnation (sometimes referred to as the pink family); the flower
of such a plant; any of various plants of other genera, such as the moss pink.
(3) The
highest or best form, degree, or example of something (expressed usually as “in
the pink” or “the pink of”).
(4) As
the disparaging slang "pinko", either (1) a communist or one so suspected (US) or
(2) a socialist (UK and English-speaking Commonwealth) (both dated).
(5) In
informal use, a document provided in commerce or by government for some purpose
which was historically issued on pink tissue paper (usually a carbon copy), the
term still in some cases enduring for the modern digital analogue.
(6) In
fox hunting as “the pinks”, a coat worn by riders (although actually in a shade
of scarlet).
(7) In
military tailoring, the pinkish-tan gabardine trousers once worn in some
regiments as part of an officer’s dress uniform.
(8) In
the stone trade, the general term for marble of this color.
(9) In informal
use, of or relating to gay people or gay sexual orientation and used sometimes
as a modifier in this context (pink vote, pink dollar, pink
economy et al (many now dated)). The pink
triangle was a literal description of the fabric patch worn on the uniforms of
homosexual inmates in Nazi concentration camps.
(10) In
labour market demography, as pink collar, that part of the workforce or those
job categories predominately female (dated and now rare because it's assumed by many to be a gay slur).
(11) In
commerce, as a modifier, such products as may be discerned as being of this
color (champagne, gin, salmon, diamonds et al).
(12) To
pierce with a rapier or the like; to stab (based on the idea of a pinkish stain
appearing on the clothing of one so stabbed); figuratively, to wound by irony,
criticism, or ridicule.
(13) In
tailoring, to finish fabric at the edge with a scalloped, notched, or other
pattern, as to prevent fraying or for ornament.
(14) To
punch cloth, leather etc with small holes or figures for purposes of ornament; to
adorn or ornament, especially with scalloped edges or a punched-out pattern
(mostly UK use).
(15) As
pink disease (infantile acrodynia), a condition associated with chronic
exposure to mercury.
(16) In
nautical use, a sailing vessel with a narrow overhanging transom (historically
a vessel with a pink stern).
(17) As
pinky or pinkie, the fifth digit (little finger).
(18) In
gardening, to cut with pinking shears.
(19) In
US slang, an operative of the Pinkerton National Detective Agency (archaic but still used as a literary device of detectives generally).
(20) In
the slang of fishing, various fish according region including the common minnow
and immature Atlantic salmon, the origin of all probably the Middle Dutch pincke.
(21) In
snooker, one of the color balls (colored pink), with a value of 6 points and in
use since the nineteenth century.
(22) In
vulgar slang, sometimes as “pink bits”, the vagina or vulva.
(23) In
slang, an unlettered and uncultured, but relatively prosperous, member of the
middle classes (similar to the Australian CUB (cashed-up bogan)) (UK archaic).
(24) In
informal use, having conjunctivitis (ie pinkeye).
(25) To
turn a topaz or other gemstone pink by the application of heat.
(26) In
(spark ignition) ICEs (internal combustion engines), to
emit a high "pinking" noise, usually as a result of ill-set ignition
timing for the fuel used.
(27) Of
a musical instrument, to emit a very high-pitched, short note.
(28) In
color definition, any of various lake pigments or dyes in yellow, yellowish
green, or brown shades made with plant coloring and a metallic oxide base
(obsolete).
(29) As
pinkwashing (al la greenwashing and the figurative use of whitewashing), a fake
or superficial attempt to address issues of gay rights (though often applied to
LGBTQQIAAOP issues in general).
Circa 1200: From the Old English pungde (to pierce, puncture, stab with a pointed weapon) which by the early fourteenth century had acquired the sense of "make holes in; spur a horse" the source uncertain but perhaps from a nasalized form of the Romanic stem that also yielded French piquer (to prick, pierce) and the Spanish picar or else from the Old English pyngan (to prick) and directly from its source, the Latin pungere (to prick, pierce), from a suffixed form of primitive Indo-European root peug or peuk- (to prick). By circa 1500, it had come to mean "to decorate (a garment, leather) by making small holes in a regular pattern at the edge or elsewhere" and that sense endures to this day in pinking shears (although they were not so-named until 1934). The English pinge, pingen, pinken, pung & pungen (to push (a door)), batter, shove; prick, stab, pierce; punch holes in) was from the Old English pyngan (to prick) and dates from 1275–1325 and may be from (1) the Latin pungere (to prick, pierce), (2) the Low German pinken (hit; to peck) & Pinke (big needle) or (3) the Dutch pingelen (to do fine needlework), the root again the primitive Indo-European peug (to prick). Pink is a noun, verb & adjective, pinker, pinkest, pinkish and pinky are adjectives and pinkness is a noun
Lustre-Creme shampoo “Pink is for Girls” advertising posters, 1960s.
Lustre-Crème was emphatic “pink is just for girls” which was at the time hardly controversial for most although the claim they produced the “only pink shampoo” might have been ambitious. It might also have seemed a bit adventurous to suggest there exists a “pink fragrance” but there may be synesthetes who have experiences of smell associated with color and it’s not unknown to have the sense of the senses shifted (in opera it’s common to speak of a soprano’s voice “darkening” as she matures) and Lustre-Crème did note that “…should a certain someone get too close, he'll notice that we have a delightful ‘pink’ fragrance too.” Covering the market, for the practical young lady mention was made of the “…unbreakable plastic squeeze bottle with the new Flip 'n Tip Spout (no more cap-twisting).” A "Flip 'n Tip Spout" is one of those small innovations which made life more civilized.
The "pink is just for girls" equation is however of recent origin. In the West, until the late nineteenth century, infants tended universally to be dressed in white because doing the laundry was a more tiresome (and certainly labor-intensive) task than today, thus the attraction of white fabric which could be bleached. Until the early twentieth century, pink tended to be thought a “strong, masculine” color, (apparently on the basis of being a variant of red) while blue was seen as more delicate and so suitable for girls; as well as being considered “dainty”, blue had a strong historic association with the Virgin Mary because of the manner in which she’d been depicted by generations of artists. As late as 1927, department stores like Marshall Field routinely would suggest pink for boys but within a decade the shift clearly had begun because by the late 1930s the Nazis had (eventually) settled on pink as the color of the identifying triangle worn by prisoners incarcerated under Paragraph 175 of the German penal code (which criminalized homosexual activity between men). It was in the US in the post-war era of plenty that the “blue for boys, pink for girls” thing was established and it was a product of marketing, the attraction being that with a clear gender divide, parents would have to buy more clothes. From there, the idea infected just about every industry, even tool manufacturers producing lines of pink tool kits for men dutifull to buy as gifts for Wags (wives & girlfriends).
Speak (2004) by Lindsay Lohan, pink vinyl edition, 2000 of which were in 2020 pressed for Urban Outfitters.
The words "pinkie" & “pinky” were from the Dutch pinkje, a diminutive of pink (little finger) and of uncertain origin, the earliest known used in Scotland in 1808 and common in Scottish English, US English and elsewhere in the English-speaking world. The nautical use dates from circa 1450, from the late Middle English pynck & pyncke, from the Middle Dutch pinke (fishing boat). The flows were so named in the sixteenth century and surprisingly, the use to describe the color didn’t emerge until the eighteenth century, perhaps as a shortening of "pinkeye". The flower family was so named in the 1570s, the common name of Dianthus, a garden plant actually of various colors. The family picked up the name “pink” probably because of the idea of the "perforated" (scalloped) petals (ie “pinked” in the earlier sense) although etymologists did suggest there might be a link to the Dutch pink (small, narrow (in the sense of pinkie)), via the term pinck oogen (half-closed eyes (literally "small eyes), borrowed in the 1570s, the speculative link being the Dianthus sometimes has small dots resembling eyes. The coincidence in the dates is interesting but there’s no documentary evidence. It was the example of the flower which, by the 1590s, led to the figurative use of "pink" for "the flower" or highest type or example of excellence of anything.
Cadillac “targeted” advertising, gowns for mother and daughter by Jane Derby of New York, 1959 Cadillac Series 62 Convertible, body by Fisher.
By 1959 Cadillac's advertising had for years emphasized the power and speed of their cars or intricacies such as air suspension or finned brakes. This was aimed at the men who would be impressed by such things but the company also had advertisements for women, assuring them “…one of the special delights which ladies find in Cadillac ownership is the pleasure of being a passenger” before going on to invite them “…to visit your dealer soon – with the man of the house – and spend a hour in the passenger seat of a 1959 Cadillac.” All that probably did still accurately reflect US society in 1959 (at least that sub-set which bought cars from Cadillac dealers) but it was in one way misleading. Although Jane Derby’s (1895–1965) New York fashion house surely made many pink gowns, no pink Cadillac left the factory in 1959. There are now many, many pink 1959 Cadillacs, the model regarded as having the most extravagant fins available during Detroit's crazy macropterous era, the effect heightened by the equally memorable "twin bullet" tail-lamps (although the fins on the 1961 Imperial were just under an inch (25 mm) more vertiginous) but it was only in 1956 Cadillac had a pink hue on the option chart (as "Mountain Laurel" (code DAL-70663-DQE)). It was that the popular singer Elvis Presley (1935-1977) gifted his mother a pink Cadillac and the use of the phrase in popular culture (song & film) which made the trend a thing although that car was a 1955 Fleetwood Sixty Special which was originally blue with a black roof. The roof was later re-sprayed white (the sun is harsh south of the Mason-Dixon Line although the car was factory-fitted with air-conditioning) but people adopting the "Pink Cadillac" motif usually go monochromatic and pastels ("baby pink" the best known) seem more popular than "hot pink".
Elvis Presley's pink "Guitar Car", pictured with creator Jay Ohrberg (b 1943) (left) and with model in a period promotional photograph (right).
Jay Ohrberg over the decades fabricated literally of dozens of the well-known cars used for film and television productions but one like no other was the pink “Guitar Car” built as a promotional tool for Elvis Presley. Some 41 feet (12.5 metres) in length, it was based on a 1970 Cadillac Eldorado, improbably a FWD (front-wheel-drive) machine running a 500 cubic inch (8.2 litre) V8 rated that year at a muscle car-like 400 hp. It was the FWD configuration which made possible the Guitar Car's unique design, the only mechanical components running within the “fretted neck” (a tubular steel structure) things like control lines for the steering, brakes, transmission and such; the engineering for those would have been challenging enough. While the front end was recognizably still a 1970 Eldorado, the rear section (connected by the fretboard) featured bespoke coachwork including a pair of tail-fins (complete with the “twin bullet” taillights made famous on the fins of the 1959 Cadillac) on a scale which might be expected on an aircraft or machine built to contest the world land-speed record (LSR) with the driver sitting under a tinted Perspex dome, mounted atop the “soundhole”.
The Guitar Car as advertised on eBay, April 2025. A restoration will be required but 1970s Eldorados are not hard to find and the bespoke bodywork is fibreglass so there will be no rust. The challenge will be fabricating the custom parts such as the canopy, fretboard and tuning keys.
Note the Guitar Car’s registration plate (just behind the model's knees). While registering such a machine for use on public roads might seem unlikely, there was a time when in certain places in the US, such things were possible, Porsche in 1974 modifying a 917 race car (chassis 917-30 which qualified third in the 1971 Austrian 1000 km endurance event) to make it possible to be registered for the road by an appropriately accommodating organ of the state. In the state of Alabama (in circumstances still not wholly understood), Count Teofilo “Theo” Guiscardo Rossi di Montelera, Prince of Premuda (1902–1991) found such an institution and, unlike the humourless Germans or the French who demanded it first be subject to a crash-test, all the authorities in Alabama stipulated was the 917 never appear on the state’s roads. Having little business to conduct in Alabama, the count agreed, paid however much he paid and duly received his plate & papers. Count Rossi's connection with the Porsche factory was by virtue of his family's Martini e Rossi distillery firm which sponsored the Martini & Rossi motor racing team running Porsche 917s during the early 1970s but negotiations in Alabama presumably were conducted in the traditional way and Mr Presley’s people must have found equally helpful staff at the Las Vegas DMV (Department of Motor Vehicles).
Porsche 917-30 in France, now (somehow) on UK registration 959 DAK.
What the precious Alabama papers at the time permitted was use on European roads, although for all sorts of reasons it wouldn’t have been possible to obtain registration in most of Western Europe, even with one’s lawyer threading clauses through loopholes. The 917 was later registered in Texas, another place where things are done which never would be contemplated in California, Massachusetts or other “blue” (ie Democrat) states and currently it exists in France on UK registration 959 DAK. There is also a road-registered 917 (917-037) in Monaco, another jurisdiction where the rich find not only the taxation authorities friendly and before being re-converted to race-specification, 917-012 (not 917-021 as is sometimes reported) was, briefly, road-registered. A few days before the Guitar Car was advertised, 917-30 showed up in a teaser video from Porsche dropping the hint the factory might soon release a road-legal version of one of its current racing cars (probably the 963 prototype) and an announcement is promised for June, presumably to coincide with the 2025 24 Hours of Le Mans. Whatever is released will doubtless be a fine machine but what won't change is the 917 will remain the greatest Porsche ever.
Count Rossi did sometimes take 917-30 on the roads of Germany & France and Mr Presley really did drive the Guitar Car to a show at (of course) Las Vegas but after that it mostly vanished from public view apart from a sighting in the Middle East until, in April, 2025, in a dilapidated condition, it was advertised for sale in France. The asking price was listed as €10,000 (US$11,500) and quite what value that represents will be in the eye of the beholder because, being unique, there’s little with which it can be compared. Overseas buyers should note the largest standard shipping container has an external length of 40 feet (12.2 metres) with the internal dimension slightly less so some disassembly (and subsequent reassembly) might be required and a warehouse or aircraft hanger will provide a more appropriate storage space than most garages.
Although it raced only once, the “Pink Pig” (917-20) remains one of the best remembered 917s. In the never-ending quest to find the optimal compromise between the down-force needed to adhere to the road and a low-drag profile to increase speed, a collaboration between Porsche and France's Société d’Etudes et de Réalisations Automobiles (SERA, the Society for the Study of Automotive Achievement) was formed to explore a design combine the slipperiness of the 917-LH with the stability of the 917-K. Porsche actually had their internal styling staff work on the concept at the same time, the project being something of a Franco-German contest. The German work produced something streamlined & futuristic with fully enclosed wheels and a split rear wing but despite the promise, the French design was preferred. The reasons for this have never been clarified but there may have been concerns the in-house effort was too radical a departure from what had been homologated on the basis of an earlier inspection and that getting such a different shape through scrutineering, claiming it still an “evolution” of the original 917, might have been a stretch. No such problems confronted the French design; SERA's Monsieur Charles Deutsch (1911-1980) was Le Mans race director. On the day, the SERA 917 passed inspection without comment.
Der Trüffeljäger von Zuffenhausen (The Trufflehunter from Zuffenhausen), a fibreglass display (some 45 inches (1150 mm) in length) finished in the Pink Pig’s livery. It includes battery-operated LED (light emitting diode) fixtures within the nostrils, activated by a toggle switch under an access panel on the neck. Weighing some 50 lb (23 kg), it measures (length x width x height) 45 inches x 20 x 32 (1140 x 510 x 810 mm). In an on-line auction in 2024, it sold for US$3800.
At 87 vs 78 inches (2200 mm vs 2000 mm), the SERA car was much wider than a standard 917K, the additional width shaped to minimize air flow disruption across the wheel openings. The nose was shorter, as was the tail which used a deeper concave than the “fin” tail the factory had added in 1971. Whatever the aerodynamic gains, compared to the lean, purposeful 917-K, it looked fat, stubby and vaguely porcine; back in Stuttgart, the Germans, never happy about losing to the French, dubbed it Das Schwein (the pig). Initially unconvincing in testing, the design responded to a few tweaks, the factory content to enter it in a three hour event where it dominated until side-lined by electrical gremlins. Returned to the wind tunnel, the results were inconclusive although suggesting it wasn't significantly different from a 917K (Kurzheck (short tail) and suffered from a higher drag than the 917-LH (Langheck (long-tail)). It was an indication of what the engineers had long suspected: the 917K's shape was about ideal.
For the 1971 Le Mans race, the artist responsible for the psychedelia of 1970 applied the butcher’s chart lines to the body which had been painted pink. In the practice and qualifying sessions, the Pig ran in pink with the dotted lines but not yet the decals naming the cuts; those (in the Pretoria typeface), being applied just before the race and atop each front fender was a white pig-shaped decal announcing: Trüfel Jäger von Zuffenhausen (the truffel hunter from Zuffenhausen); the Pink Pig had arrived. Corpulent or not, in practice, it qualified a creditable seventh, two seconds slower than the 917-K that ultimately won and, in the race, ran well, running as high as third but a crash ended things. Still in the butcher's shop livery, it's now on display in the Porsche museum.
Scuttlebutt has always surrounded the Pink Pig. It's said the decals with the names of the cuts of pork and bacon were applied furtively were applied, just to avoid anyone demanding their removal. Unlike the two other factory Porsches entered under the Martini and Rossi banner, the Pink Pig carried no corporate decals, the rumor being the Martini & Rossi board, their aesthetic sensibilities appalled by the porcine lines, refused to associate the brand with the thing. Finally, although never confirmed by anyone, it's long been assumed the livery was created, not with any sense of levity but as a spiteful swipe at SERA although it may have been something light-hearted, nobody ever having proved Germans have no sense of humor.
Coffee tables in this form are not uncommon as display or promotional pieces and are sometimes advertised as “the gift for the man who has everything”; whether the pink paint will extend the attraction to many women seems improbable but, despite the perceptions, there are women who share the stereotypically male attachment to cars and their components. Almost all coffee tables built around engine blocks use a glass top so the interesting bits are visible; if there’s thus a flat surface they are as functional as any of the same dimensions. Some however have some of the mechanical bits protruding, usually just for visual impact although there have been some V8s and V12s where the heads are not installed, the open cylinders used as somewhere to place jars of sauces, dressings and such. On this table, the intake manifold extends above the table-top through a surface cut-out so it reduces the usable area but the tubular intake rams are there to be admired. Although all-aluminium, the M28 was built for robustness and was no lightweight: the table weighs some 240 lb (110 kg) and measures (length x width x height) 43 x 20 x 32 inches (1090 x 940 x 432 mm). In an on-line auction in 2024, it sold for US$5300.
In production between 1977-1995, with a front-mounted, water-cooled V8, the 928 was a radical departure from the configuration of their previous road cars, all air-cooled flat fours or sixes and mostly with a true rear engine layout (the power-plant installed aft of the rear axle). By the early 1970s the Porsche management team had come to believe (1) the fundamental limitations and compromises physics imposed on cars with so much weight at the rear extreme meant such engineering was a cul-de-sac, (2) demand for the by then decade-old 911 would continue to decline and (3) US regulators (then much in the mood to regulate) would soon outlaw rear engines and air-cooling, along with convertibles. As things turned out, the election of Ronald Reagan (1911-2004; US president 1981-1989), a one-time Hollywood film star with fond memories of convertibles and some distaste for “excessive and intrusive regulations” was elected with the (never explicitly stated but well-understood) agenda to make America great again and a new mood prevailed in Washington, convertibles and much else surviving the expected fall of the axe. The 928 was well-received by the press but like Toyota’s Lexus which never quite managed to achieve the reputation it deserved because it was “not a Mercedes-Benz” (actually perhaps “not what a Mercedes-Benz used to be”), the 928 suffered from being “not a 911”. Although the 928 joined the list of machines out-lived by those which they were intended to replace, it was a success and in production for some eighteen years although in the twenty-first century depressed values in the after-market meant it became associated with drug dealers and people with maxed-out credit cards (at some points, certain used 928s were the cheapest 160 mph (260 km/h) cars on the market). The perception has now improved and around the planet there are solid 928 communities although the members have nothing like the devotional feelings of the 911 congregation.
1968 Lamborghini Espada Series I with interior re-trimmed in hot pink leather (left) and 1974 Lamborghini Espada Series III re-painted in baby pink (right). Neither of these colors were at the time available from the factory.
First shown Geneva Auto Salon in March 1968, the Espada was conventionally engineered (by the standards of exotic Italian thoroughbreds) but audaciously styled, the design brief to create something with genuine seating for four while retaining the dramatic lines which had become a signature of the company which was then barely five years from having branched out from building tractors. On the prototypes, the designers had flirted with both gullwing doors and an orthodox four-door layout but the conclusion quickly was reached the former was not suited to series-production and the latter would appeal less than a two-door. It was one of those machines which from some angles was seductively attractive yet from other aspects could look ungainly but it did work in that although ingress and egress was compromised, four comfortably could be accommodated and after 1974 Chrysler’s robust and versatile TorqueFlite automatic transmission became available, the market appeal extended further. In what became a difficult era, it proved Lamborghini’s most successful model with 1226 produced in three series: (176 Espada 400 GT Series I (1968-1969), 578 Espada 400 GTE Series II (1970-1972) & 472 Espada 400 GTS Series III (1972-1978).
1967 Lamborghini Marzal.
Even at the time some might not have agreed the Espada’s styling was “audacious” because it verged on the restrained compared with what had the previous year been shown as a tempting vision of a true, four-seat Lamborghini (prior to the offerings had been strictly for two or rather cramped 2+2s and there was even a small runs of a most unusual 2+1 arrangement). A one-off concept car first shown at the 1967 Genera Auto Salon, the Marzal was a marvellously impractical design by Bertone’s Marcello Gandini (1938–2024) which featured two vast gull-wing doors to provide access to what genuinely was a four-seat interior, noted for the thematic use of hexagons. It was powered by a transversely-mounted 2.0 litre (120 cubic inch) straight-six (essentially half of the company’s V12) which was fitted behind the rear axle, making the rear-bias in weight distribution rather pronounced. It was one of the most dramatic designs of the decade and although production was never contemplated, traces of the silhouette can be seen in the Espada which featured notably less glass than the Marzal and many have expressed doubts the air-conditioning system able to be used in the Marzal would in high temperatures have coped with the heat-soak and build-up.
Espada is a Spanish word meaning “sword”, the reference specifically to the blade a torero uses in bullfighting to kill the unfortunate beast and to this day Lamborghini still uses terms from the tradition for its models. That’s perhaps surprising given bullfighting is now not as socially respectable as it was during the 1960s although disapprobation of the “sport” is not new and Pius V (1504–1572; pope 1566-1572) as early as 1567 called the practice: “alien from Christian piety and charity”, “better suited to demons rather than men” and “public slaughter and butchery” fit for paganism but not Christendom and word nerds will be delighted to note Pius V’s ban on bullfighting was technically a “papal bull”. De Salute Gregis Dominici (On the Salvation of the Lord’s Flock) was issued on 1 November 1, 1567 as a formal proclamation with the papal lead seal (bulla) attached (hence such edicts being known as the “Papal bulls”), the seal authenticating the document and, as an official decree, it was binding upon Church and Christian princes. Appalled by the cruelty, Pius called bullfighting “a sin” and condemned the events as “spectacles of the devil”, prohibiting Christians from attending or participating under pain of excommunication. However, like many papal though bubbles down the ages which never quite make it to the status of doctrine, his ban was soon ignored and after his death the edict quietly was allowed to lapse. Predictably, in Spain and Portugal, where bullfighting had deep cultural & political roots, the bulla was either ignored or resisted and Philip II (1527–1598; King of Spain 1556-1598), while as devout a Catholic as any man, was known as Felipe el Prudente (Philip the Prudent) for a reason and quietly he turned the royal blind eye, allowing bullfighting to continue.
1966 Lamborghini Miura P400 re-painted in what most would probably call hot pink but professionals list as fashion fuchsia (Hex: #F400A1; RGB: 244, 0, 161; CMYK: 0, 100, 34, 4). The Miura (1966-1973) was named after a breed of fighting bull and was the first Lamborghini to borrow an identity from bullfighting and the first to wear the corporate logo featuring a bull. In the film The Italian Job (1969), an orange Miura is shown being crushed by a bulldozer but that was filmic trickery and the car seen driven through the Alps still exists. The term “hot pink” (Hex: #FF69B4; RGB: 255, 105, 180; CMYK: 0, 59, 29, 0) is used very loosely and has become the general term for bright shades while “baby pink” is used casually of most pastels. In theory, the color palette is infinitely variable but the practical limitation is the range able to be perceived by the human eye, illustrated by the announcement in April, 2025 of the “discovery” of a “new color”; new in the sense no human had ever seen it although it may well be common around the universe.
Named “olo”, the “new color” was a deeply saturated blue-green (which many would probably call “teal” or “turquoise”) and the novelty was it was able to be seen only by test subjects who had laser pulses fired into their eyes, stimulating specific cells in the retina (a light-sensitive layer of tissue at the back of the eye responsible for receiving and processing visual information; it converts light into electrical signals, which are then transmitted to the brain via the optic nerve, enabling us to see). What the scientists did was aim the beam at one of the retina’s three cones (there are “S”, “L” & “M” cones, each one sensitive to different wavelengths of blue, red and green respectively). Because, in normal vision, “any light that stimulates an M cone cell must also stimulate its neighbouring L and/or S cones (because its function overlaps with them)”, by using a laser to stimulate only the M cones, it became possible to “send a colour signal to the brain that never occurs in natural vision.” Obviously, by adjusting the aim, it may be there are new hues of pink waiting to be discovered although that olo can be perceived only if laser beams are fired into the observer's eye does limit its use in fashion and such but the researchers note the findings suggest the technique could be applied to research into colour blindness. The name “olo” has a marvellously nerdy origin: It was an allusion to the binary code “010” which signifies the specific combination of cone cells in the eye that were stimulated to create the new color perception. Specifically, “0” represents the absence of stimulation in the short (S) and long (L) cones, while “1” indicates full stimulation of the medium (M) cones. Math nerds like in-jokes as much as anyone.
Flamingo's Exotic Dancer's boots in baby pink are available in in calf (left), ankle (centre) and thigh (right) length in a variety of heel and sole heights. Because of the commonality of design elements and interchangeability of components, there's a degree of production-line rationalization which means the range economically can be produced.
The
noun meaning "pale red color, red color of low chroma but high
luminosity" was first noted in 1733 (although pink-colored dates from the 1680s),
developed from one of the most common and fancied of the flowers and pink had
come into use as an adjective by 1720. As a physical phenomenon, the color pink
obviously pre-dated the word pink as a descriptor and the earlier name for such
a color in English was the mid-fourteenth century incarnation (flesh-color) and
as an adjective (from the 1530s) incarnate, from the Latin words for
"flesh". These however had
other associations and tended to drift in sense from “flesh-color” &
“blush-color” toward “crimson” & “blood color”; it is thus a discipline to
“translate” even early Modern English.
The noun pink-eye (and pinkeye) (contagious eye infection) was an invention of US English from 1882 although, dating from the 1570s, it one meant "a small eye". The adjectival pink-collar (jobs generally held by women or those considered characteristically feminine (1977) or the female workforce generally (1979) was a back-formation based on the earlier blue-collar, white-collar etc. Pinky as an adjective (pinkish, somewhat pink) dates from 1790, building on the earlier pinkish (somewhat pink), noted since 1784. The derogatory adjectival slang pinko (soon also a noun in this context) was used of those with social or political views "tending towards “red” (ie sympathetic to communism, the Soviet Union (USSR) etc) since 1927 although as a metaphor that had existed at least since 1837. It was in the context of the time a euphemistic slur; a way of calling someone a communist (or at least a fellow traveler) without actually saying so. In Australia, old Sir Henry Bolte (1908-1990; premier of Victoria 1955-1972) would often refer to the local broadsheet The Age as “that awful pinko rag” although he wasn’t unique in his critique, the paper’s one-time headquarters known by many as the “Spencer Street Soviet”.
On any Wednesday.
In idiomatic use, to be "in the pink" is to be healthy, physically fit, or in high spirits; to be "tickled pink" dates from 1909 and is to be very happy with something. The "pink slip" (apparently originally a "discharge from employment notice" and historically issued on pink tissue paper (usually as a carbon copy)), is attested by 1915 and pink slips had various connotations in employment early in the twentieth century, including a paper signed by a worker attesting he would leave the labour union or else be fired. The term pink slip came to refer to a wide variety of documents (in the US it was often the title to a car) provided in commerce or by government for some purpose (although not all literally were pink) the term still in some cases enduring for the modern digital analogue. To “see pink elephants”, a euphemism for those suffering alcohol-induced hallucinations, dates from 1913 when it appeared in Jack London's (1876-1916) autobiographical novel, John Barleycorn although such things are not always apparitions. Some languages such as Chuukese and German use pink but other descendants include the Afrikaans pienk, the Finnish pinkki, the Irish pinc, the Japanese pinku (ピンク), the Korean pingkeu (핑크), the Marshallese piin̄, the Samoan piniki, the Scottish Gaelic pinc, the Southern Ndebele –pinki, the Swahili -a pinki, the Tokelauan piniki, the Tok Pisin pinkpela, the Welsh pinc and the Xhosa –pinki.
In the natural environment, pink is all around. Sexy pink orchids in Fuschia (left), an Amazon River Dolphin (Inia geoffrensis, centre) and a pink baby elephant (right).
Pink elephants are of course hard to find in London but they're rare anywhere. On the internet, there have been claims the creatures can be found in parts of India, the color the result of the red soil in the environment, the creatures spraying dust on their hides to protect themselves from biting insects. However, it turned out to be fake news, the supporting evidence created with Photoshop and wildlife experts that while elephants cover themselves in mud, this doesn’t change the colour of their skin. It's true there is a rare genetic disorder (technically a form of albinism) which can result in the skin of young African elephants displaying a slight pink hue but it's nothing like the vivid hot pink in the Photoshopped fake news. While in London, famous Australian concierge Elvis Soiza (once a leading figure in the Secret Society of the Les Clefs d’Or) managed, at remarkably short notice, to procure a pink (painted) elephant to be led through the streets of Chelsea to delight one of the wives of a visiting dignitary from the Middle East. It’s apparently not since been done.
The Playmate-Pink Cars, 1964-1975
Hugh Hefner (1926-2017; founder and long-time editor-in-chief of Playboy magazine) in his 1955 Cadillac Series 62 Convertible. 1955 was Cadillac’s year of “peak dagmar” and amateur psychoanalysts should make of Mr Hefner’s taste in automobiles what they will although, sometimes, a Cadillac is just a Cadillac.
The Playboy
Motor Car Corporation was established in New York in 1947 by a pre-war car
dealer who believed there would be much demand for a smaller, less expensive
car than those in the ranges offered by the established manufacturers, almost
all of which essentially differed little from the models which abruptly had
ceased production in 1942. In some ways
it was a modern concept, in-house manufacturing minimized in favor of outsourcing
and, wherever possible, the use of standard, off-the-shelf parts. Conceived as a small convertible with
three-abreast seating, it offered the novelty of a multi-part, retractable hard-top,
something not new but which would not be offered by a volume manufacturer for
almost a decade (before being mostly abandoned for forty years). Like many thousands (literally) of optimistic
souls who have for more than a century succumbed to the temptation of entering
the car business, the hopes of Playboy’s founders were high but many factors
conspired against the project, not the least of which was the car’s tiny size
and under-powered engine; it offered economy in an age when austerity was
becoming unfashionable and not even a hundred were built before the company
entered bankruptcy in 1951.
Not Hugh Hefner's sort of car: 1949 Playboy Convertible.
With that, the Playboy name might have passed forgotten into the annals of the New York Bankruptcy Court. However, not long after the company’s demise, Hugh Hefner received a C&D (“cease and desist” letter) from counsel for Stag magazine (a men’s adventure title), advising a trademark protection suit would be filed were he to proceed with the release of the magazine he intended to launch with the title Stag Party. A new name was thus required and after pondering Pan, Sir, Top Hat, Gentleman, Satyr & Bachelor, Hefner’s friend (and Stag Party’s co-founder), Eldon Sellers (1921-2016) (apparently prompted by his mother who had worked for the failed car company) suggested it was the ideal name. Hefner agreed although whether that had anything to do with the clever mechanism with which the little car could be made topless has never been discussed. With Marilyn Monroe (1926-1962) on the cover, Hefner in 1953 issued the first edition of Playboy magazine and the rest is history. One footnote in Playboy’s history is that between 1964-1975, the car gifted to the playmate of the year (PotY) was usually pink. After that, the gifts were still given but no longer in pink:
The Mustang was the industry’s big hit for 1964, setting sales records which even now are impressive. It was also highly profitable, most mechanical parts borrowed from existing Ford lines and the very platform on which it was built was that of the humble Falcon, introduced a few years earlier as a compact (in US terms), economy model. Only the body was truly new but it was “the body from central casting” and while it didn't (quite) invent the “pony car” segment, it certainly defined it and the linguistic connection lent the sector its name. The lines, which in 1964 created a stir, established the motif which would be imitated by many and, sixty-odd years on, Mustangs, Dodge Challengers and Chevrolet Camaros still were all variations of the 1964 original. That original had wide appeal, able to be configured with relatively small six-cylinder engines (in the sexist language of the age: "secretary's cars") or larger V8s, soon to include even highly-strung solid-lifter versions, a sign of things to come. Aged 18 at the time of her shoot, Ms Ronne (who modelled as "Donna Michelle") remains the youngest PotY.
The 1964 PotY’s car was finished in a special-order color which anyone could order but it quickly became known to the public as “Playmate Pink” or “Playboy Pink” although it was only later Ford added the latter to the option list as code #WT9301. That would be one of four shades of pink the corporation would offer between 1964-1972 including Dusk Rose (code #M0835 and offered originally on the 1957 Thunderbird), Passionate Pink (code #WT9036 which was part of a Valentine’s Day promotion in February 1968) & Hot Pink (code #WT9036). Interestingly, regarded as niche shades, most of the hues of pink rarely appeared on the mass-distribution brochures and could be viewed only on DSO (Dealer Special Order) charts. Social change, workforce participation and the contraceptive pill combined in the 1960s to let women emerge as influential or even autonomous economic units and Ford was as anxious as any of the cogs of capitalism to attract what was coming to be described as the "pink dollar". The tie-in with Playboy wasn’t the only time a pink Mustang was a promotional prop, the Tussy Lip Stick Company offering three 1967 Mustangs as prizes for contest winners, each finished in a shade of pink which matched the lip sticks Racy Pink, Shimmery Racy Pink Frosted & Defroster. Defroster sounds particularly ominous but to set minds at rest, Tussy helpfully decoded the pink portfolio thus:
Racy Pink: "A pale pink".
Racy Pink Frosted: "Shimmers with pearl".
Defroster: "Pours on melting beige lights when you wear it alone, or as a convertible top to another lip color".
The fate of the cars is unknown but nerds might note the three prizes were 1967 models while the model (as in the Mustang) in the advertisement is from the 1966 range. That's because the advertising copy had to be made available before the embargo had been lifted on photographs of the 1967 range. The men on Madison Avenue presumably dismissed the suggestion of what might now be thought "deceptive and misleading" content with the familiar "she'll never know".
Although from a different manufacturer, the 1965 PotY’s car actually had the same engine as her predecessor’s gift. Introduced in 1961 with a capacity of 221 cubic inches (3.6 litres), Ford’s small-block V8 (known as the Windsor after the location of the foundry in the Canadian province of Ontario at which it was first built), it pioneered the use of “thin-wall” casting techniques and, on sale between 1961-2002, would be enlarged first to 260 cubic inches (4.2 litres), then 289 (4.7), 302 (4.9) and 351 (5.8) and installed in everything from pick-up trucks to the GT40 (#1075) which won the Le Mans 24 hour classic in 1968 & 1969. AC used a 221 as a proof of concept exercise in what, with the 260, would be released as the first Shelby American Cobras, the most numerous of which used the 289, the most famous either the 427 or 428 cubic inch (7.0 litres) FE V8.
Detroit in the 1930s had produced fastbacks because "streamlining" had become a fashion and in the 1940s even had mainstream ranges of two & four door models but the fad proved brief. However, there was a comeback because by the early 1960s experience on the NASCAR ovals had demonstrated how much more aerodynamically efficient were steeply sloped rear windows compared with the more upright “formal roof” (which would come to be described as “notchback”) that designers and public alike had preferred for the additional headroom the packaging efficiency created. So buoyant was the state of the US industry at the time, the solution sometimes was to offer both and the most slippery form of all was the fastback, a roofline which extended in one curve from the top of the windscreen all the way to the tail. As a generation of Italian thoroughbreds had shown, the fastback could be a dramatic and aesthetic success on smaller machines but on the big Americans, it was a challenge and one never really solved on the full-sized cars although the by the late 1960s, a formula had been found for the intermediates, necessitated by the shape delivering higher speed and lower fuel consumption on the NACSAR ovals.
Apparently the 1966 PotY wanted something roomy and practical with which to take her family to swimming practice so the spacious Charger was a good choice and the rear bucket seats, although separated by a full-length console, could be folded flat, creating a surprisingly capacious compartment. Wisely, the Playboy organization didn’t give her a Hemi Charger, the dual quad monster inclined to be noisy, thirsty and even a little cantankerous, the pink car fitted with a 383 cubic inch (6.3 litre) V8, the engine nominated by Chrysler’s engineers at the time as the best all-round compromise, the two-barrel version their usual recommendation, a four-barrel for those prepared to sacrifice economy for performance. The fate of the car is unknown.
However ungainly the fastback may have appeared on the Charger, it worked well on the smaller Barracuda although there are students of such things who maintain the almost Italianesque lines of the notchback version are better and there was a convertible too, matching the coachwork by then offered on the Mustang. What all agreed however was the second series Barracuda, released in 1967, was a vast improvement on its frumpy predecessor, now noted mostly for the curiosity of its huge, wrap-around rear-window. Things could have been different because the original Barracuda, using the same concept as the Mustang (a poetic form disguising a prosaic structure) was actually released a few weeks before the sexy Ford and was in some ways a superior car but it had nothing like the appeal, being so obviously based on an economy car whereas the Mustang better hid its humble origins.
The 1969 440s weren’t exactly anti-climatic but true megalomaniacs had in 1968 been more impressed when Plymouth again took the metaphorical shoehorn used to fit the 383 and installed the 426 Street Hemi, 50 of which were built (though one normally reliable source claims 70) and, with fibreglass panels & much acid-dipping to reduce weight, there was no pretence the things were intended for anywhere except a drag strip, living out sometimes brief lives in quarter mile (402m) chunks. The power-to-weight ratio of the 1968 Hemi ‘Cudas was the highest of the era but lurking behind the Sturm und Drang stirred by the big blocks was one of the best combinations of the era: The 'Cudas fitted with Chrysler's 340 cubic inch (5.6 litre) (LA) small block V8 were superior machines except in straight line speed and the visceral reaction a Hemi can inspire.
Before
Tesla, American Motors Corporation (AMC) was the last of the "independents" (some of which formed agglomerations in an attempt to survive) which tried to compete with Detroit’s big three, General Motors (GM), Ford
& Chrysler. In the post-war years
this was mostly a struggle and AMC’s brightest years had come in the late
1950s when, then run by George Romney (1907–1995 and father of Mitt Romney (b
1947; Republican nominee for US president 2012)), the company began to
compete against small, imported cars, then a market segment in which the big
three offered no domestically produced vehicles. That however changed in the early 1960s and
AMC’s halcyon days soon ended although they continued for years along the road
to eventual extinction and one of their more interesting ventures was the
short-lived AMX (1968-1970).
The AMX
exemplified the AMC approach in that it was conjured up something new by taking
an existing model and, at low cost, modifying it to be something quite different, an
approach which, for better and worse, they were compelled to follow to the
end. The AMX was a short-wheelbase,
two-seater version of AMC’s Javelin pony car which, introduced in 1967 to
contest the then booming segment, had been well-reviewed by the press
and, despite the latter-day perception of its lack-lustre performance in the
market, sometimes out-sold the Barracuda and actually out-lived it by a few
months but unlike some Barracudas (actually the 'Cuda derivative), neither Javelins nor
AMXs command multi-million dollar prices at auction.
Still,
the AMX was an interesting, even a "brave" (in the sense Sir Humphrey Appleby (the fictional senior bureaucrat in the BBC's Yes Minister (1980-1984) & Yes, Prime Minister (1986-1988) series) might
have used the word) innovation, a two-seat coupé added to a market in which
there was no similar model (Chevrolet’s Corvette was a true sports car), the last attempt
at such a thing the two-seat Ford Thunderbird (1955-1957) which had been retired
and replaced by a vastly more successful four-seat version. That was not encouraging but AMC persisted,
able to leverage its resources and produce lines at lower cost than the big
three could manage. The AMX, like the
Javelin was a piece of typically solid AMC engineering, enjoyed some success in
competition and quixotically, two dozen were assembled in Australia in
right-hand-drive configuration, sold under the old Rambler name which had so
well served George Romney, the marque lingering on there for a few more
years where, remarkably to Americans, it was marketed as a "prestige" product. However, the costs involved in
maintaining the shorter AMX platform were too great and when a revised Javelin
was released in 1971, AMX became just an option package. The Javelin too would be axed in 1974 but AMC
continued to use the AMX name (which had actually started life in 1966 for concept cars on the show circuit) until 1980.
In their run of half a decade, Carroll Shelby’s Mustangs were transformed from race cars which, conveniently, could be road-registered and driven to the track, into elaborately embellished, luxuriously equipped cars usually just a little more powerful than those upon which they were based yet managing still to look faster still. In 1965, Shelby was aware of the Mustang’s potential in competition and looking for a profitable line to sell, the new seven litre (427 & 428 cubic inch) Cobra giving every indication it would become the loss-making venture it proved (although they became an extraordinarily profitable investment for anyone buying at the right point).
The
retreat from rawness began in 1966, the need to homologate for competition
having been satisfied. An automatic
transmission became optional and the cars, now labelled as Shelby GT350s, were
no longer fitted with some of the suspension, exhaust and other modifications
which had distinguished the 1965 run although the rarely-ordered option of a
Paxton supercharger (a version of the old Mcculloch unit rebranded after the company was absorbed by STP) was added to a growing list. Famously too, in that year some 1000 GT350Hs
were built on order from the Hertz Rental Car Company and there are stories,
some of which may be true, of them being rented on Saturday, raced on Sunday
and returned on Monday. These days, the deal with Hertz might be called a “related party transaction", Ford (a
big holder of Hertz stock) having prevailed on their management to place the
order.
In 1967, the trend towards civility continued, a prototype convertible built (although technical problems prevented production) and all were now full-fledged road cars, Shelby’s interest now entirely in cheque-books rather than chequered flags. Ford had given the 1967 Mustangs a wider platform so the 390 cubic inch (6.4 litre) big-block (FE) V8 could be fitted and this enabled Shelby to introduce the GT500 which used the 428, until then something used effortlessly and quietly to propel luxury sedans and coupés. Shelby used the 428 in "Police Interceptor" specification, added the brace of four barrel carburetors and tuned things a little but the quest had shifted from raw performance to making slightly faster versions of Mustangs which looked faster still and could attract a higher price. Later GT500s used Ford's factory supplied 428 CobraJet which, with a single four-barrel carburetor was more powerful. However, in a glimpse of what might have been (and was not quite realized even when the Boss 429 Mustang later appeared), Shelby did build one GT500 with a 427 FE. With fractionally less displacement than the 428, the 427 was a genuine racing engine, more oversquare in configuration with enhanced lubrication and a strengthened bottom end; it twice won at Le Mans and had been intended as an option for the 1968 Mustangs before the accountants worked out quite how expensive that would prove. Dubbed the "Super Snake", Shelby’s 427 GT500 was used to test tyres in high-speed use and remained a one-off, selling at auction in 2013 for US$1.3 million.
In 1968 the convertible was added as an option and from then on, the Shelby GT350s and GT500s became less interesting and more successful, the engines sometimes growing larger but less powerful, Shelby’s decisions vindicated by rising sales and healthy profits. However, Ford was less content and, the arrangement having served its purpose, the corporation gradually assumed control, the 1969 models the end of the line although a few cars built that year were re-listed as 1970 models and sold in the first few months of that year. The PotY GT500 (Shelby serial #1027 & Ford vehicle identification number (VIN) 9F02R481027) was regular production item with a 428 cubic inch (7.0 litre) Cobra Jet V8, an automatic transmission and no air-conditioning. Not accounted for in the Shelby registry, its fate is unknown though one quirk of note is that it left the line finished in Pastel Grey (code M3303A) and was re-painted prior to delivery, making it the only car known to have emerged from Shelby American's facility in pink.
From a Shelby GT500 to a Mercury Capri isn’t quite the sublime to the ridiculous but it’s quite a change. That said, the Capri, a product of Ford’s European operation and built in both England and Germany, was always regarded as “Europe’s Mustang” and borrowed the same successful and lucrative model of construction: sexy shape, basic underpinnings. So, on the uninspiring but reliable and cheap to produce platform of the Cortina (UK) and Taunus (Germany), a two-door fastback coupé appeared in 1968 and, over three generations, it remained in production until 1986. In the US, sold by Mercury dealers, it enjoyed great success and was at one point the highest-selling import and although advertised as the "Mercury Capri", never did a "Mercury" badge appear. Imported from Germany, the last were sold in the US in 1978, the strengthening of the Deutsche Mark against the US dollar rendering the project unviable.
In
Europe, it was available initially with an engine as small as 1.3 litres (79
cubic inches) but the bigger sellers were 1.6 (98 cubic inch) & 2.0 litre
(122 cubic inch) fours (some of which, unusually, were V4s) and the V6s of 2.3
(140 cubic inch), 2.6 (159 cubic inch), 2.8 (170 cubic inch) & 3.0 litres
(183 cubic inches). Additionally, a few
3.1 liter (189 cubic inch) V6s were built for homologation and even some 3.4
litre (207 cubic inch) engines appeared purely for use in competition.
Ms Jennings missed out on the 2.6 which came later in the US; she was just in the right place at the wrong time. In 1970, the only engine Ford offered in the
Capri was the
2.0 litre in-line four shared with the the Pinto which would be introduced that
year. At least she didn’t get one of
them (although in the early years the Pinto didn’t carry the stigma which would be
attached by later events). What the US and most of the world also missed was the best Capri of them all, something enjoyed only by South Africans. That was the Perana, a creation of Basil Green (1937-2022) who had created his own 3.0 V6 Capris before Ford. When the factory produced their own, Green responded by slotting in the 302 cubic in (4.9 litre) Windsor V8, Basil Green Motors between 1970-1973 selling over 500 before the first oil crisis put an end to the fun.
The
so-called Cologne Capris were among the most famous to compete in European
touring car racing during the 1970s and to counter the threat BMW produce their 3.0 CSL, the be-winged, lightweight version of their E9 coupé (dubbed the "batmobile"), the battles between the two the stuff of
legend. For many seasons sharing space on European circuits, the more unfortunate link between the two was a vulnerability to rust, E9s and Capris prone to rot at a rate bettered only south of the Dolomites, certain Fiats, Lancias & Alfa Romeos of the era crumbling more quickly still. On the road, even with
the bigger or the later turbocharged V6s, the Capri was always competent rather
than dominant and the only ones to make a serious attempt to make genuine
high-performance version were the South African Peranas which were both rapid
on the road and dominant on the track. Again, the fate of the pink car is unknown
but given the Capri's propensity to rust, hopes are not high.
1972: Sharon Clark (b 1943), Spectra 20 Ski Boat.
That Ms Clark received a boat (and one more red than pink) rather than a car attracted comment. Many concluded she just liked boats or perhaps skiing and that seems to be the case because Playboy's archives record that she met the boat’s designers after recognizing them as the fathers of two of her high-school friends, the donation of a Spectra 20 Ski Boat as her prize happening some months later so there’s presumably some relationship between events. It proved synergistic, the publicity said to have improved sales to the extent that Spectra offered her a weekend job taking prospective customers on test rides at Long Beach. Later she would work full-time for Spectra.
The De
Tomaso Mangusta (1967-1971) was achingly lovely but adapting a race car for the
road necessitates compromises and the Mangusta had a few. The 32/68% front/rear weight distribution
delighted racing drivers but induced characteristics likely to frighten
everybody else and the interior was cramped, something tolerated in competition
vehicles but not endearing to buyers looking for something with which to
impress the bourgeoisie. However, it sold
well enough to encourage de Tomaso to pursue the concept and the better
designed (if less beautiful) replacement, the Pantera, lasted from 1971 to
1993, over seven-thousand being sold, most fitted with US or Australian-built versions of the Ford 351 cubic inch (5.8 litre) Cleveland V8.
The
Pantera was designed from the start as a road-car and was thus a far more
satisfactory experience for most drivers and the Ford Motor Company, interested
in having in their showrooms a competitor for Chevrolet’s Corvette, began to
import the car into the US in 1972. Predictably,
there were quality control problems (Elvis Presley famously shot his when, once
too often, it refused to start) which compelled some investment from Ford and although
the sales volumes never challenged those of the Corvette, in the four years it
was available in the US, well over five-thousand were sold. After being withdrawn from the US market in
1975, De Tomaso maintained production on a smaller scale, the majority sold in
Europe and it enjoyed a long Indian summer, the final examples not leaving the
factory until 1993 by which time the output was reduced to a trickle.
Disappointingly,
despite on paper appearing to possess a promising specification, there was
never a stellar career in competition although factory support was offered and
private teams ran regular campaigns.
Conspiracy theorists have long attributed the paucity of success to the
more established players like Ferrari and Porsche having undue influence on the
regulatory bodies, nudging them always in directions favoring their machines. The factory arranged small runs of Panteras
which conformed to Group 3 and Group 4 racing regulations, some of which owners
later converted to Group 5 specifications but consistent success proved
elusive. De Tomaso however knew their market. Even if their cars couldn’t often beat
the Porsches and Ferraris on the track, as the years went by the Panteras
adopted increasingly wild styling and they certainly looked the part.
Panteras have a high survival rate and the pink car still exists, though no longer is it recognizable as the playmate’s prize. Extensively modified (as are many Panteras) and now painted a vivid (almost a Dior 999) red, the engine has been enlarged to 397 cubic inches (6.5 litres), the interior refinished and wheel-arch flares added to accommodate wider, staggered-diameter wheels. It sold at auction in June 2022 for U$110,000, a not exceptional price for the breed and it may have been more valuable if left in the original pink livery.
Still one of the more admired Volvos (although, given the appearance of most of those produced in recent decades, that may be faint praise), the 1800ES (1972-1973) underwent an exquisitely executed conversion from a coupé (1961-1972), the re-design undertaken entirely in-house, the proposal by Pietro Frua's (1913-1983 and the P1800's original designer) thought too avant-garde for Volvo buyers. They may have had a point because Volvo owners do seem impressed more by frugality of operation and longevity than anything flashy and there are several 1800s which are documented as having covered more than a million miles (1.6 million km). The coupé gained much from its use in a popular TV series shown in the early 1960s, a promotional opportunity made possible only because Jaguar declined to loan the production company one of its new E-Types (XKE) which had debuted in the same year as the P1800. Still, the seductive E-Type hardly needed an image-boost from a TV. Doubtlessly the equally seductive Ms Cole won PotY on merit but her photo-shoot was the first in which a "full-frontal nude" image appealed in the magazine so that alone may have been enough to persuade the judges. When Ms Cole took her prize back to London, she had it repainted, choosing tan. Eye-catching the pink may have been but it seems when Playboy models are clothed, there are times when they prefer anonymity; it was the fate of most of the pink prizes. Despite being involved in an accident in 2005, it’s still registered for road use in the Netherlands although it’s not known if it’s been restored to the pink.
Ms Cole was the first English PotY, taking her car home to England and the range has an English connection, the first 6000-odd of the coupés built at Jensen’s West Bromwich Albion factory. Those early models (1961-1963) were called P1800 but when production moved to Sweden, the name 1800S was adopted (1963-1970), changed again in 1970 to 1800E (1970-1972) to mark the addition of fuel injection. The "E" stood for Einspritz (German for "injection") and the Swedes used "E" because the Germans were pioneers in the development of fuel injection (the Luftwaffe doing much of the product testing); the use by Mercedes-Benz of "E" to indicate certain models were fuel-injected had in Europe become widely understood. Interestingly, when BMW added fuel-injected models, just to be different, they used a lower case "i" and Volvo would have anticipated that had they used the Swedish injektion. Another quirk in Volvo nomenclature was it continued to be labelled "1800" even after the engine's displacement was in 1969 increased to 2.0 litres. It transpires too there are other uses for an 1800 coupé, one gifted amateur engineer, taking advantage of a similarity in dimensions and angles, using one to build his own (partial) replication of the 1967 Ferrari 275 GTB/4 NART Spyder.
1974: Cyndi Wood (b 1950) in (genuine) pink gown with "pink" Mercedes-Benz 450 SL (R107).
The Mercedes-Benz
R107 (1971-1989) had a unexpectedly long life, a longevity which slightly exceeded
even the 600 (W100; 1963-1981) although across the Grosser’s eighteen years,
the only obvious change was when the two-piece hubcap & trim-ring combination (the appearance of which suited the design) was replaced with a one-piece wheel cover (which wasn't as satisfactory) whereas during much the same duration, eight different engines and several
transmissions were fitted to the R107:
280 SL:
2.7 litre (168 cubic inch) straight 6 (M110)
300 SL:
3.0 litre (183 cubic inch) straight 6 (M103)
350 SL:
3.5 litre (215 cubic inch) V8 (M116)
380 SL:
3.8 litre (231 cubic inch) V8 (M117)
420 SL:
4.2 litre (256 cubic inch) V8 (M117)
450 SL:
4.5 litre (274 cubic inch) V8 (M117 (iron-block))
500 SL:
5.0 litre (301 cubic inch) V8 (M117)
560 SL:
5.5 litre (338 cubic inch) V8 (M117)
Not all versions were sold in all markets, the sixes never offered in the US, the 420 sold mostly in Europe and the 560, an emission-controlled special restricted mostly to Australia, Japan and the US. Some 500s are seen in the US and Australia but all are private or grey market imports and it remains the most powerful (and among the most toxic) engine offered in the roadster. The labelling of the early US versions was however confusing; although called a 350 SL (as it was in the rest of the world where it used the 3.5) it was fitted with the 4.5 litre V8, chosen because (1) the 4.5 was certified for sale in the US, (2) the improved low-speed torque characteristics of the long-stroke 4.5 was better suited to US driving conditions and (3) the increased displacement partially offset the power loss caused by the early, primitive anti-emission equipment. The US market cars were later re-badged 450 SL, matching RoW (rest of the world) production. Fuel consumption of both the 3.5 & 4.5 was poor, even by the slight standards of the time, the larger 6.3 litre (386 cubic inch) and 6.8 litre (417 cubic inch) big-block V8s surprisingly little more thirsty when cruising though those were fitted to much heavier cars. The 3.5 litre 350 SLs are notable for being among the final Mercedes-Benz V8s available with a manual transmission, the last apparently sold as late as 1980. Not exactly Lotus-like in precision of operation, the gear-shifts can be a little clunky but, as a manual V8, those 350 SLs (there were also some fitted to 350 SLCs (C107, 1971-1980; a long wheelbase 2+2 coupé version of the SL) do enjoy a cult following among collectors. It now surprises some to learn that in Europe the four-speed manual could be ordered in the 3.5 V8 versions of the W111 coupé & cabriolet (1969-1971) and the W108 (1965-1972) & W116 (1972-1980) sedans. Remarkably, it was available even on the long wheelbase (LWB) versions of the sedans (W109 & V116).
The R107 had always been intended to be exclusively V8 powered but the 280 SL entered the line in 1974 in response to the first oil shock (1973) and in many markets, a six cylinder version remained available to the end. That the end didn’t come until 1989 is because for much of the R107’s early life, the very future of convertibles in the US was uncertain, threatened by what was thought to be impending US legislation which would ban the things. That never transpired but much of the 1970s and 1980s were troubled times and there were other priorities so the R107 remained the only convertible offered until replaced in 1989 and a four seat drop-top didn’t return to the line until 1992. SL actually stands for “super light” which was sort of true when first it was used of a race car in 1952 but by 1971 was misleading at least, the R107 no lightweight and a grand tourer rather than a sports car. For years, the factory never much discussed what the abbreviation "SL" stood for and the assumption had long been it meant Sports Light (Sports Leicht), based presumably on the SSKL of 1929-1931 (Super Sports Kurz (short) Leicht) but the factory documentation for decades used both Sports Leicht and Super Leicht. It was only in 2017 it published a 1952 paper discovered in the corporate archive confirming the correct abbreviation is Super Leicht. However defined, the R107 is heavy, the removable hard-top famously so and although that roof was fashioned in the "pagoda" shape, a la its (W113) predecessor, it was only the earlier model which picked up the nickname.
Paris Hilton (b 1981) with her 2008 Bentley Continental GT during a photo-shoot to note the release of Hold Me Closer (2022), a variant of Tiny Dancer (1971) by Elton John (Reginald Dwight; b 1947) & Bernie Taupin (b 1950) and performed as a duet by Mr John and Britney Spears (b 1981), Los Angeles, August 2022.
It's not known if Ms Hilton was influenced in her choice of car by the Continental being introduced at the 2002 Paris Motor Show but the color was apparently a nod to her fondness for the Barbie Doll aesthetic (it really is a thing). The first generation Bentley Continental GT (2003-2011) was powered by Volkswagen's twin-turbocharged 6.0 litre (363 cubic inch) WR12 which isn't very interesting compared with the modifications Ms Hilton commissioned from West Coast Customs (WCC) including pink wheels with the PH logo in rhinestones, a pink over black interior with a diamante-encrusted dashboard, rhinestones on the gear shifter and a doggie (as in poodle) seat. Throughout the interior, there's a generous scattering of the PH logo, all in diamante.
Ms Hilton does of course need logos because Paris Hilton (the flesh & blood creature) has a full-time job being Paris Hilton (the public construct), a dualism she explored in Paris: The Memoir which, while genuinely a memoir, is interesting too for the deconstruction of the subject the author provided in a number of promotional interviews. There have over the years been many humorless critics who have derided Ms Hilton for “being famous merely for being famous” but the book made clear being the construct that is Paris Hilton really is a full-time job, one which demands study and an understanding of the supply & demand curves of shifting markets; a personality cult needs to be managed because, while some aspects must remain static, others need to evolve. She displayed also a sophisticated understanding of the point made by comrade Stalin (1878-1953; Soviet leader 1924-1953) who once explained the abstraction of a personality cult by pointing to one of his many huge portraits and saying “…you see, even I am not Stalin, THAT is Stalin!” In the acknowledgments, Ms Hilton thanked the ghostwriter who “helped me find my voice.”
