Sandwich

Sandwich (pronounced sand-wich or san-wich)

(1) Two or more slices of bread or the like with a layer of meat, fish, cheese etc between each pair.

(2) A type of cake with noticeably distinct horizontal layers. 

(3) To insert something between two other things (used figuratively also of ideas, concepts, historic events etc).

(4) In engineering or construction, a technique of assembly in which materials (which need not be flat) are joined in two or more layers.

(5) To eat one or more sandwiches (archaic except in literary or poetic use).

1762: Named after John Montagu (1718-1792), fourth of Earl Sandwich, a bit of a cad and gambler who, during marathon sessions at the tables, would eat slices of cold meat between bread rather than rise for a meal and thus "miss a bet".  However, the earl’s biographer suggested his subject was a serious chap, committed to the navy, politics and the arts and the sandwiches were actually eaten at his desk at the Admiralty but the legend is much preferred.  It was in his honor Captain James Cook (1728-1779) named the Hawaiian Sandwich islands in 1778 when Montagu was First Lord of the Admiralty (then the UK's minister for the Royal Navy).  The family name is from the place in Kent which in the Old English was Sandwicæ (sandy harbor; trading center).  In structural linguistics, a "sandwich" word is one in which two or more syllables have been split (al la slices of bread) and filled with another word.  Use of the technique is common and exemplified by an opinion such as: "Fox News is just Murdoch propafuckinganda".  The term was coined by US lexicographer Dr Harold Wentworth (1904-1965).  A "sandwichery" is a place where sandwiches are sold and the noun sandwichness (the state or quality of being a sandwich) seems only ever used as jocular term food reviews.  Sandwich, sandwichness & sandwichery are nouns, verb & adjective, sandwiched is a verb and sandwichlike, sandwichy & sandwichless are adjectives; the noun plural is sandwiches (the always rare sandwichs probably now extinct).

There are a least dozens and likely more than a hundred recorded descriptions of sandwiches with names drawn variously from the fillings, type of bread, method of preparation, (alleged) regional origin or occasion when served but the word has also appeared in idiomatic use including: “nothing sandwich” (a sandwich with a bland taste (used also figuratively as a synonym of “nothingburger” to suggest something is of less significance than its appearance or treatment accorded deserves)); “soup sandwich” (something or someone thought disorganized, incompetent, fundamentally flawed or unfinished; “air sandwich” (a sandwich consisting only of bread and a sauce or spread, but no filling (in figurative use a strategy that has high-level direction and low-level administrative support but in operation is close to inert); “Elvis sandwich” (a sandwich made peanut butter, sliced or mashed banana, and sometimes bacon on toasted bread, based on the fondness the singer Elvis Presley (1935-1977) had for the concoction (a banana smeared with peanut butter was reputedly a favourite snack of Bill Clinton (b 1946; POTUS 1993-2001)); “shit sandwich” (something highly undesirable that is rendered more acceptable or palatable by the addition of more tolerable or agreeable components); “tavern sandwich” a sandwich consisting of unseasoned ground beef and sautéed onions in a bun); “barley sandwich” (a glass of beer (synonymous with “liquid lunch”); “lead sandwich” (a method of suicide in which a shotgun is placed in the mouth and discharged  (100% success rate as might be expected)) and “prawn (shrimp) sandwich brigade” (those who attend sporting event to socialize and enjoy the hospitality in corporate hospitality boxes rather than having any interest in the event).  In physics a “nanosandwich” is a nanoscale structure consisting of a dielectric layer between two discs and in chemistry a “sandwich compound” is any compound in which a metal atom is located between the faces of two planes of atoms, especially between two rings.   

Sandwich is a town in Barnstable County, Massachusetts, its population 20,675 at the last census; the oldest town on Cape Cod, in 2014, Sandwich turned 375 years old.  Sandwich has a police department: They are the Sandwich Police.

The Sandwich Police cruiser is a second generation (1998-2011) Ford Crown Victoria (1992-2011), built on the corporation's "Panther" platform (1978-2011).  When Ford ceased production of the Crown Victoria, it was the last of the old-style (BoF (body-on-frame), V8, RWD (rear wheel drive)), full-sized cars that were the backbone of the US industry for much of the first four post-war decades.  Although by the 1990s judged archaic by the US motoring press (and some international journalists who drove them in 2009 expressed amazement such a thing was still made), the demise of the Crown Victoria was a matter of regret for US police departments and many other fleet operators (notably rental car companies) because the CV's combination of virtues (robust, reliable, spacious, low TCO (total cost of ownership)) made them ideally suited for "heavy duty use" and in fleets, even today, some remain faithfully in service.  In truth, if driven within it's limitations, a CV (or the companion Mercury Grand Marquis) could be a satisfying experience for what it lacked in refinement it compensated for in other ways and for those who yearn still for the way things used to be done, the more desirable of the CVs can be a good choice.

More sandwich police: A police officer at the Ingham Subway in Queensland, Australia preparing a sub, an event held by Subway Australia on 2 November, 2018 to mark World Sandwich Day.  On the day, 329,814 sandwiches were assembled for needy families.

There is doubt whether the sandwich became so-named as early as 1762 because the first documented account of the earl’s culinary innovation was written in 1770 but it certainly caught on.  The sandwich board, the two-sided mobile advertising carried on the shoulders was first so-described in 1864 and someone employed to "wear" the device was sandwichman (a word now probably extinct although sandwich boards still occasionally are seen, carried presumably by sandwichpersons).  The Wall Street Journal once described the sandwich as "Britain's biggest contribution to gastronomy" but, given the parlous reputation of the rest of their pre-modern cuisine, the WSJ may have been damning with faint praise.  Regardless, while Lord Sandwich may have lent his name, the historical record suggests sandwiches have been eaten since bread was first baked, pre-dating the earl by thousands of years.

In 2022, with Lindsay Lohan on location in Ireland for the shooting of the Netflix film Irish Wish (2024), Westport Café The Creel created a sandwich to honor the famous visitor.  The Lindsay LoHam included 'nduja sausage, Monterey Jack cheese, mixed grated cheddar, caramelized onions and, naturally enough given the name, ham.  Irish Wish remains available to stream but the Lindsay LoHam enjoyed only a limited release.

By convention, when more than two slices of bread are used it becomes a "club sandwich" and it's now not uncommon for filled bread rolls, pita, flatbreads, etc also to be sold as sandwiches.  When the filling is spread atop a single slice of bread, it can be called an "open sandwich" which (historically) is oxymoronic but in commerce the term is well-established; dating from the 1920s, these first appeared on menus as "open face sandwich" but the term was soon clipped.  Over millennia, there must have been countless inventions and re-inventions of variants of the sandwich and the innovations have been linguistic as well as culinary, one noted concoction the muffuletta, a thick, round sandwich, typically containing ham, salami, and cheeses and topped with an olive salad, a specialty of New Orleans; it seems first to have been served in the late 1960s, the name from the Sicilian dialect, from the Italian muffoletta (a round hollow-centered loaf of bread), from muffola (mitten), from the French moufle.  In New Orleans, among the muffuletta cognoscenti, there is a heated faction and a room-temperature faction.  Another delicacy is the fried brain sandwich which, although now associated with things south of the Mason-Dixon line, was apparently first offered in St Louis, Missouri.  Self-explanatory, it's made with thinly sliced fried slabs of calf’s brain on white toast; to some a genuine delicacy, to others it'd be an acquired taste.  Etymologists note that confusingly, in the US, some restaurants (said to be most often those “specializing in barbecue”) use “sandwich” in its adjectival sense when serving a meal that is smaller than either lunch or dinner yet not so modest to be thought “a snack”.  These offerings do not imply that of necessity what’s served will be in the form of “a sandwich” although some may be, the point being what’s on the menu is “something smaller than what appears on the lunch and dinner menus”.

Quintessential Grilled Cheese: The ultimate cheese toastie.

In 2017, Guinness World Records officially recognized the “Quintessential Grilled Cheese” on the menu at New York City’s Serendipity 3 as the planet’s most expensive commercially available sandwich.  Then listed at US$214, it was made with Dom Perignon champagne-infused French Pullman bread, 23-karat edible gold, a rare Italian cheese and grass-fed white truffle butter.  Served on a Baccarat crystal plate with a bowl of South African lobster tail tomato bisque, the restaurant required customers to order 48-hour in advance.  Obviously not a typical cheese toastie, the core ingredient was Caciocavallo Podolico, an extremely rare Italian cheese made from the milk of a mere 25,000-odd cows grazing on fennel, licorice, and wild strawberries; accounting for some of the sandwich’s high price, the beasts lactate only for a few weeks over May-June.  The luxury toastie still appears on Serendipity 3's menu (along with the “World's most expensive fries” but interestingly, the restaurant have not advised any increase in the price, despite recent inflation and the spike in the gold price.  Given it need to be ordered in advance, presumably it's now on a PoA (price on application) basis.  Still, renowned also for its Frrrozen Hot Chocolate (there’s a $25,000 “Haute” version of that which must be remarkable), Serendipity 3 does sound the ideal place for a first date although it would raise expectations and one should choose the place only if one has the disposable income for regular return visits.  The Quintessential Grilled Cheese deserves at least a footnote in economics textbooks because a cheese toastie at that price is one of the industry's most literal instances of “conspicuous consumption” and its qualities may also be Veblen in that should Serendipity 3 note a slowing in sales, demand might be stimulated by raising the price, the point about Veblen goods being their behavior moving in the opposite direction on the classic PED (Price Elasticity of Demand) curve.    

Lindsay Lohan next to pink ice cream truck, Salt Lake City, Utah, 2021.

In 2021, RadarOnline (a pop culture aggregation handler published by RMG (Radar Media Group)) reported that while on-location in Salt Lake City, Utah for the shooting of the Netflix movie Falling for Christmas (2022), Lindsay Lohan bought ice cream sandwiches for the film crew.  Ice cream is in Utah a popular commodity because of what's laid down in the Word of Wisdom, (a kind of etiquette guide cum rulebook) for members of The Church of Jesus Christ of Latter-day Saints (the Mormons).  The Word of Wisdom is properly styled the Doctrine and Covenants (the D&C (1835)) and is the Mormon scriptural canon, section 89 containing the dietary rules proscribing, inter-alia, the consumption of alcohol, tobacco and hot drinks (ie tea & coffee).  Noted Mormon Mitt Romney (b 1947; Republican nominee in the 2012 US presidential election, US senator (Republican-Utah) 2019-2025) usually looks so miserable not only because of what has become of the Republican Party but because the D&C's index of the forbidden denies him the simple indulgence of a cup of coffee.  The rules also explain why manufacturers of chocolate, candy & soda have long found the Mormons of Utah a receptive and lucrative market; other than the joyful singing of hymns, the sugary treats are among their few orally enjoyed pleasures.  In Utah, as well as ice cream sandwiches, there's a ready market too for “dirty sodas”; Mormons aren’t allowed to do anything “dirty” (though it's rumored some do) and a dirty soda (a soda flavored with “spikes” of cream, milk, fruit purees or syrups) is about as close to sinfulness as a reading of the D&C would seem to permit.  Mormans sometimes team an ice cream sandwich with their dirty soda and for those who want more, ice cream cakes are also a big seller.  

Replacing humans with mechanical devices has a long history: Automated dystrybutor piwa i kanapek (beer and sandwich dispenser), Kraków, Poland.  It was installed in May 1931.

In the mid 1950s when English in the US was more regionalized than it would become, in New York City a sandwich typically was sold as a “hero” while in other parts it might be a grinder (based on the ground meat often used as the base of the filling) or a submarine (based on the use of a long, tubular bread roll, the use carried-over when other types of bread were used).  The “poor boy” was a description from New Orleans of uncertain origin but presumed related to the idea of a sandwich being a “cheap meal” to take-away while richer folks sat in the diner and ate off a plate.  Most intriguing was the “hoagie” which definitely emerged in the Pennsylvanian city of Philadelphia though the history is disputed.  One explanation is the original was a “big sandwich” in the form a filled split-roll (al la those served by the modern Subway chain) and thus resembling in shape a large cigar, the linguistic link claimed to be with “stogie”, a common slang term for a cigar, the construct thought to be stoga + -ie, the first element derived from the Conestoga Cigar Company which in the 1880s was one of the first Pennsylvanian cigar factories.  The connection sounds plausible but is undocumented.  The professionals seem unconvinced by the alternative suggestions: (1) a folk-etymology alteration of the Greek gyro (a back-formation from the plural gyros, from the Ancient Greek γύρος (gýros) (from the turning of the meat on a spit) or (2) some connection with the US popular musician Hoagland “Hoagy” Carmichael (1899-1981).  The Greek link is undocumented and thought “vague” and although as a songwriter Hoagy Carmichael enjoyed success as early as the late 1920s, his fame as a performer wasn’t established until a decade later and in Philadelphia the sandwiches were being sold as “hoggies” as early as 1935, thus the conclusion his later celebrity status might have influenced a change in the spelling, “Hoagies” on sale by 1945.  It is of course possible the original “hoggie” was derived from “hog” on the basis of at least some of the sandwiches being “pork rolls” but of this there’s no evidence.  As a footnote, although rarely seen without a cigarette, Mr Carmichael seems not to have been a cigar smoker.

1959 Lotus Elite S1.

The Lotus Elite (Type 14) was produced in two series (S1, 1957-1960; S2, 1960-1963) and was a rolling catalogue of innovation and clever re-purposing of off-the-shelf parts.  One of its most distinctive features was borrowed from aviation: the stressed-skin fibreglass monocoque construction which obviated entirely the need for a chassis or space-frame, the body an integrated, load-bearing structure created using the “sandwich technique”.  The only substantial steel components were a sub-frame supporting the engine and front suspension and a hoop to which was attached the windscreen, door hinges and jacking points.  The company’s philosophy was “simplify, then add lightness” while lent the Elite some delightful characteristics but even had all components been produced in accordance with the specification, many parts of the structure were so close to the point of failure that some revisions to the design would anyway have been necessary but the early cars were far from perfect.  The contact for the fabrication of the bodies had been won by a boat-builder, then one of the few companies with much experience in molding fibreglass.

Club sandwich: The Elite's triple-layer monocoque.

However, the Elite was a more complex design than a boat hull and fibreglass was still a novel material, even Chevrolet in the United States, with access to the financial and engineering resources of General Motors, found early in the production of the Corvette there were lessons still to be learned.  Unlike many boats which used a single or double-layer method, the Elite’s body consisted of three stressed-fiberglass layers (thus in industry jargon a “club sandwich”) which, when joined in a monocoque, created the bulkheads and eight torsion boxes gave the structure its strength and stiffness although the success was something of a surprise.  The designer, working in the pre-CAD (computed-aided design) era and with no experience of the behavior of fibreglass, had doubted the material would be strong enough so had the first prototype built with some steel and aluminum plates sandwiched between the layers with mounting brackets bonded in points at the rear to support the suspension and differential mountings.  In subsequent tests, these proved unnecessary but so poorly molded were many of the layers that structural failures became common, the resin porings of inconsistent thickness creating weaknesses at critical points, suspension struts and differentials known to punch themselves loose from mountings or even tear away chunks of the supposedly supporting fibreglass.

Le Mans 24 Hour, June 1959:  Lotus Elite #41 leads Ferrari 250TR #14. The Ferrari (DNF) retired after overheating, the Elite finishing eighth overall, winning the 1.5 litre GT class.

Needing an operation more acquainted with the tight tolerances demanded in precision engineering, after finishing some Elites, Lotus switched suppliers, the molding contract granted to the Bristol Aeroplane Company. This transformed quality control and the remaining 750-odd Elites carried an S2 designation, the early cars retrospectively (but unofficially) dubbed S1.  Even so, despite the improved, lighter and stiffer shell, it would be another generation before the structural implications of fibreglass would fully be understood and the flaws inherent in the design remained, suspension attachment points sometimes still prone to detachment, Lotus content to the extent it now happened only under extreme loading rather than habitually.  The combination of light-weight, a surprisingly powerful engine and a degree of aerodynamic efficiency which few for decades would match delivered a package with a then unrivalled combination of performance and economy.  On the road, point-to-point, it was able to maintain high average speeds under most conditions and only in then unusual places like the German Autobahns with their unlimited speeds could heavier, more powerful machines assert their advantage.  On the circuits, it enjoyed an illustrious career, notable especially for success in long-distance events at the Nürburgring and Le Mans.  The frugal fuel consumption was an important factor too, as well as claiming five class trophies in the Le Mans 24 hour race, the Elite twice won the mysterious Indice de performance (an index of thermal efficiency), a curious piece of mathematics actually designed to ensure, regardless of other results, a French car always would win a trophy for something.

Charlotte Brontë (1816–1855).

Elizabeth Gaskell's (1810–1865) 1857 biography (a very Victorian work) long loomed over the memory of Charlotte Brontë because it portrayed the author of the deliciously depraved eponymous protagonist in Jane Eyre (1847) as the doomed, saint-like victim of the circumstances which crushed her and the consumption which stalked her.  The old curmudgeon G.K. Chesterton (1874–1936) reckoned that while a good biography told one much about the subject, a bad one revealed all one needed to know about the author.  Gaskell’s crafted miserabilia of course created a legend of its own, a kind of death cult for those for whom victimhood isn’t quite enough so Charlotte Brontë has long been on the emo reading list (a very specific sub-set of the canon).  However, whatever might have been the tone of reviews penned by those critics who found little to admire in works by women, even jaded types like literary editors were captivated by her words, George Smith (1865-1932) who worked for the publishing house Smith, Elder & Co at Cornhill noting in his diary: “After breakfast on Sunday morning I took the manuscript of Jane Eyre to my little study, and began to read it.  The story took me captive.  When the servant came to tell me that luncheon was ready I asked him to brim me a sandwich and a glass of wine, and still went on with Jane Eyre.  Dinner came; for me the meal was a very hasty one; and before I went to bed that night I had finished reading the manuscript.”  She deserved better than the gloomy impression left by Elizabeth Gaskell and history has been kind although even George Smith who admired her thought he discerned what she really wanted from life, writing in The Critic in 1901: "I believe she would have given all her genius and all her fame to be beautiful.  Perhaps few women ever existed more anxious to be pretty than she, and more angrily conscious of the circumstance that she was not pretty."  That was perhaps toxic masculinity as expressed by the literary middle class but Anthony Trollope (1815-1882) focused just on the work, writing in his Autobiography (1883): "I venture to predict that Jane Eyre will be read among English novels when many whose names are now better known shall be forgotten."  

Of the fourth Earl of Sandwich who got a bit of fun out of life

Portrait of John Montagu, fourth Earl of Sandwich (1783) by Thomas Gainsborough (circa 1727-1788), National Maritime Museum, Greenwich.

John Montagu was one of the more interesting chaps to sit in the House of Lords.  Rich and well-connected, he was a libertine in the milieu of the aristocratic swagger of the eighteenth century, his country house described by a contemporary as “the scene of our youthful debaucheries, the retreat of your hoary licentiousness.”  There’s never been any suggestion Sandwich was in his self-indulgence any more depraved than many of his companions but certainly, he fitted-in.

In his lifetime, the earl’s fame came not from the eponymous snack but his long affair with Miss Martha Ray (1746-1779), a most becoming and talented young singer.  It’s never been known when first they made friends but she lived with him as his mistress from the age of seventeen (he was then forty-five), the relationship producing nine children.  The concubinage of Miss Ray he  enjoyed while his wife was suffering from mental illness and while it’s not recorded if her condition was triggered by her husband’s ways, given he conducted an affair also with his sister-in-law, there must be some suspicion.

Montagu's behavior attracted the interest of many, including John Wilkes, a prominent satirist who wrote a number of pieces critical of the earl’s politics and ridiculing his (not so) private life.  Montagu’s revenge was swift.  Wilkes didn’t write only publicly-published satire, he also had a small circle of socially elite subscribers to his other literary output.  That was pornography, and the earl was a subscriber.  To discredit Wilkes, Lord Sandwich rose in the House of Lords and read extracts from Wilkes’ The Essay on Women which he prefaced by telling their lordships “…it was so full of filthy langue (sic) as well as the most horrid blasphemies”.  The earl did not exaggerate and even today the words would shock and appall their lordships although, it must be admitted, it's always been a place where members easily are appalled (or at least affect to be).  The vengeance backfired, the Lords ruling his speech a breach of procedure which sounds a mild rebuke but in that place was a damning censure.  It also provoked Wilkes who responded with tales of Sandwich’s “debauchery, miserliness and lack of good faith” and a biography published in the 1760s labelled him “an arsonist and thief”.  His reputation never recovered although, when masticating a sandwich, we all still should remember him and be glad.

Portrait of Martha Ray (in pussy bow) by Nathaniel Dance-Holland  (1735–1811).

Miss Ray’s end was sadder still.  Lord Sandwich granted her a generous allowance and obtained a flat in Westminster so she had somewhere to live during those times when, for whatever reason, she couldn’t stay in his house.  He also introduced her to a young soldier, James Hackman (circa 1752-1779) who became obsessed with her and soon turned into what would now be called a stalker.  In 1779, Hackman resigned his commission to join the church and it seems he and Ms Ray may have had a brief liaison but she declined his offers of marriage, apparently because she thought his social status and financial means inadequate to keep he in the style to which she'd become accustomed.  Not handling rejection well, Hackman remained infatuated, became obsessively jealous and renewed the pursuit.  One evening in April 1779, after following her to the Royal Opera House at Covent Garden, he shot her dead, apparently under the impression she had taken another lover, which may or may not have been true.  Immediately after the murder, Hackman attempted suicide but succeeded only in wounding himself and was arrested.  Two days after she was buried, the Reverend Hackman was sentenced to be hanged and within the week he died on the Tyburn gallows in a public execution before “a large crowd”.

Superbird

Superbird (pronounced soo-per-burd)

(1) A single-season (1970) version of the Plymouth Road Runner with certain aerodynamic enhancements, built to fulfil homologation requirements for use in competition.

(2) A one-off Falcon XA GT built by Ford Australia for the motor show circuit in 1973.

(3) A series of 700-odd XA Falcon Hardtops (RPO77) built by Ford Australia in 1973.

1969: The construct was super + bird.  The Middle English super was a re-purposing of the prefix super-, from the Latin super, from the Proto-Italic super, from the primitive Indo-European upér (over, above) and cognate with the Ancient Greek ὑπέρ (hupér).  In this context, it was used as an adjective suggesting “excellent quality, better than usual; wonderful; awesome, excellent etc.  Bird was from the Middle English bird & brid, from the Old English bridd (chick, fledgling, chicken).  The origin was a term used of birds that could not fly (chicks, fledglings, chickens) as opposed to the Old English fugol (from which English gained the modern “fowl”) which was the general term for “flying birds”.  From the earlt to mid-fourteenth century, “bird” increasingly supplanted “fowl” as the most common term.  Superbird is a noun; the noun plural is Superbirds and an initial capital is appropriate for all (standard) uses because Superbird is a product name.  If used as hoc for some other purposes, it should probably be without the initial capital.

Of super- and supra-

The super- prefix was a learned borrowing of the Latin super-, the prefix an adaptation of super, from the Proto-Italic super, from the primitive Indo-European upér (over, above) and cognate with the Ancient Greek ὑπέρ (hupér).  It was used to create forms conveying variously (1) an enhanced sense of inclusiveness, (2) beyond, over or upon (the latter notable in anatomy where the a super-something indicates it's "located above"), (3) greater than (in quantity), (4) exceptionally or unusually large, (5) superior in title or status (sometimes clipped to "super"), (6) of greater power or potency, (7) intensely, extremely or exceptional and (8) of supersymmetry (in physics).  The standard antonym was “sub” and the synonyms are listed usually as “on-, en-, epi-, supra-, sur-, ultra- and hyper-” but both “ultra” and “hyper-” have in some applications been used to suggest a quality beyond that implied by the “super-” prefix.  In English, there are more than a thousand words formed with the super- prefix.  The supra- prefix was a learned borrowing from the Latin suprā-, the prefix an adaptation of the preposition suprā, from the Old Latin suprād & superā, from the Proto-Italic superād and cognate with the Umbrian subra.  It was used originally to create forms conveying variously (1) above, over, beyond, (2) greater than; transcending and (3) above, over, on top (in anatomy thus directly synonymous with super) but in modern use supra- tends to be differentiated in that while it can still be used to suggest “an enhanced quality or quantity”, it’s now more common for it to denote physical position or placement in spatial terms.

Superbirds of the northern & southern hemispheres

1969 Dodge Daytona (red) & 1970 Plymouth Road Runner Superbird (blue).

The Plymouth Superbird was a "homologation special" built only for the 1970 model year.  By the mid-1950s, various race categories sanctioned by NASCAR (National Association for Stock Car Auto Racing) had become popular with both competitors and audiences, something which induced the manufacturers, more or less openly, to provide resources to the teams running their products.  This had started modestly enough with the supply of parts and technical assistance but so tied up with prestige did success become that some created competition departments and, officially and not, ran teams or provided so much financial support that effectively they functioned as factory operations.  NASCAR had begun as a "stock" car series in the literal sense that the first cars used were "showroom stock" with only minimal modifications but that didn't last long, cheating soon rife and in the interests of spectacle (ie higher speeds and thus more crashes), certain "performance enhancements" were permitted although the rules were always intended to maintain the original spirit of using cars which were "close" to those sold from the showroom floor.

Lindsay Lohan's artwork for her cover of Anything (originally on the album The High Road (2006) by JoJo (stage name of Joanna Levesque (b 1990)).

Despite NASCAR's efforts, the cheating didn't stop although the teams became more adept in its practice and one model produced by Chrysler's Dodge division typified the way manufactures worked within the homologation rules to game the system.  The rules (having to build and sell a minimum number of a certain model in that specification) had been intended to restrict the use of cars to “volume production” models available to the general public but in 1956 Dodge did a special run of what it called the D-500 (an allusion to the number which had to built to be “legal” under NASCAR regulations).  Finding a loophole in the interpretation of the word “option” the D-500 appeared in the showrooms with a V8 rated at a then impressive 260 HP (horsepower).  Distinguished by crossed-flag “500” emblems on the hood (bonnet) and trunk (boot) lid, the model was Dodge’s high-performance offering for the season and had things been left at that, it wouldn't have been in any way exceptional.

Lindsay Lohan, as a superbird: generative AI (artificial intelligence) rendering by Stable Diffusion.

The trickery however lay in the option list, knowledgeable buyers able to "tick the box" for the D-500-1 (or DASH-1) option, which made one's D-500 close to race-ready and, to ensure eligibility in NASCAR’s various competitions, it could be ordered as a two-door sedan, hardtop or convertible.  In its default configuration with dual four-barrel carburetors, the D-500-1's 315 cubic inch (5.2 litre) V8 thought to produce around 285 HP but more significant was the inclusion of heavy-duty suspension and braking components, more valuable on the circuits than additional power.  It was a successful endeavour which both triggered an "arms race" between the manufacturers and intensified the ongoing battle with the NASCAR regulators who did not wish to see their series transformed into something contested by specialized racing cars which bore only a superficial resemblance to the “showroom stock”.  Well before the 2020s, it was obvious NASCAR had surrendered to the inevitable but more than a decade, the battle raged.

Evening (The Fall of Day) (1869–1870), charcoal, crayon), oil & graphite on canvas by English-born US artist William Rimmer (1816–1879), Museum of Fine Arts Boston, Massachusetts.

That someone ran a Stable Diffusion prompt to depict Lindsay Lohan with wings is in the long tradition of winged humans, something in the imagination at least since the tale of Ικαρος (Icarus) was told in the mythology of Antiquity.  In the best-known version, Icarus was the son of Daedalus and one of Minos' slaves called Naucrate and it was when Daedalus explained to Ariadne how Theseus could find a way to escape the Labyrinth, so enraged was Minos he imprisoned Daedalus and his son in the structure.  Undeterred, Daedalus took fallen feathers and fashioned wings for them both, applying wax to fix them to their shoulders; a cautious parent, Daedalus warned Icarus to fly neither too close to the ground nor too near the sun.  Icarus however was headstrong and, finding the power of flight intoxicating, soared higher and higher until he was so close to the sun the heat melted the wax, disintegrating his wings; no longer a superbird, he fell into the sea around the island of Samos and drowned.  As a tribute, the sun god Helios called the body of water the Ικάριο Πέλαγος (Ikario Pelagos) (Icarian Sea), the name still used of the stretches of the Aegean between the Cyclades and Asia Minor (the modern-day Türkiye Cumhuriyeti (Republic of Türkiye, still often referred to as Turkey)).  Other versions from Antiquity have him drowning in nautical accidents but generally his name is used as a cautionary tale about the consequences of not heeding the advice of those who know better although, curiously, there’s also the odd reference to him having invented woodwork and carpentry.  In Rimmer’s evocative drawing, the model has always been presumed to be the doomed Icarus but the artist may also have had in mind the fallen angel Lucifer, the imagery of a prideful descent perhaps influenced by John Milton’s (1608–1674) Paradise Lost (1667) or Dante Alighieri’s (circa 1265–1321) Divina Commedia (Divine Comedy (circa 1310-1321)).

LP (long playing) album label for Led Zeppelin’s Presence (1976), issued by Atlantic Recording Corporation on the Swansong label.

The English graphic art production house Hipgnosis (best known for album covers which were (in the pre-CD (compact disc) era) for a quarter century-odd a vibrant part of the pop-art world) used Rimmer’s Evening as a model for the logo of Swan Song Records, set up in 1974 by the English band Led Zeppelin (1968-1974) after the expiration of their distribution contract with Atlantic Records (which anyway handled the distribution of Swan Song’s products).  The idea was to combine the imagery of Rimmer with the wings of a white swan and the notion of “songs”.  At the time, the popular music business substantially was controlled by the major labels and Swan Song was one of a number of (usually short-lived) labels created in an attempt to give musicians who could not secure a recording contract a way of having their output reach audiences.  Although the label remains active for the purposes of re-issuing older material, after the surviving members of Led Zeppelin disbanded in 1980, there were only spasmodic releases until in 1983 it was announced active operations would cease and no new contracts would be executed.

1970 Plymouth Superbird (left) and 1969 Dodge Daytona (right). Despite the obvious conceptual and visual similarities, it's when two are seen in close proximity (especially in profile) that the differences become more obvious, the Superbird's nose-cone less pointed, the rear wing higher with a rake more acute.  

By 1969, NASCAR's regulators had fine-tuned their rules restricting engine power and, further to "equalize" things, had mandated minimum weights.  Scope for innovation was thus limited so manufacturers turned to the then less policed field of aerodynamics, ushering what came to be known as the "aero-cars" and it was an era when the discipline had become suddenly fashionable, wings and spoilers sprouting on the cars used in Formula One and the Can-Am (the wonderful series for (Group 7) unlimited displacement sports cars) although initially, Chrysler's approach had been a modest "tweaking" rather than a radical alteration of the lines.  When the aerodynamics of the sleek-looking 1968 Charger proved to be unexpectedly inefficient, Dodge for 1969 modified the most suspect areas at the front and rear, "smoothing out" the air-flow and labelling the result the "Charger 500" in a nod to the NASCAR homologation rules which demanded for eligibility the production of 500 mechanically identical cars.  However, unlike the quite subtle modifications which proved so successful for Ford’s Torino Talladega and Mercury’s Cyclone Spoiler, what was done to created the 500 did not resolve the issues so production ceased after 392 were built.  Dodge solved the problem of the missing 108 needed for homologation purposes by subsequently introducing a different "Charger 500" which was just a trim level and nothing to do with homologation but, honor apparently satisfied on both sides, NASCAR turned to the telescope the same blind eye chosen when it became clear Ford with the Talladega and Cyclone Spoiler had also "bent the rules" a bit.

The rear wings (like the nosecone, the units on the Daytona and Superbird were not interchangeable) genuinely were there for the aerodynamic advantage they conferred but there were possibilities for repurposing.  Most of the photographs (left) of “washing hanging out to dry” from a wing were staged for comic effect but, between events, racing drivers really would use the structure as a place to air sweaty race overalls while for photographers, amateurs and professionals alike, the wings also proved an irresistible prop which could be adorned with decorative young ladies.  Had OnlyFans existed in the era, it can be guaranteed some content providers would have been juxtaposed against a Superbird’s wing.

Not discouraged by the 500's aerodynamic recalcitrance, Dodge recruited engineers from Chrysler's aerospace & missile division (which was being shuttered because Richard Nixon's (1913-1994; US VPOTUS 1953-1961 & POTUS 1969-1974) détente era had arrived and the US & Soviet Union were beginning their arms-reduction programmes) and quickly created the Daytona, adding to the 500 a protruding nosecone and high wing at the rear.  As successful on the track as the scale-models had been in the wind-tunnel, this time the required 500 really were built (a reported 503 leaving the line).  Not best-pleased, NASCAR responded by again moving the goalposts, requiring manufacturers to build one example of each vehicle for at least half their registered dealers (exclusive or shared) so, there at the time being a reported 3832 franchised Plymouth dealers in the US, duly the company built a reported 1935 Road Runner Superbirds (although NASCAR apparently stopped counting once they'd verified the existence of the 1920 which satisfied their rules).  It was an exercise probably more expensive for Plymouth than Dodge because it's believed neither division made any profit on their "homologation cars" and some claim each was invoiced to dealers at a loss.  Now more unhappy than ever, NASCAR lawyered-up and drafted rules which included restricting the aero cars to an engine displacement of 5.0 litre (305 cubic inch) while permitting the rest of the field to run the full 7.0 litres (427 cubic inch); this rendered the aero-cars uncompetitive and their brief, shining moment ended.

Blondes have more fun: Emelia Hartford (b 1993) and her 1970 Plymouth Superbird at the Goodyear San Angelo Proving Grounds.  Before her restoration efforts, it had for 30 years sat neglected.

The estimable Emelia Hartford both builds and races cars and in 2025 she took a fully-restored NASCAR race Superbird to the high-speed test track at Goodyear’s San Angelo Proving Grounds facility in Texas.  Although in 1970 the boffins at Chrysler had studied their slide-rules and calculated that, in NASCAR-spec, a Superbird could not, even under ideal conditions, achieve 220 mph (354 km/h), it was an age of empiricists and nobody would be convinced until the rubber hit the road.  The numbers really did come from slide-rules and pencil & paper because, although engineers were by then using computers (they took up entire rooms), for many calculations, the old ways produced results more quickly.  Ms Hartford has a presence on YouTube and among her viewers must be some of Goodyear’s staff because somewhere in the corporate memory was jogged the recollection of the day, all those years ago, when a NASCAR Superbird had not quite hit the 220 mph mark.  Goodyear thus extended Ms Hartford an invitation to the proving grounds to see if it really was possible; it transpired the slide-rule operators had, more than a half century earlier, been right, the restored Superbird achieving 211 mph (340 km/h).

1969 Ford Torino Sportsroof (left), 1969 Ford Torino Talladega (centre) and 1970 Ford Torino Sportsroof (left).  What Ford did for its aero cars was much less dramatic than what Chrysler's missile engineers concocted but the modifications proved remarkable effective.  The 1970 Torino (the design language of which Ford Australia adopted for the Falcon Hardtop (1972-1978)), although it look sleek and the racing teams were promised “specific efficiencies”, proved less slippery than the Talladega so team managers for some time continued to use the older platform.

Given more power than they had when run in NASCAR spec, the aero cars could go faster but Ford’s experiments had proved what their calculations had suggested: above 190 mph, it would take an additional 50 HP to achieve an additional 3 mph (5 km/h) but an even greater increase would be realized simply by slightly altering the shape of the nose, lowering the leading edge by about an inch (25mm).  Under the rules, it was impossible to gain 50 HP but the rhinoplasty, although at a glance imperceptible to the untrained eye, successfully delivered the improved performance of the Talladega and Cyclone Spoiler.  The point was emphasised when in 1971 one of the Daytonas just rendered unlawful by NASCAR was taken to the Bonneville Salt Flats where it was used to set 28 USAC (United States Auto Club) & FIA (Fédération Internationale de l'Automobile, the International Automobile Federation) world speed records.  Although modified to produce more power and fitted with low-drag tyres and a very tall (ie numerically low) final drive ratio, even under Bonneville’s ideal conditions, the top speeds recorded were 216.465 mph (348.367) over a flying mile and 217.368 (349.820) over a flying kilometre.  Ms Hartford's 211 mph run was thus both impressive and in line with expectations but more may have been possible because, as the NASCAR teams discovered, fitting simple "smooth" fibreglass covers atop the A-pillars delivered a precious 1 mph (1.6 km/h).

The graphic for the original Road Runner (1968, left) and the version used for the Superbird (1970, right).  The image was used under licence from Warner Brothers, as was the distinctive "meep-meep" tone of the horn (the horn button on the steering wheel actually read "beep beep"), the engineering apparently as simple as replacing the aluminium strands in the mechanism with copper windings.  The fee for the cartoon character was US$50,000 with the rights to the "beep-beep" invoiced at a further US$10,000; both proved sound investments.  

Discounted Superbird, 1970.  When new, the seriously weird looking machines often lingered on lots and deals had to be done; nobody could have anticipated what they'd become a half-century on.

So extreme in appearance were the cars (at certain angles, distinctly they were ungainly) they proved at the time sometimes hard to sell and as well as being heavily discounted, some were converted back to the standard Road Runner specification by dealers anxious to get them out of the showroom (a generation on, some Volkswagen dealers resorted to the same approach after US buyers proved less attracted to the Harlequin Golfs than Europeans had been to the Harlekin Polos).  Views changed over time and they're now much sought by collectors, the record known price paid for a Superbird being US$1,650,000 for one of the 135 fitted with the 426 Street Hemi.  Despite the Superbirds having been produced in some four times the quantity of Daytonas, as collectables, they're treated as interchangeable with the determinates of price (all else being equal) being (1) engine specification (the Hemi-powered models the most desirable followed by the 6-BBL Plymouths (there were no Six-Pack Daytonas built) and then the 4 barrel 440s), (2) transmission (those with a manual gearbox attracting a premium) and (3) the usual combination of mileage, condition and originality.  Mapped on to that equation is the variable of who happens to be at an auction on any given day, something unpredictable.  That was demonstrated in August 2024 when a highly optioned Daytona in the most desirable configuration achieved US$3.36 million at Mecum’s auction in Monterey, California.

1969 Plymouth Road Runner advertisement.

The US$3.36 million achieved generated headlines on sites where such things are discussed, but what attracted the interest of amateur sociologists was the same Daytona had in May 2022 sold for US$1.3 million when offered by Mecum in an auction at the Indiana State Fairgrounds.  The US$1.3 million was at the time the highest price then paid for a Hemi Daytona (of the 503 built, only 70 were fitted with the Hemi and of those, only 22 had the four-speed manual) and the increase in value by some 250% was obviously the result of something other than the inflation rate.  The consensus was that although the internet had made just about all markets inherently global, local factors can still influence both the buyer profile and their behaviour, especially in the hothouse environment of a live auction.  Those who frequent California’s central coast between Los Angeles and San Francisco include a demographic not typically found in the mid-west and among other distinguishing characteristics there are more rich folk, able to spend US$3.36 million on a half-century old car they’ll probably never drive between purchase and a return to the auction circuit.  That’s how the collector market works, the cars now essentially the same sort of commodity as certain paintings; it's not that cars are art (although New York's MoMA (Museum of Modern Art) has a few on permanent exhibit including an early Jaguar E-Type (XKE, 1961-1974)) but the market structures and dynamics are more similar than they are different.

1970 Plymouth Hemi Superbird in TorRed over Black vinyl.  Between 2022-2025, its realized value fell by some US$1.2 million.

Still, it's a volatile market and some who “overpaid” by buying in a “peak market” have booked considerable losses when compelled to sell at a time when demand proved less buoyant.  Although the aero-cars are among the more collectable Mopars, they remain a traded commodity and about such things, all that can be guaranteed about their value is: “it will fluctuate”.  In 2025, a Hemi Superbird sold at auction for US$418,000 which, given its condition and specification, was at the lower end of expectations but in 2022, the same machine had gone over the block for US$1.65 million.  The loss booked was thus US$1.2 million-odd or around 75%, neither of those numbers encouraging for collectors and immediately, the conspiracy theorists began offering explanations involving the interplay of tax deductions, charitable donations and such.  There are of course cases where losses even greater in magnitude can be imagined; the early 1 Gb USB sticks sold for US$199.00 and were an immaculate, unused example still in its original blister pack to be offered for sale in 2026, the nominal loss would be greater than 75%.  Still, “vintage” USB sticks are not (yet) a collectable and most who buy Superbirds don’t expect to suffer depreciation.

The Buick Skylark Grand Sport which in 1965 didn't become a Superbird.

Plymouth paid Warner Brothers US$50,000 to licence the trademarked image of the bird but “Superbird” was free to use which must have been pleasing, the avian reference an allusion to the big wing at the rear.  Curiously, had Buick a half-decade earlier decided to pursue what seems in retrospect a “sales department thought bubble”, Plymouth would have had to come up with something else because in 1965 Buick did run a one-off advertisement for their new Skylark GS (Grand Sport, the marque’s well-manicured toe in the muscle car water) with the copy headed “Superbird”.  It may seem strange Buick had been tempted by the muscle car business because, by the time the rungs of Alfred P Sloan’s (1875–1966; president of General Motors (GM) 1923-1937 and Chairman of the Board 1937-1946) "Sloan ladder" were in the 1940 finalized, Buick was second only to Cadillac in the five-step GM (General Motors) corporate hierarchy with Chevrolet at the bottom, followed by Pontiac and Oldsmobile.  However, the unexpected success the year earlier of Pontiac’s GTO had proved an irresistible temptation: there were profits to be made.  As it was, Cadillac was the only GM division in the era not to sell a muscle car.

1936 Buick Century.

Debatably, the Buick Century was the "first muscle car" and although in the mid 1930s some fanciful names appeared, it's unlikely anyone within GM would have thought of "Road Runner" or "Superbird", "Century" (denoting the 100 mph (160 km/h) speed all were able to achieve) thought both distinctive and informative.  The definition of “muscle car” is by some contested with the only consensus seemingly that none accept it can encompass FWD (front-wheel-drive), despite Cadillac in 1970 rating the Eldorado's 500 cubic inch (8.2 litre) V8 at at stellar 400 HP which was 25 more than Ford claimed for the Boss 429 Mustang which used a slightly detuned racing engine.  Ford of course had reasons to under-rate the stated output of the Boss 429 but it remains an amusing comparison.  The definition most prefer is: “a big engine from a big, heavy car installed in a smaller, lighter car” and although in 1936 the improvement in the economy remained patchy (and would soon falter), Buick rang in the changes, re-naming its entire line.  The new Century was a revised revised version of the model 60, created by replacing the 233 cubic inch (3.8 litre) straight eight with the 320 cubic inch (5.2 litre) unit from the longer, heavier Roadmaster.  Putting big engines into small cars was nothing new and during the interwar years some had taken the idea to extremes, using huge aero-engines, but those tended to be one-offs for racing or LSR (land speed record) attempts.  In Europe, (slightly) larger engines were sometimes substituted and British manufacturers often put six cylinder power-plants where once there had been a four but their quest was usually for smoothness and refinement rather than outright speed and the Century was really the first time a major manufacturer had used the concept in series production.  Many now acknowledge the Century as the LCA (last common ancestor) of the muscle cars which in the 1960s came to define the genre.

1970 Buick GSX 455 Stage 1.  It was available only in two colors and of the 678 built, 491 were Saturn Yellow and 197 Apollo White, the names topical because the Apollo moon missions of the era missions were launched using Saturn V rockets.

The model which in 1965 Buick seemingly flirted with promoting as the “Superbird” was the Skylark Grand Sport, built on the corporate intermediate A-Body shared with Chevrolet, Pontiac & Oldsmobile.  In its first season the Grand Sport was an option rather than a model and it used the 401 cubic inch (6.6 litre) Buick “Nailhead” V8 which technically violated GM’s corporate edict placing a 400 cubic inch displacement limit on engines in intermediates but this was “worked around” by “rounding down” to 400 for purposes of documentation and for that there was a (sort of) precedent; earlier Pontiac’s 336 cubic inch (5.5 litre) V8 contravened another GM rule and PMD (Pontiac Motor Division) solved that problem by claiming the capacity was really 326 (5.3) with the GM board again turning a blind eye for as long as it took for the foundry to organize the downsizing.  The Grand Sport option proved a success and for 1967 the package was elevated to a model as the GS 400, Buick’s new big-block engine a genuine 400 cid (there were also small-block Skylark GSs appropriately labelled GS 340 and later GS 350) and on the sales charts it continued to perform well, but, being a Buick, its appearance was more restrained than the muscle cars from the competition (including those from other GM divisions) so it tended to be overshadowed.  In 1968, that began to changed when the “Stage 1” option was introduced as a dealer-installed option.  What this did was increase power and torque, optimizing the delivery of both for quarter-mile (402 m) sprints down drag strips and as a proof-of-concept exercise (in terms of market demand), it worked and in 1969 the Stage 1 package appeared on the factory’s official option list.  When tested, it performed (on the drag strip) so well it was obvious the official output numbers were under-stated but things really clicked the next year when Buick enlarged the V8 to 455 cubic inches (7.5 litre), delivering 510 lb⋅ft (691 Nm) of torque, the highest rating in the industry.  It's often claimed Detroit wouldn't top this until the second generation Dodge Viper (ZB I, 2003-2006) debuted with its V10 enlarged to 506 cubic inches (8.3 litres) but the early 472 (1968) & 500 (1970) cubic inch (7.7 & 8.2 litre) Cadillac V8s were rated respectively at 525 lb⋅ft (712 Nm) & 550 lb⋅ft (746 Nm).

1970 Buick GSX brochure.

Buick in 1970 made available the GSX “Performance and Handling Package” which added a hefty US$1,100 to the GS 455’s base price US$3,098, a factor in it attracting only 678 buyers, 400 of whom ordered the “Stage 1” option.  In this context, use of the word “stage” was unusual but, like the color choices, that too was an allusion to the space program, the big Saturn V rockets divided into “stages”.  Although Buick buyers had for years overwhelmingly purchased cars with automatic transmission, the GSX was a Buick of a different flavor and this was reflected 199 of them being sold with the optional four-manual; clearly the GSX was attracting the much sought “conquest buyers” (ie those who usually purchased another brand).  Presumably, whether or not “conquests” most buyers presumably were content because the straight-line performance was impressive; while the GSX didn't possess the ability of genuine race-bred engines like the Chrysler Street Hemi, Ford Boss 429 or the most lusty of the big-block Chevrolets effortlessly to top 140 mph (225 km/h), on the drag strip, the combination of the prodigious low-speed torque and relatively light weight meant it could be a match for just about anything.  The use of “Stage 1” of course implied there would be at least a “Stage 2” (a la Pontiac’s Ram Air II, III etc) but the world was changing and only a handful of "Stage 2" components were assembled and shipped to dealers.  While both the GSX and Stage 1 would live until 1972, 1970 would be peak Buick muscle.

1967 Dodge Coronet R/T advertisement.

Another footnote to the tale is that in 1967, months before Plymouth released the Road Runner, Dodge (Plymouth’s corporate stable-mate) published an advertisement for the Coronet R/T (Road/Track) which must have been ticked off by the legal department because cleverly it included the words “road” and “runner” arranged in such as way a viewer would read them as “Road Runner” without them appearing in a form which might have attracted a C&D (cease & desist letter) from Warner Brothers.  Obviously, the tie-in with Road/Track was the idea of a machine suited both to street and competition use and the agency must have congratulated themselves but the satisfaction would have been brief because within hours of the advertisement appearing in magazines on newsstands, Chrysler’s corporate marketing division instructed Dodge to “pull the campaign”.  By then, Plymouth’s plans for the surprise release in a few months of the appropriately licensed “Road Runner” were well advanced and they didn’t want any thunder stolen.  The Dodge advertisement remained a one-off but the division must have wished they’d thought of using “Road Runner” themselves because the Super Bee (their later take on the Road Runner's "stripped down, low cost" concept) only ever sold a quarter of the volume of Plymouth’s original; it pays to be first but a flaky name like “Super Bee” can’t have helped.  Subsequently, the names Road Runner & Roadrunner (the latter which, without the initial capital, is the taxonomic term for the bird (genus Geococcyx and known also as chaparral birds or chaparral cocks) Warner Brothers' Wile E. Coyote could never quite catch) have been used for products as varied as a Leyland truck, sports teams, computer hardware & software and a number of publications.

Don't mess with popular and respected birds.

However, just because Chrysler’s lawyers dotted the i's and crossed the t's with Warner Brothers didn’t mean their involvement with the Plymouth Road Runner was done.  Shortly after the Road Runner was released late in 1967, the corporate office became aware “...certain Chrysler-Plymouth Division dealers in the Southwest [were] using live Roadrunner birds in local sales promotions and offering cash rewards for the capture of live specimens.”  That would at the time have seemed to dealers just a clever marketing gimmick but consulted, the legal department determined it was “...against Federal Law to hunt, capture kill, sell or offer to purchase a nonautomotive Roadrunner.”  Further to clarify, it was added Roadrunners were “…none-game birds classified as national resources and protected by Federal and International law.”  Who knew?  In the C&D letter Chrysler-Plymouth's public relations manager circulated to all dealers, the cultural significance was also mentioned, the Roadrunner described as a “...popular and respected bird... particularly in New Mexico where it is honored as the state's official bird.”  Accordingly, the corporate directive banned “...any future use of live Roadrunners in promotional activities.”

1970 Plymouth Road Runner with a Warner Brothers' interpretation of the genus Geococcyx in fibreglass.

So using live examples of the “popular and respected bird” was out but the marketing department wasn’t deterred and for promotional purposes later arranged production in fibreglass of large representations of the cartoon bird, designed to emerge, grinning and wide-eyed through the hood (bonnet) scoop which Chrysler called the “air-grabber” because it did what it said on the tin: funnelled desirable cold air straight to the induction system.  While "air grabber" might seem a bit brutish, it was that sort of car and in 1970 Plymouth briefly had called a variant of the idea the "Incredible Quivering Exposed Cold Air Grabber" but that improbable moniker didn't last much beyond an appearance in an early brochure (I.Q.E.C.A.G. one of history's less mnemonic initializms) and the hardware has only ever been known as the "shaker".  Being advertising, the large fibreglass birds owed much to the Warner Brothers depiction of the creature and little to how evolution had produced genus Geococcyx.  Some of the fibreglass promotional props survived to be exhibited protruding through a Road Runners air-grabber and die-cast models of the ensemble (car plus “popular and respected bird”) sometimes are available.

Australia's Ford Falcon Superbirds

1973 Ford XA Falcon GT Superbird, built for the show circuit and first shown at the Melbourne Motor Show in March 1973. 

Based on the then-current XA Falcon GT Hardtop, Ford Australia’s original Superbird was a one-off created for display at the 1973 Sydney and Melbourne Motor Shows, the purpose of the thing to distract attention from Holden’s new, four-door HQ Monaro model, a range added after the previous year’s limited production SS had generated sufficient sales for the “proof-of-concept” to be judged a success.  Such tactics are not unusual in commerce and Ford was responding to the Holden’s earlier release of the SS being timed deliberately to steal the thunder expected to be generated by the debut of the Falcon Hardtop.  Despite the SS in 1972 being so successful a second batch was needed to meet demand, for some reason GMH (General Motors Holden's) decided that when added as a regular-production model, it would use the "Monaro GTS" name which, since 1968, had been used exclusively of two-door hardtop coupés.  So, despite Chevrolet in the US having for a decade built an enviable "brand recognition" for the SS badge and the success of its own SS in 1972, Holden opted not to take advantage of the new model inheriting the aura and instead diluted the value of the Monaro brand.  Even at the time it seemed a strange choice and tellingly, within a few years, after production of the Monaro coupés ended, the four door models were renamed simply "GTS".       

1973 Ford XA Falcon GT Superbird with model in ankle-length, sleeveless floral sheath maxi dress.  The model was Jill Goodall (b 1952) who in the 1970s appeared on the covers of Australian fashion magazines and in television & print advertising.  She worked also as an actor, including a role as a “harem girl” in the James Bond film The Spy Who Loved Me (1977).

Although it featured a new wool fabric (described in the press-kit as a "rough-blend") for the upholstery and a power-steering system with the rim-effort increased from 4 to 8 lbs (1.8 to 3.6 kg), mechanically, the Superbird show car was something of a “parts-bin special” in that it differed from a standard GT Hardtop mostly in the use of some of the components orphaned when the run of 250-odd (Phase 4) Falcon GTHOs in 1972 was cancelled after a Sydney tabloid newspaper had stirred a moral panic with one of their typically squalid and untruthful stories about the “160 mph [258 km/h] supercars” which soon would be sold to males aged 17-25 (always a suspect demographic in the eyes of a tabloid editor).  Apparently, it was a “slow news day” so the story got moved from the sports section at the back to the front page where the headline spooked the politicians who demanded manufacturers not proceed with the limited-production specials which existed only to satisfy the homologation rules for competition.  Resisting for only a few days, the manufacturers complied and within a week the nation’s regulatory body for motor sport announced the end of “series-production” racing; subsequently, the "production" cars used on the track would no longer need to be so closely related to those available in showrooms.

Ms Goodall with 1973 Ford XA Falcon GT Superbird.  The XA Hardtop's styling motifs were borrowed from the second generation Ford (US) Torino (1970-1971), a machine which, like the 1968 Dodge Charger, looked slippery but, when used at speed on the ovals, was found to induce rather more drag than had been hoped.  Although one German race-driver noted some "chassis flex" in the pillarless coupé, the Australian car's aerodynamics proved sound and the cars were stable on the circuits.  Contemporary tests of the road cars noted the XA GT Hardtop's top speed being some 8 mph (13 km/h) higher than an identically configured sedan, the gain attributed to (1) the reduced frontal area (the hardtop's roofline 2 inches (50 mm) than the sedan) and (2) the efficiency of the air flow over and around the rear section.  

The Falcon GT Superbird displayed at the motor shows in 1973 was a harbinger in that it proved something a “trial run” for future ventures in which parts intended solely for racing would be added to a sufficient number of vehicles sold (almost surreptitiously) to the public to homologate them for use on the circuits.  In that sense, the mechanical specification of the Superbird previewed some of what would later in the year be supplied (with a surprising amount of car-to-car variability) in RPO83 (regular production option 83) including many of the settings and parts intended for the 1972 GTHO (the genuine homologation model which would have been produced in a batch of 300-odd) such the suspension rates, a 780 cfm (cubic feet per minute) carburetor, the 15” x 7” aluminium wheels, a 36 (imperial) gallon (164 litre) fuel tank and various bits and pieces designed for greater durability under extreme (ie race track) conditions.  Cognizant of the effect the tabloid press has on politicians, none of the special runs in the immediate aftermath of the 1972 moral panic included anything which much increased performance.  However, while the details of the mechanical specification delighted the nerds, it was the large orange Superbird logo on the flanks which attracted most comment, the press-kit handed to journalists mentioning the "unique black shadows" which "highlighted its appearance".  However, although nicely done, the black shadows professionally were hand-painted and not included in the full-sized decal which became available from Ford dealers in white (part-number XA-19C 600), black (XA-19C 600 B) & orange (XA-19C 600 C) at Aus$59 which may sound reasonable but the ABS (Australian Bureau of Statistics) reports that in the March quarter, 1973, average MFTWE (male full-time weekly earnings) were Aus$102.50.  Demand for the decal in any color was subdued and it was not long available.

Toned down: 1973 Ford Falcon 500 Hardtop with RPO77 (Superbird option pack) in Polar White with Cosmic Blue accents over white vinyl.

Most who saw the Superbird probably didn’t much dwell on the mechanical intricacies, taken more by the stylized falcon which extended three-quarters the length of the car.  It was the graphic which no doubt generated publicity in a way the specification sheet never could and as an "adhesive transparancy" it could be ordered from Ford dealers but so low was the take-up rate it was decided instead to capitalize on the success of the show car by releasing a production Superbird (RPO77) with the graphic's length scaled down to a mere 18 inches (450 mm), applied to the rear quarters with an even smaller version on the glovebox lid.  In keeping with that restraint, RPO77 included only “dress-up” items and a 302 cubic inch (4.9 litre) V8 in the same mild-mannered state of tune as the versions sold to bank managers and such.  It was a much more modest machine than the Melbourne Motor Show car with its high-compression 351 (5.8) V8 so although not quite a "budgerigar in a birdcage next to a hunting falcon", the messages conveyed by the respective avian graphics were in accord with the hardware.

1973 Ford XA Falcon Superbird in the Lime Glaze & Jewell Green combo over black vinyl.  The other available color combinations were Polar white / Cosmic Blue and Yellow Fire / Walnut Glow.

Still, as a package which offered a bundle of options at an substantial discount (nominally about 11%), RPO77's cost breakdown attracted buyers and did succeed in stimulating interest in the two-door Hardtop, sales of which had proved sluggish after the initial spike in 1972.  It seems of the 750 planned, some 700 were built and that all but 200 were fitted with an automatic transmission was an indication of the target market.  In Australia, the surviving Superbirds are now advertised for six figure (Aus$) sums while the surviving three Phase 4 GTHOs (the fourth was destroyed in a rally which sounds and improbable but it was said to have been competitive, only the sheer weight of the thing meaning the tyre's sidewalls were subject to frequent failure) command over a million.

A (sort of) Superbird at speed.

Murray Carter (b 1931), Falcon RPO83 XA GT Hardtop (modified to resemble the then current XB GT, a common practice in the era), Oran Park round of the 1975 ATCC (Australian Touring Car Championship) 27 April, 1975.  The “Superbird” finished third in the race and second in the 1975 championship.  There was much production-line standardization between the XA-XB-XC Hardtops (more so than the sedans and station wagons which used different rear doors) so the visual updating wasn't difficult and the car would later receive XC panels before being stripped of anything useful and scrapped, race teams then an unsentimental crew.

Although RPO77 was purely an “appearance package”, the Superbird was a footnote in the homologation of the hardtop body for racing, Ford using the specification sheet provided to state motor vehicle registration authorities in their submission to CAMS (Confederation of Australian Motorsport, then the national regulatory body for the sport).  The advantages in citing the Superbird as a base were (1) being built between March-May, 1973 the structure benefited from the changes to the rails and braces which didn’t appear on the earlier cars and (2) at 2910 lb (1320 KG), it was up to 210 lb (95 KG) lighter (depending on configuration) than the Falcon GT Hardtops which were basis of the vehicles actually used in racing.  Whether CAMS was deceived or was just anxious to accommodate isn’t clear but the certification was granted with the designation “Superbird” appearing in their published documentation.  That’s why it was common in press reports at the time for the racing RPO83 XA Hardtops to be referred to as “Superbirds” even though not one was based on a RPO77 Falcon.  Despite all that, the race cars were on occasions seen with “Superbird” emblazoned in bold type.  

The motor show Superbird (unused image from a publicity photo session, Melbourne, 1973).  Built in August 1972, the Superbird was re-painted in "Pearl Silver" and road-registered (LHA 614) in Victoria.  It was restored to its original "Wild Violet" before being sold (without the graphic).

As a nerdy footnote, the 302 V8 used in the RPO77 Superbirds was exclusive to Australia in being based on the Cleveland (335) engine which in the US was the basis only for 351 and 400 (6.6) versions.  The rationale for the Australians developing their unique "302 Cleveland" was one of production-line standardization, the local operation having never produced the Windsor line of V8s which by 1969 provided the US market with both 302 & 351 versions.  According to the convention in use at the time, the Australian engines could have been dubbed "302 Geelong" & "351 Geelong" (Geelong the city where the Ford foundry was located) but that was never adopted and both tend to be called "Australian Clevelands".  Creating the 302 Cleveland wasn't challenging or expensive and both the Australian engines were (with detail differences between them) a single-configuration compromise optimized for use on the street, eschewing use of the components which delivered improved top-end power (as fitted to some of the US engines) which worked well at high speed but was not ideal for street use where a progressive curve of low and mid-range torque is the most desired characteristic.

For the Superbird photo-shoot, as well as the floral maxi, Ms Goodall also donned some dresses with a shorter cut.  She had studied graphic design in Melbourne and after retiring from modelling, worked as a studio manager and photographer.  Now based in Germany and known professionally as Jill Seer, she has exhibited her work in European galleries.

What the Australian engineers did for their 351 was was combine the large (61-64 cm³) combustion chambers from the US "4V" heads (ie "4 venturi" indicating their use with a four barrel carburetor) with the smaller "2V" intake ports, the arrangement producing a good quench and air/fuel swirl through the ports, enhancing the low-to-mid range torque output.  The short-stroke Australian 302 was different in that it used a 56.4–59.4 cm³ combustion chamber in conjunction with the high-swirl, small ports.  That combination ("closed" combustion chamber & small ports) turned out to be a "sweet-spot" for street use which has made the Australian 302 heads a popular item for those in the US modifying 351s, the swap made possible by the shared bore and bolt pattern.  While in "heavy duty" use the Cleveland (335) suffered from fundamental flaws (excessive weight and limited lubrication channels), the canted-valve heads were right from day one, the reason why the 1969 Boss 302 (which put efficient Cleveland heads on the lighter, well-oiled Windsor block) was so highly regarded.  Although its sounds oxymoronic, Ford Australia really did market its 302 as "an economy V8" but that phrase needs to be read as something comparative rather than absolute, both the 302 & 351 even then regarded as "thirsty".