Apestail

Apestail (pronounced eypse–teyl)

A name for the symbol “@”, adapted from its Dutch name.

1990s: An adaptation of the Dutch word aapestaartje (literally “little monkey's tail”, coined as a jocular term for the @ symbol, the etymology reflecting the symbol's spiral or curled shape, said to resemble the tail of a monkey, the construct being aap (monkey) + staart (tail) + -je (indicating something small or endearing).  Unlike German, the Dutch language has a tradition of humorous descriptive terms although the Germans did retaliate with Klammeraffe (spider monkey.  Other forms have included the Italian chiocciola (snail), the Polish małpa (monkey) and the Hebrew shtrudel (strudel pastry).  An English alternative was ampersat, the construct being ampersa(nd) + at.  Apestail is a noun; the noun plural is apestails.

Apestail in the Algerian font.

One of the curious linguistic paradoxes produced by the internet is that the “@” symbol, although one of the most widely used of those on the standard keyboard, it has never gained a universally accepted “official” name (such as “ampersand” for the “&”).  In English, when referred to it’s usually as “at”.  It was of course its adoption as the divider between the user name and the domain (UserName@domain.x) in email addresses which meant the once neglected key on the keyboard became widely used and although the rise of SMS (short message service), social media platforms, instant messaging services and such has meant there are now many alternatives for electronic communications, so entrenched in corporate life is the email protocol that it’s estimated that every day in 2024, over 350 billion emails are sent, an increase of some 4% from the previous year.  That does make modern capitalism sound industrious but the same researchers also reckoned some 85% of the volume was spam.  As early as the 1960s there had been forms of electronic messaging but all were parochial and it wasn’t until 1971 when programmer Ray Tomlinson (1941–2016) included the @ symbol in ARPANET’s (Advanced Research Projects Agency Network; the operation which created the underpinnings of what became the modern internet) implementation and although much has changed in terms of packets and protocols, the @ endures.  From the very start, it was understood to mean “at” thus lindsaylohan@disney.com would universally be understood to mean “Lindsay Lohan at Disney Corporation”.  There was a element of chance in the choice, Mr Tomlinson selecting @ because it was one of the least used ASCII (American Standard Code for Information Interchange) characters and one thus unlikely to conflict with objects elsewhere in code or operating system routines.

Apestail in the Agency FB font.

So the basic syntax of the email address predated the development of the familiar PC or laptop keyboard but in that context it was of very little use because it wouldn’t be until well into the 1990s that email achieved a critical mass of users.  Despite that, from the very first, the @ appeared on most keyboards and that was because substantially they emulated the layout of those which had become familiar on typewriters.  Probably few typewriter users had much need for the symbol either but for those who did it was essential and its long history in typography and commercial transactions justified a key although often it wasn’t included on smaller, cheaper typewriters aimed at the consumer market and even in the computer industry, it wasn’t until @ was included in the ASCII character set that computer keyboards were (more or less) standardized.  In commerce, by the sixteenth century “2” widely was used by merchants to signify a rate or price, such as “7 jars of olives @ 5 drachmas” was understood as 7 x 5 =35 so it was 35 drachmas for 7 jars of olives.  Like the Arabic numeric system, the commercial use spread across Europe and became a standard notation, facilitating a certainty of trading terms between those who shared neither a language now spoke the lingua franca.  Because of its importance and utility in bookkeeping and commerce, it was included on keyboards for the convenience of businesses.  Occasionally, @ would appear in specific academic or technical applications but these instances were rare, localized and none seem to have endured although, for all we know, it may have some secret meaning in Freemasonry.  Some jurisdictions have banned the use of “@” and an element when registering the name of an infant, the implication of that being that some parents must have tried.

Apestail in the Berlin Sans font.

The first time many computer users became aware of the mysterious @ was when it was included as the prefix for built-in functions in the Lotus 1-2-3 spreadsheet, the so-called “killer app” which in 1983 did so much to legitimize the personal computer in corporate life.  Released in 1979, VisiCalc was the first spreadsheet but it was the more capable Lotus 1-2-3 (soon laden with macros and add-ins) which captured the market and anyone familiar with VisiCalc would have found the transition relatively simple: whereas in VisiCalc SUM(B1:B10) would have calculated the sum of the range A1 to A10, in 1-2-3 it was @SUM(A1..A10). and statements like @IF(condition, value_if_true, value_if_false) were used for conditional logic.  The arrival of Microsoft Windows 3.x in 1990 and especially Windows 95 in 1995 shifted the universe and over time Excel captured the spreadsheet market and while it moved away from the use of @ as a universal function prefix, it does still exist in aome of Excel’s advanced functions such as structured references in arrays.  In many computer languages, @ is used for a variety of purposes.

Apestail in the Niagara Solid font.

The very origin of @ is murky but it seems to have appeared during the later medieval period when it was known in Spanish and Portuguese as arroba, from the Old Spanish arroua and the Old Galician-Portuguese arrova, from Andalusian Arabic and Arabic اَلرُّبْع (ar-rubʕ) (one-fourth), the reference to it making up one fourth of a quintal (the capacity of a standard amphora, a vessel used to store and transport liquids, cereals and other goods) The symbol was used as a shorthand form of the Latin ad (at; to) and one of a range of truncated or stylized forms which saved (1) the time of scribes, (2) ink and (3) paper, all commodities which cost money and some were expensive.  In countries where Spanish and Portuguese were spoken, arroba also referred to a measure of weight, typically around 11.5 kg (25 lb) although regional variations were common.  In that sense, by the operation of local custom, @ was a (regionally) standardized measure like a pood but unlike the pood, it never spread.

Junk

Junk (pronounced juhngk)

(1) In historic nautical use, old cable or cordage used when untwisted for making gaskets, maps, swabs etc and (when picked apart), the oakum used for filling the seams of wooden ships.

(2) A fragment of any solid substance; a thick piece; a chunk (obsolete).

(3) Old, damaged or discarded material (metal, paper, rags et al).

(4) Anything regarded as worthless, meaningless, or contemptible; nonsense; gibberish.

(5) Anything judged cheap or trashy.

(6) In slang, the narcotic heroin (used casually of other injected drugs, the users thus “junkies”).

(7) In historic sailor’s slang, as saltjunk, the salted beef or pork used as rations on long voyages, the origin being the comparisons in taste and texture made with junk (frayed old rope).

(8) In slang, the external genitalia (especially of a male if used as a target in unarmed combat).

(9) In baseball slang, relatively slow, unorthodox pitches, deceptive to the batter in movement or pace (knuckleballs, forkballs et al).

(10) A sea-going sailing vessel with a traditional Chinese design and used primarily in Chinese waters, having square sails spread by battens, a high stern (poop deck) and (usually) a flat bottom.

(11) A sperm whale equivalent of the melon (cetacean)

(12) To cast aside as junk; discard as no longer of use; to scrap.

1350-1400: From the Middle English joynk & junke (old refuse from boats and ships), from the earlier nautical sense of “old rope or cable”, and the use of junk to describe “old rope and such” may have been influenced by the words “join, joint &, juncture”.  The Middle English junk, jonk, jounke, jonke & junck (a rush; basket made of rushes), from the Old French jonc or junc (rush, reed (also used figuratively to describe “something of little value”), from the Latin iuncus (rush, reed) was once often cited as a source but etymologists have concluded there’s “no evidence of connection”.  In nautical use, the extension from “old rope & cables” to “old refuse from boats, ships & ports” had occurred by the 1660s, travelling inland to “old or discarded articles of any kind” by the late nineteenth century, initially with the implication of reusability.(following the naval tradition with rope) as opposed to “scrap” which (except for metals) had an air of finality.  Saltjunk (salt beef or pork used on long voyages) was first recorded in 1762, the slang for heroin (later used loosely of other injected narcotics) dates from 1925, junk food (the term rather than the product” first appeared in the US in 1971, the culinary equivalent of junk art (from a decade earlier and used by conservative critics to decry some modern art).  Junk mail (unsolicited advertizing delivered to the letterbox was so described in 1954 and was later re-used for the electronic version (“junk email” thought just a letter too much and never caught on) while the term junk bond (a financial instrument (originally bonds) rated below “investment grade” due to a high risk of default by the issuer and thus offered at a high interest rate) emerged in 1979.  The verb, dating from 1803, also owed something the old nautical practice of “cutting up ropes for other purposes” in that it conveyed the idea of “to cut off in lumps”, the modern sense of “to throw away as trash, to scrap” appearing a century-odd later.  The synonyms can thus (depending on context) be rubbish, trash, rubble, debris, detritus, refuse, litter or clutter while (in the sense of (to throw away) they include bin, chuck, chuck away, chuck out, discard, dispose of, ditch, dump, scrap, throw away, throw out, toss or trash.  Junk is a noun & verb, junkie & junker are nouns, junky is a noun & adjective, junklike, junkier & junkiest are adjectives and junked & junking are verbs; the noun plural is junk or (of the sailing vessels) junks.

The use to describe the Chinese sailing vessels dates from 1545–1555 and was from the Portuguese junco, either from or influenced by the Dutch jonk, from the Arabic جُنْك (junk), from the thirteenth century Malay (Austronesian) jong (large boat, ship) or Javanese djong (a variant of djung), from the Old Javanese jong (seagoing ship), ultimately from either the Hokkien 船 (chûn) or the Teochew 船 (zung), from the Proto-Min -džion (ship, boat).  The use in Malay may have been influence by the dialectal Chinese (Xiamen) chûn (which may be compared with the Guangdong (Cantonese) dialect syùhn, and the (Mandarin) Chinese chuán).  In sixteenth century English use it was recorded as giunche & iunco.  Unrelated words include junket and the German Junker.  Junket was from the Middle English jonket (basket made of rushes; food, probably made of sour milk or cream; banquet, feast), from the Medieval Latin iuncta, possibly from the Latin iuncus (rush, reed) and thus possible a doublet of jonquil (a species of daffodil and a shade of yellow).  By the 1520s the meaning had shifted to “feast or banquet”, presumably because of the association with “picnic basket”, leading to the early nineteenth century notion of a “pleasure-trip” which later evolved by the 1880s to mean “a trip made ostensibly for business but which is really for leisure or entertainment”.  Junkets remain common (often well-disguised for expense-claim purposes) and in the gambling business, a junket is a gaming room for which the capacity and limits change daily, often rented out to private vendors who run tour groups through them and give a portion of the proceeds to the main casino.  The idea of a junket being “a delicacy” or “a basket” is long obsolete but remains a culinary niche, describing a dessert made of sweetened curds; it was originally a type of cream cheese, the name gained from it being originally prepared and served in a rush basket.  The English Junker was from the German Junker, from the Middle High German juncherre (young lord; not yet knighted nobleman).  As a term it became associated with Prussia militarism and was used to refer to the stereotypical “narrow-minded and anti-liberal, authoritarian attitudes associated with the “Junker class” (the sometimes impoverished) land-owners of “great Prussian estates”, the families which provided the so many of the officer class of the Prussian and later Imperial German Armies (thus “junkerdom”, “junkerish” & “junkerism” entering the language of political science).

Stocking up: Lindsay Lohan buying junk food, Los Angeles, October, 2008.

Junk is widely used in derived terms and idiomatic forms including “Jesus junk” (Christian-specific junk mail or other merchandize), “hunk of junk” (a term which adds no meaning but is a compelling rhyme (compared with “heap of junk”, “pile of junk” “load of junk”, all of which mean the same thing) and often heard in IT departments when discussing components more than a year old), “junkaholic” (either a hoarder of what others perceive as junk or an individual who consumes much junk food), “junkhead” (either a drug user or addict (ie a synonym of “junkie”) or in engineering, an always unusual (no close to extinct) design of internal combustion engine (ICE) in which the cylinder head is formed by a dummy piston mounted inside the top of the cylinder, “junk news” (a early 1980s critique of “journalism” consisting of sensationalized trivia (as opposed to the later “fake news” which was intended to mislead rather than being merely entertaining)), “Junk DNA” (in earlier use in genetics, “any portion of the DNA (deoxyribonucleic acid; the so-called “building blocks” or “framework of life”) sequence of a chromosome or a genome with no apparent function” (the term “non-functional DNA” now preferred because there’s now a greater understanding of what was one dismissed as “junk DNA”), “junk in the trunk” (having a big butt), “junk shop” (a shop selling second-hand goods, originally cheap but there are now some “junk shops” with some high-priced items), “ junk drawer” (the place designated for the storage of various miscellaneous, small, but (at least potentially) useful items (and apparently usually the third-drawer down in the kitchen); some residences even have a “junk room”), “junk science” (assertions or methods expressed in the language of science but either with no scientific legitimacy or with data interpreted in a misleading manner), “junk conference” (a nominally “academic” conference run for other purposes (holiday junkets, commercial promotion etc), “junk job” (used variously of employment thought boring, pointless, disrespectable or offering no obvious social benefit, “junkware” (in computing, (1) malicious or unwanted software or (2) software which is buggy or doesn’t work), “junkshot” (in oil drilling, a method to shut off a faulty blowout preventer (BOP) by injecting the BOP with material which will “choke off” the hole), “space junk” (the objects in orbit around the Earth that were created by human activity but which now serve no useful purpose and can be a hazard to satellites (known also as “space debris”), “junk hook” (in whaling, a hook designed for handling or extracting the unwanted material (junk) from the head of a whale) “junkman” (one who works in a “junk yard” (a place where scrapped items (typically cars) are sold for parts or metal recycling).

A little corner in the late Rudi Klein's junkyard, Los Angeles, California.

In the junkyard business, in some jurisdictions, there are cars with “salvage titles” and “junk titles”, both designations related to the condition of a vehicle but serving different purposes and reflecting distinct stages in a vehicle’s lifecycle and potential future.  A Salvage Title can be issued when a vehicle has been damaged or declared a total loss by an insurance company, typically because exceeds a certain percentage of the car's assessed value (75-90%, depending on local regulations).  Despite that, a with a salvage title may be repairable and returned to the road after undergoing proper repairs and inspections although the title usually significantly reduces the resale value and can be a factor in insurance companies limiting or denying subsequent coverage.  A Junk Title (also known as a “Certificate of Destruction”) can be issued for a vehicle that considered irreparable or not safe for use on public roads and thus suitable only for scrap or the salvaging of usable parts.  Once a junk title is issued, the vehicle cannot be registered or driven on public roads again, unlike a salvage title vehicle which can be repaired or restored.  Informally, the terms “junkyard” and “scrapyard” are used interchangeably and while there used to be many “car wreckers”, of late, environmentally respectable titles like “recycling centre” have come into vouge.

The Junkyard: The Rudi Klein Collection

Although well-known in the collector community for its large stocks of rusty and wrecked Porsches, Mercedes-Benz and other notable vehicles from the post-war years, the Californian “junkyard” belonging to Rudi Klein (1936-2001) attracted world-wide interest when details were published of the gems which had for decades been secreted in a large and secure shed on the site.  Mr Klein was a German butcher who in the late 1950s emigrated to the US to work at his trade but quickly discovered a more enjoyable and lucrative living could be had dealing in damaged or wrecked European cars, sometimes selling the whole vehicles and sometimes the parts (“parting out” in junkyard parlance).  His Porsche Foreign Auto business had operated for some time before he received a C&D (cease & desist) letter from the German manufacturer’s US attorneys, the result being the name change in 1967 to Porche (sic) Foreign Auto.

Three dusty Lamborghini P400 Miuras in a corner of Mr Klein's now famous shed.

Unlike many collectors, Mr Klein amassed his collection unobtrusively and, astonishingly to many, apparently with little interest in turning a profit on the rarest, despite some of them coming to be worth (at the time of his death), over a million US dollars.  In the way of such things, just what sat unseen in the big shed was the stuff of speculation and rumor, the mystery enhanced by tales of Mr Klein turning the junkyard’s dogs (“junkyard dog” itself an idiomatic use suggesting the particularly aggressive type of canine associated with such a role and applied figuratively also to people of similar temperament) on those who ventured too close to the locked doors although some trusted souls apparently were give a tour on the basis of maintaining the secret and it seems all respected the confidence.  After Mr Klein died in 2001, his two sons preserved the collection untouched but in October 2024, a series of rolling sales will be conducted by the auction house Sotheby’s.

Period photograph of the 1935 Mercedes-Benz 500 K Special Coupé (the “Caracciola Coupé” Roadster-Limousine).

Undoubtedly, the star of the show will be the 1935 Mercedes-Benz 500 K Special Coupé, built by Sindelfingen (the factory’s in-house coach-building house) for the three-time European Grand Prix Championship winner Rudolf Caracciola (1901-1959).  The leading driver of the Mercedes-Benz racing team, it was said of him by Alfred Neubauer (1891–1980; racing manager of the Mercedes-Benz competition department 1926-1955): “He never really learned to drive, he just felt it, the talent came to him instinctively”.  The one-off 500 K (W29, deconstructed as 5.0 litre (306 cubic inch) straight-eight with kompressor (supercharger)) was a “gift” (ie part of his “package” as a factory driver) and confusingly tagged (the build-sheet is included in the documentation) by Sindelfingen as a “Roadster-Limousine” which neither etymologically nor by coach-building conventions makes sense but was explained by the car being “built on the chassis of a 500 K Special Roadster with limousine-like fittings & appointments.”  As a basis, the sleek 500 K Special Roadster was illustrious enough, described in the post-war years as “the brightest glint of a golden age” so the lines and unique provenance of the “Caracciola Coupé” will attract much interest.

The “Caracciola Coupé” in Mr Klein's shed

It’s believed Caracciola used the car until the late 1930s when it is said to have passed into the hands of Count Galeazzo Ciano (1903–1944; Italian foreign minister 1936-1944), notable both for his entertaining (if not wholly reliable) diaries and having married the daughter of Benito Mussolini (1883-1945; Duce (leader) & prime-minister of Italy 1922-1943).  The marriage was certainly a good career move (the Italians would joke of the one they called “ducellio”: “the son-in-law also rises”) although things didn’t end well, Il Duce having him shot (at the insistence of Adolf Hitler (1889-1945; Führer (leader) and German head of government 1933-1945 & head of state 1934-1945), something which over the years must have drawn the envy of many a father-in-law (and the sentiment was expressed by Winston Churchill (1875-1965; UK prime-minister 1940-1945 & 1951-1955) who didn't always approve of his daughters' choices).  There seems to be no evidence of Count Ciano’s stewardship but even if not true, it’s certainly the sort of car he’d liked to have owned.  Things become murky after the outbreak of World War II (1939-1945) but in 1962 it was discovered in Ethiopia, covered in tarpaulins and hidden in a manure pile.  That may hint at a (probably unrelated) connection between count & car because in 1935, during the Second Italo-Ethiopian War (the last war of the era of European colonialism which even at the time seemed to many an embarrassing anachronism), Ciano had commanded the Regia Aeronautica's (Royal Air Force) 15th Bomber Flight (nicknamed La Disperata (the desperate ones)) in air-raids on primitive tribes during the Italian invasion, being awarded the Medaglia d'argento al valor militare (Silver Medal of Military Valor), prompting some to observe he deserved a gold medal for bravery in accepting a silver one, his time in the air having hardly exposed him to danger.

The “Caracciola Coupé”, "Best in Class" winner, Pebble Beach, Monterey County, California, 1978.

The coupé in 1963 then travelled to the US where it was subject to an 18 month restoration before being entered in the 1966 Pebble Beach Concours d’Elegance, finishing second in class, behind a Bugatti Royale (type 41), beginning a 13 year career as a fixture on the North American concours & classic car circuit becoming, a little ironically given its later 44-year hiatus, one of best-known Mercedes-Benz of the “supercharger era”.  Back on the manicured lawns of Pebble Beach in 1978, it went one better than a decade earlier, this time taking first in class and in 1979 it was purchased by Mr Klein who exhibited at a show at least once.  After that, it was left to languish in the big shed but it remained solid, mechanically original (apparently, in the restoration only the paint, chrome, upholstery and perishable parts were replaced) so as re-commissioning projects go, while unlikely to be “cheap”, it won’t be intimidating.  Sotheby’s haven’t published a price estimate but most are suggesting it should achieve between US$3-4 million.

Out in the California sun: The Mercedes-Benz 300 SL Roadster & aluminum Gullwing with the one-off Iso Griffo A3/L Spider prototype behind the roadster, sitting beneath a Facel Vega HK500.

At auction also among dozens will be a 1957 Mercedes-Benz 300 SL Roadster, a rare (one of 29) 1955, aluminum-bodied Mercedes-Benz 300 SL Gullwing (long thought lost and likely to realize close to US$10 million), a trio of damaged Lamborghini P400 Miuras, the one-off Iso Griffo A3/L Spider prototype (which will need to have its unique front coachwork re-created but will still command over US$1 million) and a 1939 Horch 855 Special Roadster, always prized for its rakish lines and the only 855 known to have survived the war.

Bubbletop

Bubbletop (pronounced buhb-uhl-top)

(1) In aircraft design, a design of pilot’s canopy (originally military slang for what designers dubbed the “bubble canopy”, a Perspex molding which afforded exceptional outward visibility).

(2) An automobile using a transparent structure over the passenger compartment, replacing the usual combination of roof & windows.

(3) A descriptor of certain automobiles of the early 1960s, based on the shape rather than the method of construction, the conventional metal and glass used.

1940s: The construct was bubble +‎ top.  Bubble dates from the late fourteenth century and was from the Middle English noun bobel which may have been from the Middle Dutch bubbel & bobbel and/or the Low German bubbel (bubble) and Middle Low German verb bubbele, all thought to be of echoic origin.  The related forms include the Swedish bubbla (bubble), the Danish boble (bubble) and the Dutch bobble.  Top pre-dates 1000 and was from the Middle English top, toppe & tope (top, highest part; summit; crest; tassel, tuft; (spinning) top, ball; a tuft or ball at the highest point of anything), and the Old English top & toppa (top, summit, tuft of hair), from the Proto-West Germanic topp, from the Proto-Germanic tuppaz (braid, pigtail, end), of unknown origin.  It was cognate with the Old Norse toppr (top), the Scots tap (top), the North Frisian top, tap & tup (top), the Saterland Frisian Top (top), the West Frisian top (top), the Dutch top (top, summit, peak), the Low German Topp (top), the German Zopf (braid, pigtail, plait, top), the Swedish topp (top, peak, summit, tip) and the Icelandic toppur (top).  Alternative forms are common; bubble-top in automotive & aeronautical engineering and bubble top in fashion.  Bubbletop is a noun and bubbletopped is an adjective; the noun plural is bubbletops.

Evolution of the Mustang's bubbletop: P-51C (top), P-51 III (centre) and P-51D (bottom).

“Bubbletop” began as World War II (1939-1945) era military slang for officially was described as the “bubble canopy”, the transparent structure sitting atop the cockpit of fighter aircraft, the advantages being (1) superior visibility (the purest interpretation of the design affording an unobstructed, 360° field-of-view, (2) improved aerodynamics, (3) easier cockpit ingress & egress (of some significance to pilots force to parachute and (4), weight reduction (in some cases).  Bubbletops had been seen on drawing boards in the early days of aviation and some were built during World War I (1914-1918) but it was the advent of Perspex and the development of industrial techniques suitable for the creation of large, variably-curved moldings which made mass-production practical.  The best known early implementations were those added to existing air-frames including the Supermarine Spitfire, Republic P-47 Thunderbolt and North American P-51 Mustang.  By 1943, the concept had become the default choice for fighter aircraft and the technology was applied also to similar apparatuses used elsewhere on the fuselage where they were styled usually as “blisters”.  In the post war years it extended to other types, most dramatically in the Bell 47 helicopter where the cabin was almost spherical, some 70% of the structure clear Perspex.

The enormous and rapid advances in wartime aeronautics profoundly influenced designers in many fields and nowhere was that more obvious than in the cars which began to appear in the US during the 1950s.  Elements drawn variously from aeronautics and ballistics did appear in the first generation of genuinely new post-war models (most of what was offered between 1945-1948 being barely revised versions of the 1942 lines) but it was in the next decade the designers were able to embrace the jet-age (a phrase which before it referred to the mass-market jet-airline travel made possible by the Boeing 707 (which entered commercial service in 1958) was an allusion to military aircraft, machines which during the Cold War were a frequent sight in popular culture).  On motif the designers couldn’t resist was the bubble canopy, something which never caught on in mass-production although Perspex roofed cars were briefly offered before word of their unsuitability for use in direct sunlight became legion.

GM Firebird XP-21 (Firebird I, 1953).

Not content with borrowing the odd element from aircraft, the General Motors (GM) team decided the best way to test which concepts were adaptable from sky to road was to “put wheels on a jet aircraft” and although they didn’t do that literally, by 1953 when Firebird XP-21 was first displayed, it certainly looked as though it was exactly that.  Its other novelty was it was powered by a gas turbine engine, the first time a major manufacturer in the US had built such a thing although a number of inventors had produced their own one-offs.  When the XP-21 (re-named Firebird I for the show circuit) made its debut, some in the press referred to it as a “prototype” but GM never envisaged it as the basis for a production car, being impractical for any purpose other than component-testing; it should thus be thought of as a “test-bed”.  The bubble canopy looked as if it could have come from a US Air Force (UFAF) fighter jet and would have contributed to the aerodynamically efficiency, the 370 hp (280 kW), fibreglass-bodied Firebird I said to be capable of achieving 200 mph (320 km/h) although it’s believed this number came from slide-rule calculations and was never tested.  Despite that, in its day the Firebird II made quite a splash and a depiction of it sits atop the trophy (named after the car’s designer, Harley Earl (1893–1969), the long time head of GM’s styling studio) presented each year to the winner of NASCAR’s (National Association for Stock Car Auto Racing) premiere event, the Daytona 500.

GM Firebird II (1956).

Compared with its predecessor, the Firebird II (1956), rendered this time in titanium was almost restrained, the Perspex canopy a multi-part structure over a passenger compartment designed to seat “a family of four”.  The family might have chosen to drive mostly in darkness because the heat build-up under the midday sun would have tested the “individually-controlled air conditioning”, a system upon which comfort depended because the Perspex sections were fixed; there were no opening “windows”.  Still, even if hot, the family would have got places fast because the same 200 mph capability was claimed.

GM Firebird III (1958).

The Firebird III was displayed at the 1958 Motorama and although GM never built any car quite like it, within a season, elements of it did begin to appear on regular production models in showrooms (notably the rear skegs which Cadillac used for a couple of years) and some of its features are today standard equipment in even quite modest vehicles.  The striking “double bubbletop” never made the assembly lines although some race cars have at least partially implemented the concept.  What proved more of a harbinger was the specification, the Firebird III fitted with anti-lock brakes, cruise control, air conditioning, an automated “accident avoidance system” and instead of a steering wheel, the driver controlled the thing with a joystick, installed in a centrally-mounted “Unicontrol & Instrument Panel”.  All these were analogue-era electro-mechanical devices too bulky, fragile or expensive for mass production, wider adoption in the decades to come made possible by integrated circuits (IC) and micro-processors.

1959 Cadillac Cyclone (XP-74).

Borrowing from the Firebird II, Cadillac also used a bubble top for the Cyclone (XP-74) concept car which in 1959 toured the show circuit.  Although it was powered by the corporation’s standard 390 cubic inch (6.5 litre) V8, there was some adventurous engineering including a rear-mounted automatic transaxle and independent rear suspension (using swing axles, something not as bad as it sounds given the grip of tyres at the time) but few dwelt long on such things, their attention grabbed by features such as the bubble top (this time silver coated for UV (ultra violet) protection) which opened automatically in conjunction with the electrically operated sliding doors.  The Perspex bubble canopies from fighter aircraft never caught on for road or race cars but so aerodynamically efficient was the shape it found several niches.

1953 Ferrari F166MM Spider by Vignale (left) and 1968 MGCGT (centre & right).

Bubbles often appeared atop the hood (bonnet) to provide clearance for components inconveniently tall.  Most were centrally located (there was the occasional symmetrical pair) but the when BMH (British Motor Holdings, the old  BMC (British Motor Corporation) shoehorned their big, heavy straight-six into the MGB (1963-1980), it wouldn’t fit under the bonnet, the problem not the cylinder head but the tall radiator so the usual solution of a “bonnet bulge” was used.  However, for that to clear the forward carburetor, the bulge would have been absurdly high so a small bubble (and usually, ones this size are referred to as "blisters") was added.  It probably annoyed some there wasn’t a matching (fake) one on the other side but it’s part of the MGC’s charm, a quality which for years most found elusive although it’s now more appreciated.  For MGC owners wish to shed some weight or for MGB owners who like the look, the “bonnet with bubble” is now available in fibreglass.

The winning Ford GT40 Mark IV (J-Car) with bubble to the right, Le Mans 1967 (left) and the after-market (for replicas) “Gurney Bubble” (right).

US racing driver Dan Gurney (1931–2018) stood 6' 4" (1.9 m) tall which could be accommodated in most sports cars and certainly on Formula One but when he came to drive the Ford GT40 Mark IV it was found he simply didn’t fit when wearing his crash helmet.  The original GT40 (1964) gained its name from the height being 40 inches (1016 mm) but Mark IV (the “J-Car”, 1966) was lower still at 39.4 inches (1,000 mm).  Gurney was the tallest ever to drive the GT40 and the solution sounds brutish but fix was effected elegantly, a “bubble added to the roof to clear the helmet.  Gurney and AJ Foyt (b 1935) drove the GT40 to victory in the 1967 Le Mans 24-hour endurance classic and the protrusion clearly didn’t compromise straight-line speed, the pair clocked at 213 mph (343 km’h), on the famous 3.6-mile Mulsanne Straight (which was a uninterrupted 3.6 miles (5.8 km) until the Fédération Internationale de l'Automobile (the FIA; the International Automobile Federation and world sport’s dopiest regulatory body) imposed two “chicanes”),  Known ever since as the “Gurney Bubble”, such is the appeal that they’re now available for any GT40 replica: Like the AC Shelby Cobra, the GT40 “reproduction” industry is active and there are many times more of these than there are survivors of 105 originals.

Ferrari 250 GT “Tour de France” LWB Berlinettas by Zagato: The “double bubble” roof (left), the Hofmeister kink (centre) and the famous “Z” kink, (right).

The Italian coachbuilding house Zagato was founded in 1919 by Ugo Zagato (1890-1968) and since the early post-war years, their designs have sometimes been polarizing (the phrase “acquired taste” sometimes seen), their angularity often contrasted with the lines of other, notably Pinninfarina and Bertone but unlike many which have over the years folded, Zagato remains active still.  One Zagato design never criticized was his run in 1956 of five Ferrari 250 GT “Tour de France” LWB Berlinettas, memorable also for introducing the signature “Zagato double-bubble roof.  The roof was practical in that it better accommodated taller occupants but it really was a visual trick and a variation on the trick Mercedes-Benz used on the “Pagoda” (W113; 230, 250 & 280 SL; 1963-1971) which they explained by saying “We didn’t lower the roof, we rained the windows”.  The other famous feature (which appeared on only one) was the fetching “Z” shape on the rear pillar, replacing the “Hofmeister kink” used on some others.

1962 Chevrolet Impala “bubbletop” Sport Coupe (left), 1963 Ford Consul Capri (centre) and 1972 BMW 3.0CS (E9, right).

The 1959 Chevrolet quickly came to be nicknamed “bubbletop” and the style spread, both within GM and beyond.  The “bubbletop” reference was to the canopy on aircraft like the P-51D Mustang but was an allusion to the shape, not the materials used; on cars things were done in traditional glass and metal.  Across the Atlantic, Ford in the UK applied the idea to their Consul Capri (1961-1964), a two-door hardtop which the company wanted to be thought of as a “co-respondent's” car (ie the sort of rakish design which would appeal to the sort of chap who slept with other men’s wives, later to be named as “co-respondent” in divorce proceedings).  The Capri was a marketplace failure and the styling was at the time much criticized but it’s now valued as a period piece.  Chevrolet abandoned the look on the full-size cars after 1963 but it was revived for the second series Corvair (1965-1969).  A fine implementation was achieved in the roofline of the BMW E9 (1968-1975) which remains the company’s finest hour.

The bubble shirt and bubble tops.

The bubble skirt (worn by Lindsay Lohan (centre)) is one of those garments which seems never to quite die, although there are many who wish it would.  Once (or for an unfortunate generation, twice) every fashion cycle (typically 10-12 years), the industry does one of its "pushes" and bubble skirts show up in the high street, encouraged sometimes by the odd catwalk appearance; it will happen again.  While the dreaded bubble skirt is easily identifiable, the “bubble top” is less defined but there seem to be two variations: (1) a top with a “bubble skirt-like” appendage gathering unhappily just above the hips (left) and (2) a kind of “boob tube” which, instead of being tightly fitted is topped with an additional layer of material, loosely gathered.  The advantages of the latter (which may be thought of as a “boob bubble”) are it can (1) without any additional devices create the illusion of a fuller bust and (2) allow a strapless bra to be worn, something visually difficult with most boob tubes because the underwear’s outline is obvious under the tight material.

Cloisonné

Cloisonné (pronounced kloi-zuh-ney or klwa-zaw-ney (French))

(1) A decorative technique for metalwork, especially brass, whereby colored enamel is baked between raised ridges of the metal; among those for whom "price-taggery" is the measure of things, it was sometimes disparaged as a cheaper alternative to jeweled encrustation or filigree.

(2) Pertaining to, forming, or resembling cloisonné or the pattern of cloisonné.

(3) As applied to metalwork, objects decorated by this technique collectively.

1863: From the French cloisonné (divided into compartments, partitioned (especially in reference to surface decoration)), from the twelfth century Old French cloison (partition), from cloisonner (enclosure; to divide into compartments) from the Provençal clausiō, from the Vulgar Latin clausiōn, stem of clausiō (closed), noun of action from past participle stem of claudere (to close; shut).  The alternative spelling cloisonne is now more common in English.  Cloisonné is a noun; the noun plural is cloisonnés.  The noun cloisonnism describes a school of postimpressionist painting and the verb cloisonner (to partition, to compartmentalize) is French.

Lindsay Lohan wearing vintage art deco bracelet in triangulated black & white, May 2007.

There were several steps in the cloisonné enamel process and they have been little changed since the process was first used in Egypt prior to 1800 BC when gold ornaments were inlaid with small pieces of turquoise, lapis lazuli, carnelian and garnet, the inlays held in position by ribs soldered to the gold base.  Although there’s no surviving evidence in archaeological digs, the speculation of Egyptologists is that goldsmiths and glass workers collaborated to forge or fabricate their creations using artificial gems.  Pieces of colored glass were substituted for the stones and some appear to have been cemented in place.  The modern sequence is usually:

(1) Design and Preparation: The artisan will create a two dimensional sketch which develops into a detailed design; this can be on paper or a digital rendering which is then transferred onto a metal object, made usually of bronze, copper or gold.

(2) Wire Application (Cloisons): Thin metal wires (usually of copper or gold) are shaped to suit the design; these are soldered or glued to the metal surface, forming compartments (cloisons).  It’s these wires which lend a three dimensional form to the design, acting as the barriers which will contain the various enamel colors.

(3) Enamel Filling: Enamel (powdered glass which is mixed with water to form a paste) is applied within the cloison compartments.  While there are designs which used only the one shade of enamel, historically the style is associated with contrasting colors, some vivid, some dark.

(4) Firing: Once the compartments have been filled, the object is fired in a high-temperature kiln.  This causes the enamel to melt, fusing it with the metal; depending on the design, multiple firings may be required to build up the enamel layers and achieve the desired thickness and finish.

(5) Polishing: After the final firing, the surface of the object is polished, this both smoothing the enamel to its final shape and enhancing the color.  As part of this process, some enamel may be removed so the metal wires are granted greater prominence better to define the shapes.

French Second Empire gilt cloisonné enamel carriage clock, circa 1870.

The intricate metalwork and detailed cloisonné engravings associated with the clocks of the First French Empire have always attracted collectors and there’s a view in the industry they’re superior in just about every way to those of the Second Empire.  They certainly tend to be more expensive.  There are those who prefer the later clocks, especially the more restrained.  For the discerning, a sub-genre of Second Empire horology was the carriage (or travelling) clock, small, sturdy and created in shapes suitable to packing in regular-sized boxes.  The earliest were purely functional with little embellishment but their diminutive form appealed to designers seeking to create exquisite miniatures.  From the mid-century on, an increasing number were produced for household use and it’s doubtful many were much used by those on the move.

1967 Ferrari 275 GTB/4 NART Spider.

The cloisonné "N.A.R.T." badge.

The Ferrari 275 GTB/4 NART Spider was a roadster commissioned by Ferrari's North American concessionaire, Italian-born Luigi Chinetti (1901–1994) who ran the North American Racing Team (N.A.R.T.) and wanted to offer something in the spirit of the charismatic 250 California Spiders (1957-1963).  Built by Ferrari's coachbuilder Scaglietti, the NART Spider was certainly a worthy successor but, being very much a traditional sports car with few of the luxury fittings to which buyers had quickly become accustomed, demand was subdued, most preferring its less raucous companion, the 330 GTS which pampered occupants with niceties like power steering, electric windows and air conditioning.  The NART's high price didn't help and of the planned run of 25, only ten were built.  Thus mostly unwanted when new, as a used car the performance of the 275 NART has been stellar, chassis #10709 selling at auction in 2013 for US$27.5 million.  Informally always known as the "NART Spider" despite the factory not using the designation, the only hint of its unusual gestation was a cloisonné badge with the N.A.R.T.'s logo, installed on the Kamm tail.

1967 Ferrari 275 GTB/4 NART Spider.

The NART's existence also created a footnote in the history of Ferrari nomenclature.  Although the ten have always been regarded as official factory models, Enzo Ferrari (1898-1988) was noticeably restrained in his enthusiasm for the venture and instead of being named 275 GTS/4 as would have been the current practice, it was listed in the records of both Scaglietti and the factory as the 275 GTB/4 NART spider.  That may have been because there had already been a 275 GTS (1964-1966) although it had been replaced by the 330 GTS by the time the NART cars were built or it may simply have been Il Commendatore didn't like his plans being changed.  Because of the high prices the things attract when from time to time they are offered at auction, the sales are always well publicized and the modern practice seems to be to label them as 275 GTB/4S, 275 GTB/4s or 275 GTB/4*S.  Given the well-known status of the NART machines the appended "S" seems superfluous.

Monocoque

Monocoque (pronounced mon-uh-kohk or mon-oh-kok (non-U))

(1) A type of boat, aircraft, or rocket construction in which the shell carries most of the stresses.

(2) A type of automotive construction in which the body is combined with the chassis as a single unit.

(3) A unit of this type.

1911: From the French monocoque (best translated as “single shell” or “single hull” depending on application), the construct being mono- + coque.  Mono was from the Ancient Greek μόνος (monos) (alone, only, sole, single), from the primitive Indo-European root men (small, isolated).  Coque was from the Old French coque (shell) & concha (conch, shell), from the Latin coccum (berry) and concha (conch, shell) from the Ancient Greek κόκκος (kókkos) (grain, seed, berry).  In the early twentieth century, it was the French who were most dominant in the development of aviation.  Words like “monocoque”, “aileron”, “fuselage” and “empennage” are of French origin and endure in English because it’s a vacuum-cleaner of a language which sucks in anything from anywhere which is handy and manageable.  Monocoque is a noun; the noun plural is monocoques.

Noted monocoques

Deperdussin Monocoque, 1912.

A monocoque (sometime referred to as structural skin) is a form of structural engineering where loads and stresses are distributed through an object's external skin rather than a frame; concept is most analogous with an egg shell. Early airplanes were built using wood or steel tubes covered with starched fabric, the fabric rendering contributing only a small part to rigidity.  A monocoque construction integrates skin and frame into a single load-bearing shell, reducing weight and adding strength.  Although examples flew as early as 1911, airframes built as aluminium-alloy monocoques would not become common until the mid 1930s.  In a pure design where only function matters, almost anything can be made a stressed component, even engine blocks and windscreens.

Lotus 25, 1962.

In automotive design, the word monocoque is often misused, treated as a descriptor for anything built without a separate chassis.  In fact, most road vehicles, apart from a handful of expensive exotics, are built either with a separate chassis (trucks and some SUVs) or are of unibody/unitary construction where box sections, bulkheads and tubes to provide most of the structural integrity, the outer-skin adding little or no strength or stiffness.  Monocoque construction was first seen in Formula one in 1962, rendered always in aluminium alloys until 1981 when McLaren adopted carbon-fibre.  A year later, the McLaren F1 followed the same principles, becoming the first road car built as a carbon-fibre monocoque.

BRM P83 (H16), 1966.

In 1966, there was nothing revolutionary about the BRM P83’s monocoque chassis.  Four years earlier, in the second season of the voiturette era, that revolution had been triggered by the Lotus 25, built with the first fully stressed monocoque chassis, an epoch still unfolding as materials engineering evolves; the carbon-fibre monocoques seen first in the 1981 McLaren MP4/1 becoming soon ubiquitous.  The P83 used a monocoque made from riveted Duralumin (the word a portmanteau of durable and aluminium), an orthodox construction for the time.  Additionally, although it had been done before and would soon become an orthodoxy, what was unusual was that the engine was a stressed part of the monocoque.

BRM Type 15 (V16), 1949.

The innovation was born of necessity.  Not discouraged by the glorious failure of the extraordinary V16 BRM had built (with much much fanfare and precious little success) shortly after the war, the decision was taken again to join together two V8s in one sixteen cylinder unit.  Whereas in 1949, the V8s had been coupled at the centre to create a V16, for 1966, the engines were re-cast as 180^o flat 8s with one mounted atop another in an H configuration, a two-crankshaft arrangement not seen since the big Napier-Sabre H24 aero-engines used in the last days of the war.  The design yielded the advantage that it was short, affording designers some flexibility in lineal placement, but little else.  It was heavy and tall, exacerbating further the high centre of gravity already created by the need to raise the engine location so the lower exhaust systems would clear the ground.  Just as significantly, it was wide, too wide to fit into a monocoque socket and thus was taken the decision to make the engine an integral, load-bearing element of the chassis.  There was no other choice.

BRM H16 engine and gearbox, 1966.

 

Structurally, it worked, the monocoque was strong and stable and despite the weight and height, the P83 might have worked if the H16 had delivered the promised horsepower but the numbers were never realised.  The early power output was higher than the opposition but it wasn’t enough to compensate for the drawbacks inherent in the design and, these being so fundamental they couldn’t be corrected, the only hope was even more power.  The path to power was followed and modest increases were gained but it was never enough and time ran out before the plan to go from 32 to 64 valves could come to fruition, an endeavour some suggested would merely have “compounded the existing error on an even grander scale.”  Additionally, with every increase in power and weight, the already high fuel consumption worsened.

The H16 did win one grand prix, albeit in a Lotus rather than a BRM monocoque, but that was a rare success; of the forty times it started a race, twenty-seven ended prematurely.  The irony of the tale is that in the two seasons BRM ran the 440 horsepower H16 with its sixteen cylinders, two crankshafts, eight camshafts and thirty-two valves, the championship in both years was won by the Repco-Brabham, its engine with 320 horsepower, eight cylinders, one crankshaft, two camshafts and sixteen valves.  Adding insult to the exquisitely bespoke H16’s injury, the Repco engine was based on an old Oldsmobile block which General Motors had abandoned.  After two seasons the H16 venture was retired, replaced by a conventional V12.

The Mercedes-Benz SLR McLaren

Mercedes-Benz McLaren SLR Coupé (left), Roadster (centre) and Speedster (right).

The monocoque Mercedes-Benz SLR McLaren (C199 / R199 / Z199) was a joint development with McLaren Automotive and was available as a coupé (2003-2010), roadster (2007-2009) & speedster (2009).  Visually, the car was something of an evocation of the 300 SLR gullwing coupé, two of which were built in 1955 for use in competition but never used, one of the consequences of the disaster that year during the Le Mans 24 hour endurance classic when a 300 SLR crashed into the crowd, killing 84 and injuring dozens of others.  Footage of that event is widely available and to a modern audience it will seem extraordinary the race was allowed to continue.

Lindsay Lohan, Britney Spears and Paris Hilton in Ms Hilton's Mercedes-Benz McLaren SLR, outside the Beverley Hills Hotel, Los Angeles.  This was the occasion which produced the photograph which appeared on the infamous “Bimbo Summit” front page of Rupert Murdoch’s (b 1931) New York Post, 29 November 2006.

The 300 SLR (Sport Leicht Rennsport (Sport Light Racing)) which crashed was an open version and the model name was a little opportunistic because it was essentially the W196R Formula One car with a 3.0 litre straight-8 (the F1 rules demanded a 2.5) so the SLR, built to contest the World Sports Car Championship, was technically the W196S; it became the 300 SLR to cross-associate it and the 300 SL gullwing (W198, 1954-1957).  Nine were built, two of which were converted to SLR gullwings and, although never raced, they came to be dubbed the “Uhlenhaut coupés” because they were co-opted by racing team manager Rudolf Uhlenhaut (1906–1989) as high-speed personal transport, tales of his rapid trips between German cities soon the stuff of legend and even if a few myths developed, the cars could exceed 290 km/h (180 mph) so some at least were probably true.  That what was essentially a Grand Prix race car with a body and headlights could be registered for road use is as illustrative as safety standards at Le Mans of how different was the world of the 1950s.  In 2022, one of the Uhlenhaut coupés was sold at auction to an unknown buyer (presumed to be Middle Eastern) for US$142 million, becoming by some margin the world’s most expensive used car.

As a footnote (one to be noted only by the subset of word nerds who delight in the details of nomenclature), for decades, it was said by many, even normally reliable sources, that SL stood for sports Sports Leicht (sports light) and the history of the Mercedes-Benz alphabet soup was such that it could have gone either way (the SSKL (1929) was the Super Sports Kurz (short) Leicht (light) and from the 1950s on, for the SL, even the factory variously used Sports Leicht and Super Leicht.  It was only in 2017 it published a 1952 paper (unearthed from the corporate archive) confirming the correct abbreviation is Super Leicht.  Sports Leicht Rennsport (Sport Light Racing) seems to be used for the the SLRs because they were built as pure race cars, the W198 and later SLs being road cars but there are references also to Super Leicht Rennsport.  By implication, that would suggest the original 300SL (the 1951 W194) should have been a Sport Leicht because it was built only for competition but given the relevant document dates from 1952, it must have been a reference to the W194 which is thus also a Sport Leicht.  Further to muddy the waters, in 1957 the factory prepared two lightweight cars based on the new 300 SL Roadster (1957-1963) for use in US road racing and these were (at the time) designated 300 SLS (Sports Leicht Sport), the occasional reference (in translation) as "Sports Light Special" not supported by any evidence.  The best quirk of the SLS tale however is the machine which inspired the model was a one-off race-car built by Californian coachbuilder ("body-man" in the vernacular of the West Coast hot rod community) Chuck Porter (1915-1982).  Porter's SLS was built on the space-fame of a wrecked 300 SL gullwing (purchased for a reputed US$500) and followed the lines of the 300 SLR roadsters as closely as the W198 frame (taller than that of the W196S) allowed.  Although it was never an "official" designation, Porter referred to his creation as SL-S, the appended "S" standing for "scrap".      

The SLR and its antecedents.

A Uhlenhaut coupé and a 300 SLR of course appeared for the photo sessions when in 2003 the factory staged the official release of the SLR McLaren and to may explicit the link with the past, the phrase “gullwing doors” appeared in the press kit documents no less than seven times.  Presumably, journalists got the message but they weren’t fooled and the doors have always, correctly, been called “butterflies”.  Unlike the machines of the 1950s which were built with an aluminium skin atop a space-frame, the twenty-first century SLRs were a monocoque (engineers say the sometimes heard “monocoque shell” is tautological) of reinforced carbon fibre.  Although the dynamic qualities were acknowledged and it was, by all but the measure of hyper-cars, very fast indeed, the reception it has enjoyed has always been strangely muted, testers seeming to find the thing rather “soulless”.  That seemed to imply a lack of “character” which really seems to suggest an absence of obvious flaws, the quirks and idiosyncrasies which can at once enrage and endear.

The nature of monocoque.

The monocoque construction offered one obvious advantage in that the inherent stiffness was such that the creation of the roadster version required few modifications, the integrity of the structure such that not even the absence of a roof compromised things.  Notably, the butterfly doors were able to be hinged along the windscreen (A) pillars, such was the rigidity offered by carbon fibre, a material for which the monocoque may have been invented.  McLaren would later use a variation of this idea when it released the McLaren MP4-12C (2011-2014), omitting the top hinge which allowed the use of frameless windows even on the roadster (spider) version.

The SLR Speedster (right) was named the Stirling Moss edition and was a homage to the 300 SLR (left) which in the hands of Sir Stirling Moss (1929–2020) and navigator Denis Jenkinson (1920–1996), won the 1955 Mille Miglia (an event run on public roads in Italy over a distance of 1597 km (992 miles)) at an average speed of 157.65 km/h (97.96 mph).

However, the minimalist (though very expensive) Speedster had never been envisaged when the monocoque was designed and to ensure structural integrity, changes had to be made to strengthen what would have become points of potential failure, the removal of the windscreen fame and assembly having previously contributed much to rigidity.  Door sills were raised (recalling the space frame which in 1951 had necessitated the adoption of the original gullwing doors on the first 300 SL (W194)) and cross-members were added across the cockpit, integrated with a pair of rollover protection bars.  Designed for speed, the Speedster eschewed niceties such as air-conditioning, an audio system, side windows and sound insulation; this was not a car for Paris Hilton.  All told, despite the additional bracing, the Speedster weighed 140 kg (310 lb) less than the coupé while the supercharged 5.5 litre V8 was carried over from the earlier 722 edition but the reduction in frontal area added a little to top speed, now claimed to be 350 km/h (217 mph) although the factory did caution that above 160 km/h (100 mph), the dainty wind deflectors would no longer contain the wind and a crash helmet would be required so even if the lack of air-conditioning might have been overlooked, that alone would have been enough for Paris Hilton to cross the Speedster off her list; she wouldn't want "helmet hair".  Only 75 were built, none apparently ever driven, all spending their time on display or the auction block, exchanged between collectors.