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Tuesday, September 2, 2025

Suicide

Suicide (pronounced soo-uh-sahyd)

(1) The intentional taking of one's own life.

(2) By analogy, acts or behavior, which whether intentional or not, lead to the self-inflicted destruction of one's own interests or prospects.

(3) In automotive design, a slang term for rear doors hinged from the rear.

(4) In fast food advertising, a niche-market descriptor of high-calorie products deliberately or absurdly high in salt, sugar and fat.

(5) A trick in the game Diabolo where one of the sticks is released and allowed to rotate 360° round the Diabolo until it is caught by the hand that released it.

(6) In Queensland (Australia) political history, as suicide squad, the collective name for the additional members of the Legislative Council (upper house) appointed in 1921 solely for the purpose of voting for its abolition.

(7) In sardonic military slang, as suicide mission, a description for an operation expected to suffer a very high casualty rate.

(8) A children's game of throwing a ball against a wall and at other players, who are eliminated by being struck.

(9) Pertaining to a suicide bombing, the companion terms being suicide belt & suicide vest.

(10) In electrical power, as "suicide cable (or cord, lead etc)", a power cord with male connections each end and used to inject power from a generator into a structing wiring system (highly dangerous if incorrectly used).

(11) In drug slang, the depressive period that typically occurs midweek (reputedly mostly on Tuesdays, following weekend drug use.

(12) In US slang, a beverage combining all available flavors at a soda fountain (known also as the "graveyard" or "swamp water".

(13) As "suicide runs" or "suicide sprints", a form of high-intensity sports training consisting of a series of sprints of increasing lengths, each followed immediately by a return to the start, with no pause between one and the next.

1651: From the New Latin  suīcīdium (killing of oneself), from suīcīda and thought probably of English origin, the construct being the Latin suī (genitive singular of reflexive pronunciation of se (one’s self)) from suus (one’s own) + cīdium (the suffix forms cīda & cide) from caedere (to kill).  The primitive European root was s(u)w-o (one's own) from the earlier s(w)and new coining displaced the native Old English selfcwalu (literally “self-slaughter”).  Suicide is a noun & verb, suicidal is a noun & adjective, suicider is a noun; the noun plural is suicides.  Pedantic scholars of Latin have never approved of the word because, technically, the construct could as well be translated as the killing of a sow but, in medieval times, purity had long deserted Latin and never existed in English.  The modern meaning dates from 1728; the term in the earlier Anglo Latin was the vaguely euphemistic felo-de-se (one guilty concerning himself).  It may be an urban myth but there was a story that a 1920s editor of the New York Times had a rule that anyone who died in a Stutz Bearcat would be granted a NYT obituary unless the death was a suicide.  Suicide is a noun & verb, suicidal is a noun & adjective, suicider, suicidology, suicidalist, suicidality, suicidalness & suicidism are nouns, suicidogenic is an adjective, suicided is a verb & adjective, suiciding is a verb and suicidally is an adverb; the noun plural is suicides.

Terms like “professional suicide”, “commercial suicide” and “career suicide” are, even if the era of trigger warnings, still used as is “political suicide” and it is a word politicians like to use (of their opponents).  Paul Keating (b 1944; Prime Minister of Australia 1991-1996), having read the Fightback! political manifesto prepared for the 1993 general election by the Liberal Party’s then leader Dr John Hewson (b 1946; leader of the Liberal Party of Australia 1990-1994), declared it “the longest suicide note in Australian political history”, a critique which seems first to have been made by a member of the Canberra press gallery although a similar phrase had a decade earlier been used in the UK by Labour Party politician Sir Gerald Kaufman (1930–2017) when damning his own party’s 1983 platform.  An extraordinary 650(!) pages, Fightback! reflected well on Dr Hewson’s background as an academic neo-liberal economist but as something to persuade voters to vote Liberal it was monumentally bizarre and nobody has since attempted anything like it.  Dubbed at the time (for many a good reason) "the unlosable election", lose in 1993 Dr Hewson did and to this day Fightback! is blamed.

Bloody Bob hasn't!, John Clarke (1948–2017) and Bryan Dawe (b 1948), ABC Television 7:30 report, Monday 15 March, 1993.  

A footnote to the unexpected result in the 1993 election was an exposure of the dangers inherent in pre-recording television material for later broadcast.  The conventional wisdom was a significant factor in Labor's impending defeat was that Mr Keating allowed his personal ambition to become prime-minister prevail over the interests of the party and in deposing Bob Hawke (1929–2019; Prime Minister of Australia 1983-1991) who'd won the previous four elections, he'd sacrificed any hope of gaining a fifth term.  The satirists John Clarke (1948–2017) and Bryan Dawe (b 1948) produced a skit using their “pseudo interview” technique in which they followed the documentary model of the ABC’s (Australian Broadcasting Corporation) Labor in Power series; they depicted the political rivals as two children squabbling over whose turn it was with the toy.  The final question asked “Paul” which of them now had the toy to which he replied “Bloody Bob hasn’t!”.  The punch-line would have worked had Mr Keating had the decency to lose the election but of course he won so the joke went flat. 

UK Prime Minister Lord Salisbury (Robert Arthur Talbot Gascoyne-Cecil, 1830–1903; UK Prime Minister for thirteen years variously 1885-1902) remarked of the long, sad decline of Lord Randolph Churchill (1849–1895) that the deceased had proved to be “chief mourner at his own protracted funeral” and confided to colleagues “the man committed suicide as surely as if he blown his brains out.”.  Kaiser Wilhelm II (1859–1941; German Emperor & King of Prussia 1888-1918) remarked of the ill-advised book published by one politician whose career had imploded that it was probably the “…first time a man has committed suicide twice.  Not noted for his wit, that may have been Wilhelm’s finest moment although it does vie with his observation on hearing that, in deference to the state of war between their two nations, the British Royal family was changing its name to “Windsor”.  The Kaiser said he hoped soon to attend a performance in Berlin of William Shakespeare’s (1564–1616) “The Merry Wives of Saxe-Coburg and Gotha.”.

Comrade Stalin (1878-1953; Soviet leader 1924-1953) arranged a few “suicides” and in a nice touch sometimes appeared at the funeral as chief mourner whereas Adolf Hitler (1889-1945; Führer (leader) and German head of government 1933-1945 & head of state 1934-1945) in similar circumstances seems to have restricted himself to sending a wreath and, for the especially exalted, authorizing a state funeral.  Although doubtlessly it's all just bad luck and coincidence, it is striking how many sources on various platforms have compiled lists of the remarkable number of "suicides" in some way associated with Bill (b 1946; US president 1993-2001) & crooked Hillary Clinton (b 1947; US secretary of state 2009-2013).  It's an impressively large toll but, in fairness, Socks (1989-2009; FCOTUS (First Cat of the United States 1993-2001)) did live an untypically long 20-odd years although he escaped the Clinton's clutches after 2001.

Suicide Squads

HH Asquith (1852-1928) and his youthful friend Venetia Stanley (1887–1948).

Although few were quite as vituperative as Paul Keating who once describes the members of the Australian Senate as "unrepresentative swill", governments in the twentieth century often found upper houses to be such a nuisance they schemed and plotted ways to curb their powers or, preferably, do away with them entirely.  As the electoral franchise was extended, governments were sometimes elected with what they considered a mandate to pursue liberal or progressive policies while upper houses, by virtue of their composition and tenure (some with life-time appointments) often acted as an obstruction, rejecting legislation or imposing interminable delays by sending proposed laws to be “discussed to death” in committees from which “nothing ever emerged”.  This was the situation which confronted the glittering Liberal Party cabinet of HH Asquith (1852–1928; UK prime minister 1908-1916) which in 1909 found the Lords, in defiance of long established convention, blocking passage of the budget.  The Lords was wholly unelected, its membership mostly inherited, sometimes by virtue of some service (virtuous or otherwise) by an ancestor hundreds of years before.  Successive elections didn’t resolve the crisis and Asquith resolved to pursue the only lawful mechanism available: the creation of as many peers as would be necessary (in the hundreds) to secure the passage of his legislation.

Terry Richardson's (b 1965) suicide-themed shoot with Lindsay Lohan, 2012.

That of course required royal ascent and the newly enthroned George V (1865–1936; King of the United Kingdom & Emperor of India 1910-1936), while making his reservations clear, proved a good constitutional monarch and made it known he would follow the advice of his prime-minister.  As it turned out, the “suicide squad” wasn’t required, their Lordships, while not at all approving of the government, were more appalled still at the thought of their exclusive club being swamped with “jumped-up grocers” in “bad hats” and allowed the legislation to pass.  Actually, “castration squad” might have been a more accurate description because while the Lords survived, Asquith ensured it would be less of an obstacle, substituting the road block of its power of veto with a speed-bump, a right to impose a two-year delay (in 1949 reduced to six months).  The New Labour administration (1997-2010) introduced further reforms which were designed eventually to remove from the Lords all those who held seats by virtue of descent and even the Tories later moved in that direction although the efforts have stalled and a few of the hereditary peers remain.  As things now stand, the last remaining absolute veto the Lords retain is to stop an attempt by a government to extend a parliament's life beyond five years. 

The preserved Legislative Council chamber in Queensland's Parliament House.

Some upper house assassins however truly were a suicide squad.  In Australia, the state of Queensland followed the usual convention whereby the sub-national parliaments were bicameral, the Legislative Council the upper house and like the others, it was a bastion of what might now be called "those representing the interests of the 1%" and a classic example of white privilege.  Actually, at the time, the lower houses were also places of white privilege but the Australian Labor Party (ALP) had long regarded the non-elected Legislative Council (and upper houses in general) as undemocratic and reactionary so in 1915, after securing a majority in the Legislative Assembly (the lower house) which permitted the party to form government, they sought abolition.  The Legislative Council predictably rejected the bills passed by the government in 1915 & 1916 and a referendum conducted in 1917 decisively was lost; undeterred, in 1920, the government requested the governor appoint sufficient additional ALP members to the chamber to provide an abolitionist majority.  In this, the ALP followed the example of the Liberal Party in the UK which in 1911 prevailed upon the king to appoint as many new peers as might be needed for their legislation to pass unimpeded through an otherwise unsympathetic House of Lords.  That wasn’t needed as things transpired but in Queensland, the new members of the Legislative Council duly took their places and on 26 October 1921, the upper house voted in favor of abolition, the new appointees known forever as "the suicide squad".  Despite the success, the trend didn't spread and the Commonwealth parliament and those of the other five states remain bicameral although the two recent creations, established when limited self-government was granted to the Northern Territory (NT) and Australian Capital Territory (ACT), both had unicameral assemblies.

Margot Robbie (b 1990) in costume as Harley Quinn (a comic book character created by DC Comics), Suicide Squad (2016).

Across the Tasman Sea (which locals call "the ditch"), the New Zealand upper house lasted another three decades but it’s eventual demise came about not because of conflict but because the institution was increasing viewed as comatose, rejecting nothing, contributing little and rarely inclined even to criticize.  Unlike in England and Queensland, in New Zealand the abolition movement enjoyed cross-party support, left and right (although the latter in those days were pretty leftist), united in their bored disdain.  One practical impediment was the New Zealand parliament couldn’t amend the country’s constitution because no government had ever bothered to adopt the Statute of Westminster (1931) by which the Imperial Parliament had granted effective independence to the Dominions but in 1947 this was done.  Despite that, the Labour Party didn’t act and after prevailing in the 1950 general election, it was a National Party administration which passed the Legislative Council Abolition Act, its passage assured after a twenty-member “suicide squad” was appointed and the upper house’s meeting of 1 December 1950 proved its last.  Opposition from within the chamber had actually been muted, presumably because to sweeten the deal, the government used some of the money saved to pay some generous “retirement benefits” for the displaced politicians.  New Zealand since has continued as a unitary state with a unicameral legislature.

Pineapples.

In the Far East (the practice documented in Japan, the PRC (People's Republic of China) and the renegade province of Taiwan), fruit sellers offer pineapples for sale of the basis of “Murder” (谋杀 and variants) or “Suicide” (自殺する and variants).  Ominous as it sounds, it's just commercial shorthand.  Pineapples being more difficult to handle than many fruits, fruit shops offer the “murder” service in which staff will (for a small fee) peel and chop as required.  Those prepared to do their own preparation at home can take the “suicide” option and (at a lesser cost) purchase the whole fruit, skin and all.  There are many reasons to eat pineapple.

Suicide doors

1928 Mercedes-Benz Nürburg (W08) with four rear-hinged doors.

It wasn’t until the 1950s the practice of hinging doors from the front became (almost) standardized.  Prior to that, they’d opened from the front or rear, some vehicles featuring both.  The rear-hinged doors became known as suicide doors because they were genuinely dangerous (in the pre-seat belt era), the physics of them opening while the car was at speed had the effect of dragging the passenger into the airstream.  Additionally, it was said they were more likely to injure people if struck by passing vehicles while being opened although the consequences of being struck by a car sound severe whatever the circumstances.

2021 Rolls-Royce Phantom VIII Tempus.

Still used in the 1960s by Lincoln, Ford and Rolls-Royce, they were phased out as post-Nader safety regulations began to be applied to automotive design and were thought extinct when the four door Ford Thunderbirds ceased production in 1971.  However, after being seen in a few design exercises over the decades, Rolls-Royce included them on the Phantom VII, introduced in 2003, the feature carried over to the Phantom VIII in 2017.  Like other manufacturers, Rolls-Royce has no fondness for the term suicide doors, preferring to call them coach doors; nomenclature from other marketing departments including flex doors and freestyle doors.  Engineers are less impressed by silly words, noting the correct term is rear-hinged and these days, mechanisms are included to ensure they can be opened only when the vehicle is at rest.  Encouraged by the reaction, Rolls-Royce brought back the rear-hinged door for their fixed (FHC) and drop-head (DHC) coupés although, despite the retro-touch, the factory seems now content usually to call them simply coupés and convertibles.  

1971 Ford Thunderbird Landau.

In a nod to a shifting market, when the fifth generation Thunderbird was introduced in 1967, the four-door replaced the convertible which had been a staple of the line since 1955.  Probably the only car ever visually improved by a vinyl roof, the four-door was unique to the 1967-1971 generation, its replacement offered only as a coupé.  The decision effectively to reposition the model was taken to avoid a conflict with the new Mercury Cougar, the Thunderbird moving to the "personal coupé" segment which would become so popular.  So popular in fact that within a short time Ford would find space both for the Thunderbird and the Continental Mark III, changing tastes by the 1970s meaning the Cougar would also be positioned there along with a lower-priced Thunderbird derivative, the Elite.  Such was the demand for the personal coupé that one manufacturer successfully could support four models in the space, sometimes with over-lapping price-points depending on the options.  The four-door Thunderbirds are unique in being the only car ever built where the appearance was improved by the presence of a vinyl roof, the unusual semi-integration of the rear door with the C pillar necessitating something be done to try to conceal the ungainliness, the fake "landau irons" part of the illusion.

1967 Lincoln Continental convertible.  The later cars with the longer wheelbase are popular as wedding cars because the suicide doors can make ingress & egress more elegant for brides with big dresses although those with big hair often veto the lowering of the roof until after the photos have been taken.

The combination of the suicide door, the four-door coachwork and perhaps even the association with the death of President Kennedy has long made the convertible a magnet for collectors but among American cars of the era, it is different in that although the drive-train is typical of the simple, robust engineering then used, it's packed also with what can be an intimidating array of electrical and hydraulic systems which require both expertise and equipment properly to maintain.  That need has kept a handful of specialists in business for decades, often rectifying the mistakes of others.  It was unique; after the last of the even rarer Mercedes-Benz 300d Cabriolet Ds left the line in 1962, Lincoln alone offered anything in the once well-populated niche.

LBJ's 1964 Lincoln Continental convertible.

The four-door convertible's most famous owner was Lyndon Johnson (LBJ, 1908–1973; US president 1963-1969) who would use it to drive visitors around his Texas ranch (often with opened can of Pearl beer in hand according to LBJ folklore).  While never a big seller (21,347 made over seven years and it achieved fewer than 4,000 sales even in its best year), it was the most publicized of the line and to this day remains a staple in film & television productions needing verisimilitude of the era.  The convertible was discontinued after 1967 when 2276 were built, the two-door hardtop introduced the year before out-selling it five to one.  The market had spoken; it would be the last convertible Lincoln ever produced and it's now a collectable, LBJ's 1964 model in 2024 selling at auction for US$200,000 and fully restored examples without a celebrity connection regularly trade at well into five figures, illustrating the magic of the coach-work.

A mother watching her daughter enter her 1963 Lincoln Continental, the door held open by the girl's brother.  These are two of the family's 2.66 (1964 average) children.

Ford's advertising agency rose to the occasion when producing copy for the four-door convertible.  They certainly had scope because it was unique so many superlatives and adjectives which usually were little more than "mere puffery" would in this case have been literally true.  It was though a case of making "a silk purse from a sow's ear" because Lincoln adopted the suicide doors only because the car's wheelbase was too short for conventionally (forward) hinged doors to provide a sufficiently wide gap for entry and exit.  While that may sound a strange thing to plague a new design, the 1961 Continental was built on the platform of a proposed Ford Thunderbird which would have been available only with a two-door body and despite what the advertising copy suggests, even with the use of suicide doors, access to the rear compartment was tight, something not rectified until the wheelbase (123 inches (3,124 mm) for 1961-1963 & 126 inches (3,200 mm) for 1964-1969) was extended.     

Lincoln Continental concepts, Los Angeles Motor Show, 2002 (left) and New York Motors Show 2015 (right).

The Lincoln Continental for decades remained successful after the "great des-sizing" began in 1979 and despite the perceptions of some, the generation which was least-well received was that (1982-1987) based on Ford's smaller "Fox" platform, sales rebounding when the larger eighth generation (1988-1994) made it debut and that was despite the switch to FWD (front-wheel-drive) and the lack of a V8; clearly for Lincoln buyers it was size which mattered rather than the details of what lay beneath and presumably many neither knew, could tell or cared it was FWD, a configuration which anyway increased interior space, something of more tangible benefit to most than what could be achieved on a slalom course.  Interest by the late 1990s was however dwindling and the nameplate suffered a fourteen year hiatus between 2002-2016.  Unfortunately, the resuscitation (without suicide doors) used as its inspiration the concept car displayed at the 2015 New York International Auto Show rather than the one so admired at Los Angeles in 2002.  The LA concept might not have been original but was an elegant and accomplished design, unlike what was offered in NYC fifteen years later: a dreary mash-up which looked something like a big Hyundai or a Chinese knock-off of a Maybach.  The public response was muted.

2019 Lincoln Continental Eightieth Anniversary Edition.

The tenth generation (2017-2020) managed what were by historic standards modest sales but by 2019, it seemed clear the thing was on death-watch but Lincoln surprised the industry with a batch of eighty LWB (long wheelbase) models with suicide doors to mark the eightieth anniversary of the Continental’s introduction in 1939.  Although there were those who suggested the relatively cheap process of a stretch and a re-hinge of the back-doors was a cynical way to turn a US$72K car into one costing US$102K and was likely aimed at the Chinese market where a higher price tag and more shiny stuff is thought synonymous with good taste, the anniversary models were sold only in the home market. Although even at the high price there was enough demand to induce ford to do a run of another 150 (non-commemorative) suicide door versions for 2020, the retro gesture proved not enough to save the breed and it was announced production would end on 30 October 2020 with no replacement listed.  Not only was the announcement expected but so was the reaction; the market having long lost interest in the uninspiring twenty-first century Continentals, few expressed regret.  The name-plate however, one of the most storied in the Ford cupboard, will doubtless one day return.  What it will look like is unpredictable but few expect it will match the elegance of what was done in the 1960s.

Haile Selassie I (1892-1975; Emperor of Ethiopia 1930-1974) being received by a ceremonial guard after alighting from the 1966 Vanden Plas Princess 4 Litre (DM4) Limousine of the Governor-General of Jamaica, 21 April 1966 (left) and Vanden Plas Princess with suicide doors open (right).

Emperor Haile Selassie’s 1966 state visit to Jamaica and the Caribbean has since been celebrated by Rastafari as “Grounation Day”, the term based on the emperor declining to walk on the red carpet provided in accordance with protocol because he wished to “make contact with the soil”.  Among many of the Rastafari (a movement which emerged in the 1930s, taking its name from Ras (the emperor’s pre-imperial name Ras)) Haile Selassie was worshipped as God incarnate, the messiah who delivered the peoples of Africa and the African diaspora to freedom from colonial oppression.  The limousine had been delivered to the island some six weeks earlier for the use of Elizabeth II (1926-2022; Queen of the UK and other places, 1952-2022) during her royal tour after which, she returned to London and the car was re-allocated to Government House as the viceroy’s official vehicle.  While it looked like something left over from pre-war days, for its intended purpose it was ideal, the rear compartment capacious, luxuriously trimmed and tall, making it suitable for those wearing even the highest plumed hats.  Into this welcoming space, occupants stepped through suicide doors which offered unparalleled ease of entry and departure, especially for the diminutive Haile Selassie who would barely have needed to bow his head.

1965 Vanden Plas Princess 4 Litre (DM4) Limousine Landaulette (left) and 1940s advertisement for Dickson automatic rear door-locks.

Based on a car which was even upon its debut in 1952 seemed old fashioned, by 1968 when production finally ended, the Vanden Plas Princess was, stylistically and technically, a true relic and it’s remarkable that complete with a split windscreen of two flat panes, it was a contemporary of machines like the Lincoln Continental, Jaguar XJ6 and NSU Ro80.  It was very much a case it being better to be inside a DM4 among burled walnut and West of England Cloth (durable leather was for chauffeurs and other servants who rode up front) looking (and for some, waving) out than on the outside looking in.  What must seem even more remarkable was that despite picking up a nickname like “suicide doors”, governments for decades did nothing to compel manufacturers to fit the small, cheap mechanisms (available on the aftermarket for US$3.95 a pair) which would prevent the doors opening while the car was in motion.  These potentially life-saving devices were not expensive and if installed in bulk on production lines, the unit cost would not much have exceeded US$1.00.  It was another world and not until the 1960s did the rising death toll compel legislatures to take seriously the matter of automotive safety.

1968 Vanden Plas Princess 4 Litre (DM4) "facelift prototype".

Vanden Plas did in 1968 belatedly plan an update of the DM4 which sort of "brought it into the 1950s" although for the target market, that may have been no bad thing.  By then however Harold Wilson's (1916–1995; UK prime minister 1964-1970 & 1974-1976) Labour Party government had engineered the "great coming together" which was the ultimately doomed British Leyland and with Jaguar also in the conglomerate, their much more advanced Daimler DS420 (1968-1992) limousine was obviously superior and there was no place for the "modernized DM4", the grafting of quad headlights and a one-piece windscreen not enough to save the relic from extinction.  Along with New Zealand's curious hybrid model of the 1970s, the Wilson government was the West's only serious attempt to combine political freedom with a quasi-socialist planned (if not quite command) economy and the reactions to the lessons provided by British Leyland (and other state ventures) contributed to the hegemony of the neo-liberal model which for the last four-decades odd has done what it's done.  

When used by the wedding and hire car industries, some operators took advantage of many of the English limousines from the 1950s & 1960s being fitted with version of the GM (General Motors) Hydramatic automatic transmission, installing in each centre-post a dead-bolt activated by an electrical solenoid, the system triggered by “on” by the shift lever being in drive (locking the rear doors) and “off” by moving the lever to neutral (withdrawing the bolt).  Vanden Plas did at least on some models include on the dashboard a pair of red lights which brightly would glow if the corresponding left or right door was not completely closed.  The much more expensive Rolls-Royce limousines had no such “safety lights”; passengers in those were on their own.  It was not a theoretical problem because there were many documented cases of passengers, especially those sitting (without seat belts) in the jump-seats leaning against the doors, sometimes pressing down the handle, cause the door to open.

1960 Facel Vega Excellence EX1.

The four-door Facel Vegas featured suicide doors which were among the most potentially dangerous because of the dubious (though elegant) engineering in the locking mechanisms.  Note also the "dog leg" of the A-Pillar (windscreen), a styling trend borrowed from Detroit which caused many injuries to knees and one victim was Richard Nixon (1913-1994; US president 1969-1974) who who in August, 1960 suffered a hit during his doomed campaign for that year's presidential election.  It resulted in a staphylococci infection which for two weeks confined him to bed in Walter Reed Hospital at a time when his opponent (John Kennedy (JFK, 1917–1963; US president 1961-1963) was travelling the country campaigning and for a born politician like Nixon it wouldn't have been much consolation that his bedside well-wishers included Lyndon Johnson and Barry Goldwater (1909–1998; Republican Party nominee for the 1964 US presidential election); hearing those two were walking down the corridor, he may have wondered if he could fake his own death.  One biographer suggested the injury happened because his team deliberately chose to use a cheaper Chevrolet rather than a "larger" Cadillac in order to project a less elitist image.  While the reason for the choice of car was true, the impact injury would anyway likely have happened because, beginning with the 1959 range, for reasons of production-line rationalization, Chevrolet & Cadillac (along with corporate stable-mates Buick, Oldsmobile & Pontiac) all shared GM's corporate C-Body platform and while between divisions there were sometimes dimensional differences (notably in wheelbases), the front doors, A-Pillars and seat mounting points were identical in all.    

If compatible (which seems improbable given the novelty of this French approach to door-latch design), the Dickson locks would have been a worthwhile addition for the Facel Vega Excellence (1956-1964) which, in a triumph of fashion over function, had no B-Pillar (ie the central one between the doors) at all, the suicide doors secured only by a locking mechanism in the door sill, something which worked well in static testing but on the road, lateral stresses induced during cornering meant the doors were apt to “fly open”, something to ponder in the pre-seat-belt era.  The completely pillarless look did however look good so there was that.  One of the most glamorous machines of the era, many celebrities were drawn to Facel Vegas but the most infamous association was with the author Albert Camus (1913–1960), killed instantly when the FV3B in which he was a passenger crashed into a tree; the car was being driven by his publisher, Michel Gallimard (1917–1960), who was mortally injured, dying within days.  Although the accident happened on a long, straight section of road, the conditions were icy and the official cause was listed as "...a loss of control while travelling at an excessive speed for the conditions".  The FV3B was a two-door coupé so there was no link with the suicide doors used on the Excellence, the possibility of tyre failure has always been speculative and there's now little support for the conspiracy theory (which long circulated) suggesting the KGB may have sabotaged the car because of the author's anti-Soviet stance.  Powered by a variety of Chrysler V8s (the "Hemi", "Poly" & "Wedge" all at times used), the "big" Facel Vegas (1954-1964; some 506 coupés, 156 sedans and a reputed 11 cabriolets) were France's finest cars of the post-war years but the decision to produce a smaller range doomed the company.  The concept was sound, the market existed and the product was well-designed but the French-made four-cylinder engine proved chronically (and insolubly) unreliable; by the time a version powered by a robust Volvo unit was ready, warranty claims and the costs of the re-engineering had driven Facel Vega bankrupt.

Lure of the tragic

Evelyn McHale: "The most beautiful suicide".

Predictably, it’s the suicides of celebrities (however defined) which attract most interest but there’s a fascination also with those by young women and that’s understandable because of the lure of youthful beauty and tragedy.  The photograph remembered as “the most beautiful suicide” was taken by photography student Robert Wiles (1909-1991), some four minutes after the victim's death.  Evelyn Francis McHale (1923–1947) was a bookkeeper who threw herself to her death from the 86th-floor observation deck of New York's Empire State Building, landing on a Cadillac limousine attached to the General Assembly of the United Nations (UN) which was parked on 34th street, some 200 feet (60 m) west of Fifth Ave.  The police would later find he last note which read: “I don’t want anyone in or out of my family to see any part of me. Could you destroy my body by cremation?  I beg of you and my family – don’t have any service for me or remembrance for me.  My fiance asked me to marry him in June.  I don’t think I would make a good wife for anybody. He is much better off without me.  Tell my father, I have too many of my mother’s tendencies.”  It was reported her mother suffered from “an undiagnosed and untreated depression”.

Mary Miller and the "Genesee Hotel Suicide".  Earlier postcard of the Genesse Hotel with eighth floor ledge indicated by yellow arrow (left) and Mr Sorgi's photograph (centre) of the suicide's aftermath (right).

In many parts of the world, it’s now unusual if someone is not carrying a device able instantly to capture HD (high-definition) images & video footage but until relatively recently, cameras rarely were taken from the home unless to use them at set piece events such as vacations or parties.  Not only are people now able to record what they see but within seconds, images and clips can be transmitted just about anywhere in the world, some “going viral”.  This proliferation of content has had many implications, one noted phenomenon it seeming now more likely someone will film another at imminent risk of death or injury than offer to assist; psychiatrists, sociologists and such have offered views on that but the behaviour, at least in some cases might be better explained by lawyers and economists.

In 1942 it was mostly professional photographers who routinely would have to hand a camera and the devices were not then like the instantly available “point & shoot” technology of the digital age, the process then a cocktail of loading physical film-stock, assessing the light, adjusting the aperture and maybe even swapping lens.  The photograph (the lens wide-open and the shutter was set to a 1000th of a second), of Mary Millar (1907-1942), mid-flight in her leap to death from an eighth-floor ledge of the Genesee Hotel in Buffalo, New York was a thing most unusual: an anyway rare event happening when someone stood ready to take the picture.  When published, the photograph was captioned “Suicide” or “The Genesee Hotel Suicide” but the popular press couldn’t resist embellishment, one using the title “The Despondent Divorcee” which was in the tabloid tradition of “making stuff up”; Ms Millar had never been married and not in a relationship.  She left no suicide note.

Ignatius Russell Sorgi (1912-1995) was a staff photographer on Buffalo’s Courier Express who on 7 May, 1942 happened to take a different route back to the office when he saw a police car speeding down the road, sirens blaring.  Accordingly, in the “ambulance chasing” tradition, he followed, not knowing what he’d see but knew it might be news-worthy and gain him a front-page credit: “I snatched my camera from the car and took two quick shots as she seemed to hesitate…As quickly as possible I shoved the exposed film into the case and reached for a fresh holder.  I no sooner had pulled the slide out and got set for another shot than she waved to the crowd below and pushed herself into space.  Screams and shouts burst from the horrified onlookers as her body plummeted toward the street.  I took a firm grip on myself, waited until the woman passed the second or third story, and then shot.

Thursday, August 28, 2025

Houndstooth

Houndstooth (pronounced houns-tuth)

(1) A two-colour fabric pattern of broken checks (multi-color versions using the pattern do now exist and are also so-described).

(2) Fabric with a houndstooth pattern; an item of clothing made with such fabric.

(3) In botany, as Cynoglossum officinale (houndstongue, houndstooth, dog's tongue, gypsy flower (and “rats and mice” due to its smell), a herbaceous plant of the family Boraginaceae.

1936: A word, based on the appearance of the design, the pattern (in architecture, decorative art, fabric etc) is ancient but the descriptive term “houndstooth” has been in use only since 1936.  The shape is sometimes referred to as dogstooth (or dog's tooth) and in French it’s the more pleasing pied-de-poule (chicken feet), preferred also by the Italians.  In 1936 there must have been pedants who insisted it should have been “hound's tooth” because that does appear in some advertisements but in commercial use, houndstooth quickly was standardized.  The name was chosen a reference directly to a dog’s tooth, not the pattern of teeth marks left by its bite.  The construct was hounds + tooth.  Hound was from the Middle English hound, from the Old English hund, from the Proto-West Germanic hund, from the Proto-Germanic hundaz and was congnate with the West Frisian hûn, the Dutch hond, the Luxembourgish Hond, the German Hund, the German Low German Hund, the Danish hund, the Faroese hundur, the Icelandic hundur, the Norwegian Bokmål hund, the Norwegian Nynorsk hund and the Swedish hund, from the pre-Germanic untós (which may be compared with the Latvian sùnt-ene (big dog), an enlargement of the primitive Indo-European w (dog).  Elsewhere, the forms included the Old Irish (dog), the Tocharian B ku, the Lithuanian šuõ, the Armenian շուն (šun), and the Russian сука (suka)).  

In England, as late as the fourteenth century, “hound” remained the word in general use to describe most domestic canines while “dog” was used of a sub-type resembling the modern mastiff and bulldog.  By the sixteenth century, dog had displaced hound as the general word descriptor. The latter coming to be restricted to breeds used for hunting and in the same era, the word dog was adopted by several continental European languages as their word for mastiff.  Dog was from the Middle English dogge (source also of the Scots dug (dog)), from the Old English dogga & docga of uncertain origin.  Interestingly, the original sense appears to have been of a “common dog” (as opposed one well-bred), much as “cur” was later used and there’s evidence it was applied especially to stocky dogs of an unpleasing appearance.  Etymologists have pondered the origin:  It may have been a pet-form diminutive with the suffix -ga (the similar models being compare frocga (frog) & picga (pig), appended to a base dog-, or doc-(the origin and meaning of these unclear). Another possibility is Old English dox (dark, swarthy) (a la frocga from frog) while some have suggested a link to the Proto-West Germanic dugan (to be suitable), the origin of Old English dugan (to be good, worthy, useful), the English dow and the German taugen; the theory is based on the idea that it could have been a child’s epithet for dogs, used in the sense of “a good or helpful animal”.  Few support that and more are persuaded there may be some relationship with docce (stock, muscle), from the Proto-West Germanic dokkā (round mass, ball, muscle, doll), from which English gained dock (stumpy tail).  In fourteenth century England, hound (from the Old English hund) was the general word applied to all domestic canines while dog referred to some sub-types (typically those close in appearance to the modern mastiff and bulldog.  In German, the form endures as der Hund (the dog) & die Hunde (the dogs) and the houndstooth pattern is Hahnentritt.  Houndstooth is a noun; the noun plural is houndsteeth.  Strictly speaking, it may be that certain use of the plural (such as several houndstooth jackets) should be called “houndstooths” but this is an ugly word which should be avoided and no sources seem to list it as standard.  The same practice seems to have been adopted for handing the plural of cars called “Statesman”, “statesmen” seeming just an absurdity.

Although the classic black & white remains the industry staple, designer colors are now not uncommon.

In modern use in English, a “hound” seems to be thought of as a certain sort of dog, usually large, with a finely honed sense of smell and used (often in packs) for hunting and the sense development may also have been influenced by the novel The Hound of the Baskervilles (1901-1902) by the physician Sir Arthur Conan Doyle (1859–1930).  The best regarded of Conan Doyle’s four novels, it’s set in the gloomy fog of Dartmoor in England’s West Country and is the tale of the search for a “fearsome, diabolical hound of supernatural origin”.  The author's name is an example of how conventions of use influence things.  He's long been referred to as “Sir Arthur Conan Doyle” or “Conan Doyle” which would imply the surname “Conan Doyle” but his surname was “Doyle” and he was baptized with the Christian names “Arthur Ignatius Conan”, the “Conan” from his godfather.  Some academic and literary libraries do list him as “Doyle” but he's now referred to almost universally as “Conan Doyle” and the name “Arthur Doyle” would be as un-associated with him as “George Shaw” would with George Bernard Shaw (GBS; 1856-1950).  Conan Doyle's most famous creation was of course the detective Sherlock Holmes and he wore a houndstooth deerstalker cap.   Tooth (a hard, calcareous structure present in the mouth of many vertebrate animals, generally used for biting and chewing food) was from the Middle English tothe, toth & tooth, from the Old English tōþ (tooth), from the Proto-West Germanic tanþ, from the Proto-Germanic tanþs (tooth), from the primitive Indo-European h₃dónts (tooth) and related to tusk.

Lindsay Lohan in monochrome check jacket, Dorchester Hotel, London, June 2017 (left), Lindsay Lohan in L.A.M.B. Lambstooth Sweater, Los Angeles, April 2005 (centre) and racing driver Sir Lewis Hamilton (b 1985) in a Burberry Houndstooth ensemble, Annual FIA Prize Giving Ceremony, Baku, Azerbaijan, December 2023 (right).  The Fédération Internationale de l'Automobile (the FIA; the International Automobile Federation) is world sport's dopiest regulatory body.  Although, at a distance, a wide range of fabrics look like houndstooth, some are really simple symmetrical, monochrome checks without the distinctive pattern and where designers have varied the shape, other descriptors (and L.A.M.B. couldn’t resist “lambstooth”) are used, something which helps also with product differentiation.  Sir Lewis though, sticks to the classics.  Regarded as the most fashion conscious of the Formula One drivers of his generation, it’s clear that assiduously he studies Lohanic fashion directions.

Designers consider houndstooth part of the plaid “family”, the jagged contours of the shape the point of differentiation from most which tend towards uniform, straight lines.  Although for the archaeological record its clear the concept of the design has an ancient lineage, what’s now thought of as the “classic” black & white houndstooth was defined in the mid-nineteenth century when it began to be produced at scale in the Scottish lowlands, in parallel with the plaid most associated with the culture, the tartan (although in some aspects the “history & cultural traditions” of tartan were a bit of a commercial construct).  Technically, a houndstooth is a two tone (the term monochrome often used in the industry to convey the idea of “black & white” (a la photography) rather than being etymologically accurate) plaid in four bands, two of each color (in both the weft & warp weave), woven with the simple 2:2 twill.  One of the charms of the design is that with slight variations in size and scale, different effects can be achieved and color mixes are now not uncommon although the classic black & white remains the standard.

Houndstooth has received the imprimatur of more than one Princess of Wales: Catherine, Princess of Wales (b 1982, left) and Diana, Princess of Wales (1961-1997, right) in a typically daring color mix.

The history in the Lowlands is murky but it seems certain the early fabrics were woven from wool which makes sense given the importance of sheep to the economy and the early garments were utilitarian, often cloak-like outer garments for those tending the flocks.  The early term was “shepherd’s check” which became first “dogstooth” and then “houndstooth”, canine teeth something with which shepherds would have been familiar because of the threat to their animals from the predations of wild dogs.  Fabric with smaller checks could be called “puppycheck”.  Interestingly, despite its striking appearance, the houndstooth pattern remained a generic and was never adopted as a family or clan symbol, a la the tartans.  It gained a new popularity in the 1930s when photographs began to appear of members of the British royal family and various gentry wearing houndstooth jackets while hunting or riding, thus the association with wealth and privilege which so appealed to the middle class who started wearing them too.  By the time designers began to put them on the catwalks, houndstooth’s future was assured.

Actor Anya Taylor-Joy (b 1996) in ankle-length, collared houndstooth cape with matching mini-skirt by Jonathan Anderson (b 1984; creative director of Christian Dior since 2025) over a sleeveless, white, button-down vest and black, stiletto pumps, Paris Fashion Week, October, 2025.

The car is a Rolls-Royce Silver Spirit (1980-1997), the first of the SZ Series platform which would serve the line until 2003.  The Silver Spirit (and the companion LWB (long wheelbase) variant the Silver Spur (1980-2000)) was mechanically little changed from the Silver Shadow (1965-1980) but with styling updated with hints from the still controversial Camargue (1975-1986), a somewhat ungainly two-door saloon designed by Pininfarina which, as an addition to the range which included the conceptually identical Corniche (under various names available since 1966), appeared to have no purpose other than being positioned as the “world’s most expensive car” but that was apparently enough; even in the troubled 1970s, there was a demand for Veblen products.

In the closet: The ensemble awaits.

There were nice touches in the cape, a highlight of the detailing the arpeggiating used for the hem.  In sewing, the arpeggiated stitch is a technique in hand-stitching that creates an invisible and durable finish by catching only a single thread from the main fabric with each stitch.  This demands the hem be folded, turning the garment inside out allowing a hand-held needle to form small, V-shaped stitches by piercing the seam allowance and then the main fabric.  For the necessary robustness to be achieved, the stitching is kept deliberately loose (preventing pulling which would distort the line) with the finished hem pressed and steamed further to conceal the stitch-work.  Obviously labor intensive and therefore expensive to implement, it’s used in garments where the most immaculate finish is desired and although it’s now possible partially to emulate the effect using machine-stitching, the fashion houses know that for their finest, the old ways are best.

Poetry in motion: The lovely Anya Taylor-Joy on the move, illustrating the way the fashion industry cuts its capes to provide a "framing effect" for the rest of the outfit.

Amusingly, although the industry is sensitive to the issue of cultural appropriation (and especially so if matters end up in court), the term “arpeggiated” was “borrowed” from music.  In music, arpeggiate describes the playing of a chord as an arpeggio (the notes of a chord played individually instead of simultaneously, moving usually from lowest to highest but the same word is used whether notes are rising or falling).  It was from the Italian arpeggiare (to play on a harp), the construct being arpa (harp) + -eggiare (a suffix from the Late Latin -izāre and used to form verbs from adjectives or nouns).  The connection comes from the harp’s sound being associated with flowing sequences of notes rather than “block sounds”.  So, the word can be understood as meaning “broken into a rhythmic or sequential pattern, note by note” and the use in sewing (as “arpeggiated stitch”) took the metaphorically from the musical term, referencing a series of short, regularly spaced diagonal or looped stitches that create a flowing, undulating pattern (ie a rising and falling wave-like progression rather than a static block).

Anya Taylor-Joy in cape, swishing around.

Capes often are spoken of as having an “equestrian look” and it’s true capes do have a long tradition on horseback, both in military and civilian use although in fashion the traditional cut of the fabric has evolved into something better thought of as a “framing effect” for what is worn beneath.  That differs from the more enveloping capes worn by those in professions as diverse as cavalry officers and nomadic sheep herders form whom a cape was there to afford protection from the elements and to act as barrier to the dust and mud which is a way of life in such professions.  On the catwalks and red carpets there’s not usually much mud thrown about (other than metaphorically when the “best & worst dressed” lists appear) and the cape is there just for the visual effect.  That effect is best understood on the move because a cape on its hanger is a lifeless thing whereas when on someone walking so it can flow, coming alive; models become expert in exploiting the billowing made possible by the “sail-like” behavior of the fabric when the fluid dynamics of air are allowed to do their stuff.  A skilled model can make a cape swish seductively. 

1969 Holden Monaro GTS 350 (left), 1972 Holden Monaro GTS 308 (centre) and 1977 Chrysler Cordoba (right).

Despite the popular perception, not all the “personal luxury” Chryslers of the era and not even all the Cordobas (1975-1983) were finished in “Rich Corinthian Leather” although until a one-off appearance in brochures for the 1975 Imperials, the Corinthian hides were exclusive to the Cordoba.  For passenger car interiors, houndstooth (rendered usually with a synthetic material) enjoyed a late mid-century spate of popularity, used for what were called generically “cloth inserts” and the use of houndstooth trended towards vehicles marketed as “sporty” whereas for luxury cars plusher fabrics like velour were preferred.  The cloth inserts were usually paired with vinyl although in some more expensive ranges they were used with leather.

Houndstooth (left), Pepita (Shepherd's Check) (centre) and Vichy Check (right).

For decades, it’s been common to refer to the optional upholstery offered by Porsche in the 1960s as “houndstooth” but according to Recaro Automotive Seating, the German concern which supplied the fabric, the correct name is “Pepita” (known also as “Shepherd’s Check”), a design built with interconnected squares.  What has happened is that “houndstooth” has for most purposes in colloquial English become a generic term, used to describe anything “houndstoothesque” and it’s an understandable trend given that not only would a close examination be required to determine which pattern appears on a fabric, unless one is well-acquainted with the differences in shape, most would be none the wiser.  Nor did Recaro use “Vichy Check” for the seats they trimmed for Porsche although that erroneous claim too is sometimes made.  Further confusing the history, when Stuttgarter Karosseriewerk Reutter (Porsche’s original supplier) started production of seats used in the Porsche 356 (1948-1965) a number of fabrics were offered including one in nylon in a similar black-and-white pattern which was neither houndstooth nor Pepita.

1967 Porsche 911S, trimmed in Recaro Pepita.

The Reutter family founded Recaro in 1963 and in December that year the first Pepita pattern fabrics were made commercially available, used on the later Porsche 356Cs, the 911 (which briefly was called the 901) & the 912.  Porsche’s best known use of the pepita fabric was on the Recaro Sportsitz (Sport seat), first displayed at the 1965 Frankfurt Motor Show and they’re a prized part of the early 911S models, the first of which were delivered in the northern summer of 1966.  At that point, the Pepita fabric became a factory option for the 911 and the last use was in the Recaro Idealsitz (Ideal seat), offered only in 1970–71 in black & white, red & beige, brown & beige and blue & green.  In a nostalgic nod, Porsche returned Pepita seats to the option list for the 911 legacy model, released in 2013 to mark the car’s 50th anniversary although Recaro was not involved in the production.

1969 Porsche 912.  The Pepita key-fob, sun visors and dashboard trim will appeal to some.

The factory at the time didn't apply the Pepita fabric quite so liberally but the originality police seem more indulgent towards departures from specification in 912s, especially if done in a way the factory might have done it; if seen on a 911, automatically, they deduct points.  The Porsche 912 (1965-1969 & (as 912E) 1976) was essentially a four-cylinder version of the 911 with less standard equipment and the early models used a version of the air-cooled flat-four from the superseded 356 (1948-1965).  It was highly successful (initially out-selling the much more expensive, six-cylinder, 911) and production ceased only because the factory’s capacity was needed for the new 914 (1969-1976) which, being mid-engined, Porsche believed was a harbinger for its future sports cars, there being little belief the rear-engine configuration would endure into the 1980s.  However, the customer always being right, things didn’t work out that way and, still in high demand, the rear-engined 911 has already entered the second quarter of the twenty-first century.  The 912E was a single-season “stop-gap model” for the US market to provide an entry-level Porsche between the end of 914 production and the introduction of the front-engined 924 (1976-1988).  Like the four-cylinder 914s and the early 924s, the 912E used a Volkswagen engine, Porsches old 356 unit having never been made compliant with emission control regulations.  Long something of an orphan, the 912 now has a following and while there are faithful restorations, modifications are not uncommon, many with interior appointment upgraded to include those used on the more expensive 911s (though Pepita sun-visors will for most be a resto-mod too far).

Reception Chairs with Porsche Pepita-style fabric by 1600 Veloce.

While not all Porsche owners “have everything”, some presumably do so buying them a present can be a challenge.  However, there exists in the collector car business a minor collateral trade in thematically attuned peripheral pieces including models of stuff which can be larger than the original (hood ornaments, badges and such) or smaller (whole cars, go-karts etc).  Parts can also be repurposed, the best known of which are internally-damaged engines re-imagined as coffee-tables (almost always with glass tops) but there are also chairs and occasional tables.  Ideal for a collector, Porsche dealership or restoration house, specialists will trim chairs and occasional tables in the distinctive Pepita fabric, which, being black & white, might even get a tick of approval from interior decorators, a notoriously judgmental lot.  Some even offer rugs in the style but fibre floor-coverings even partly white can be tiresome to own.  For those who want a later motif, furniture has been made using the even more distinctive “Porsche Pasha” which, being jarringly asymmetric, needs the eye of an expert upholsterer for things to line-up in a pleasing way.

Matching numbers, matching houndstooth: 1970 Holden HG GTS 350 Monaro in Indy Orange with black detailing (paint combo code 567-122040) and houndstooth cloth seat inserts in Indy Orange & black (trim code 1199-10Z).  This car (VIN: 81837GJ255169; Model: HG81837; Chassis: HG16214M) is one of the most prized Monaros because the specification includes a 350 cubic inch (5.7 litre) small block Chevrolet V8 (L48) with the “McKinnon block”, paired with the four-speed manual Saginaw (variously the 2.54:1 M21 or 2.85:1 M22) gearbox.  Holden built 405 HG GTS 350s, 264 as manuals and 141 with the two-speed Powerglide automatic transmission.  “McKinnon” is a reference to the General Motors (GM) McKinnon Industries plant in St. Catharine's, Ontario where the blocks were cast; many of the the “American” cars exported to the UK, Australia, New Zealand and elsewhere in the Commonwealth often came from Canada because of the lower tariff rates, a legacy of the old "Commonwealth Preference scheme", the last relic of the chimera of "Imperial Free Trade".  Despite the UK in 1973 joining the EEC (European Economic Community, the institution which ultimately became the EU (European Union), some of Detroit's Australian outposts would until 1976 retain a small export flow of cars to the UK, their relatively large size and V8 engines inhabiting a limited but lucrative niche.

Very 1970s: GM's Black & Indy Orange houndstooth fabric; in the US it was also offered in the Chevrolet Camaro.  What was it about brown & orange in the 1970s?

Introduced in 1968, the Holden Monaro was the car which triggered Australia’s brief flirtation with big (in local terms, in US nomenclature  the cars were “compact” size) coupés, a fad which would fade away by the mid 1970s.  It had been Ford which had first tested the market with a Falcon two-door hardtop (XM, 1964-1965 & XP, 1965-1966) but when the restyled model was released, it was again based on the US Falcon and the range no longer included a two-door hardtop, the wildly successful Mustang having rendered it unnecessary.  There was in the US still a two-door Falcon sedan but it was thought to have limited appeal in Australia so was never offered meaning Ford didn’t have a model comparable with the Monaro until the XA Falcon Hardtop made its debut late in 1972 although by then the brief moment had almost passed.  While the Falcon Hardtop proved successful as a race-car, sales never met expectations, compelling the factory to produce a number of promotional "special models", usually unchanged in mechanical specification but with distinctive paint schemes and "bundled options", the latter at a notional discount.

1970 Ford Mustang Grandé in New Lime Metallic with Ivy Green Corinthian Vinyl and houndstooth Cloth trim with houndstooth vinyl roof in green & black.

In 1969, when introducing the Mustang Grandé, Ford attempted to remove any ambiguity by using an “é” with a l'accent aigu (acute accent), indicating the pronunciation should be Grahn-day, despite the spelling not being used in any language where “grande” exists.  Introduced in 1969, the Mustang Grandé was the range’s “luxury” version and its addition to the line was a harbinger for the trend of the 1970s as high-performance was, for many reasons, put on-held.  The Grandé used a standard mechanical specification but included a long list of “convenience” and “dress-up” items and was a success; it was the spiritual ancestor of the “Ghia” versions which for decades would be the most elaborately equipped Mustangs.  Surprisingly, despite being aimed at a demographic not interested in going fast, the Grandé could be ordered with almost any engine in the catalogue, including the 428 cubic inch (7.0 litre) Super CobraJet, designed for use on drag strips and some really were built so configured; only the unique Boss 429 was not available.  A vinyl roof was standard but the rarely ordered houndstooth option cost an additional US$28.