Flare & Flair

Flair (pronounced flair)

(1) A natural or innate talent, aptitude, or ability, a bent or knack for something; instinctive discernment or perceptiveness.

(2) Smartness of style, manner, etc; stylishness or elegance.

(3) In hunting, scent; olfaction, the sense of smell (now rare).

(4) In Scots, a word for floor.

1350–1400: From the Middle English flayre, from the Old English flōr, from the Old French flaire (scent; odour (literally “sense of smell”) which endures in Modern French as flarier), a noun derivative of flairier (to reek; to give off a smell), ultimately from unattested Vulgar Latin flāgrāre, a dissimilated variant of the Classical Latin frāgrāre (to smell sweet), source also of fragrant in Modern English).  The related Latin form was flāgrō, a dissimilated variation of the verb frāgrō (emit a sweet smell).  The present participle is flairing, the past participle flaired).  In modern use, the original sense (scent, sense of smell etc) is rare and restricted to niches such as hunting and historical fiction.  The sense of "special aptitude" is an invention of American English, dating from 1925, probably from hunting and the notion of a hound's innate and extraordinary ability to track scent.  The popular uses now refer to (1) matters of style or (2) a particular talent or aptitude:

“He has a flair for the business”.

That was Winston Churchill's (1875-1965; UK prime-minister 1940-1945 & 1951-1955) grudging assessment in 1944 of Field Marshal Sir Alan Brooke (later Lord Alanbrooke; 1883-1963, Chief of the Imperial General Staff (CIGS) 1941-1946) as a general.  It was about as close to praise as the CIGS received from his chief; the prime-minister liking his soldiers dashing and daring rather than cautious and conscientious.  The most common synonyms now (depending on context) include chic, dash, élan, grace, verve, oomph, ability, aptitude, elegance, genius, gift, glamour, knack, mastery, taste, bent, faculty, feeling, head, panache & pizzazz.

Flare (pronounced flair)

(1) To burn with an unsteady, swaying flame, as a torch or candle in the wind; the flame of this type.

(2) To blaze with a sudden burst of flame (often followed by up); the flame of this type.

(3) To start up or burst out in sudden, fierce intensity or activity (often followed by up).

(4) To become suddenly enraged; express sudden, fierce anger or passion (usually followed by up or out).

(5) To shine or glow.

(6) To spread gradually outward, as the end of a trumpet, the bottom of a wide skirt, or the sides of a ship.

(7) To display conspicuously or ostentatiously to display.

(8) To signal by flares of fire or light.

(9) To cause (something) to spread gradually outward in form.

(10) In metallurgy, to heat a high-zinc brass to such a high temperature that the zinc vapors begin to burn; to increase the temperature of (a molten metal or alloy) until a gaseous constituent of the melt burns with a characteristic flame or (of a molten metal or alloy) to show such a flame.

(11) In hydrocarbon extraction, to discharge and burn (excess gas) at a well or refinery.

(12) A bright blaze of fire or light used as a signal, a means of illumination or guidance etc; the device or substance used to produce such a blaze of fire or light.

(13) In fashion, a gradual spread outward in form; as in a skirt or trousers (known also as bell-bottoms).

(14) In engineering, an outward extension, usually as a curvature.

(15) In automotive design, an extension at the wheel arch of the fender (mudguard) to ensure tyres don’t extend beyond the bodywork.

(16) Something that spreads out.

(17) In optics, light, often unwanted or extraneous, reaching the image plane of an optical instrument, as a camera, resulting from reflections, scattering by lenses, and the like.

(18) In photography, a fogged appearance given to an image by reflection within a camera lens or within the camera itself.

(19) In astronomy (commonly as solar flare), a sudden and brief brightening of the solar atmosphere in the vicinity of a sunspot that results from an explosive release of particles and radiation.

(20) In US football (NFL), a short pass thrown to a back who is running toward a sideline and is not beyond the line of scrimmage.

(21) In television, a dark area on a CRT picture tube caused by variations in light intensity (mostly archaic).

(22) In aviation, the final transition phase of an aircraft landing, from the steady descent path to touchdown; to operate an aircraft to transition from downward flight to level flight just before landing.

(23) In pathology, an area of redness on the skin surrounding the primary site of infection or irritation.

(24) In engineering, as flare tube fitting, a flare nut being used to secure the flared tubing’s tapered end to the also tapered fitting, producing a pressure-resistant, leak-tight seal.

(25) In baseball (also as blooper or Texas leaguer), a low-fly ball that is hit in the region between the infielders and the outfielders.

(26) An inflammation such as of tendons (tendonitis) or joints (osteoarthritis).

(27) In pyrotechnics (also as Bengal light or fusee) a colored flare used as a warning on a railroad.  In US use, a parachute flare or Very light.

1540-1550: Of uncertain origin, the verb not appearing in English until the mid-sixteenth century, most etymologists thinking it probably related to the Latin flagrō (I burn) and may be from a Scandinavian source or the Dutch vlederen.  The Norwegian flara (to blaze; to flaunt in gaudy attire) has a similar meaning, but the English word predates it so it’s presumed derivative.  There may be some relationship with the Middle High German vlederen (to flutter (and represented in modern German by flattern)) but the evidence is scant.  In English, the original meaning was “spread out” (as applied to hair (and later structures such as the sides of ships)) leading to a comparison with the Old English flǣre (either of the spreading sides at the end of the nose).  The meaning "shine out with a sudden light" dates from the 1630s while the notion of "spreading out in display" emerged in the 1640s and is the source of the modern association with things which "spread gradually outward".

The noun flare (a giving off of a bright, unsteady light) dates from 1814 and was derived from the verb; from this followed (by 1883) the sense of "signal fire" (1883). Astronomical use dates from 1937.  The general meaning "a gradual widening or spreading" is emerged circa 1910, the best known modern example probably the “flares” (flared trousers), first noted in 1964, actually an adaptation of earlier forms of design but a fashion trend which is associated with the hippie era and lasting until the mid 1970s.  Flares then became suddenly unfashionable but revivals since have been frequent and they now enjoy a standardized niche in the industry.

In idiomatic use, the flare-up (a sudden burst) applied by 1827 to an argument and by 1858 to light, derived from the verbal phrase and contemporary publications noted the vogue flare-up enjoyed as a street expression in 1830s London.  The 1660s noun flatus (wind in the bowels) was a direct borrowing from the Latin flatus (a blowing, breathing, snorting; a breaking wind), past participle of flare (to blow, puff) from the primitive Indo-European root bhle- (to blow).  From this came the 1590s adjective flatulent (affected by digestive gas), from the sixteenth century French flatulent, from the Modern Latin flatulentus, from Latin flatus.

Flare is a verb (used without object) & noun, flared is a verb & adjective and flaring is a verb (the noun derived from the verb).  The present participle is flaring, the past participle flared and the noun plural is flares.  Synonyms, depending on context, include flame, erupt, explode, flash, blaze, blaze, boil over, break out, burn, explode, flare up, flash, flicker, glow, seethe, widen, burst, dart, dazzle, flutter, fume, glare, rant, shimmer & broaden.

Worn with flair: Lindsay Lohan (left) in peach flared trousers, Los Angeles, 2012 and (right) out shopping in flared jeans, Milan, 2015.

1975 Porsche 911S (left) with standard body and 1979 Porsche 930 3.3 (right; often called the 911 Turbo) with flared wheel arches, a body style which came generally to be called the “wide-body”.

1963 AC Shelby Cobra 289 (left, retrospectively dubbed the "slab-side") and 1967 AC Shelby Cobra 427 S/C (right) with flared wheel arches.  Aspects of the bulge-bodied 427 had actually already been seen on competition versions of the 289 and it has for decades been the most popular style of body (regardless of the engine installed) used by producers of replicas, there now being in excess of 50,000 of these, dwarfing the production of the thousand-odd originals.

For many years, most cars have used slightly flared wheel arches but more exaggerated extensions are often added to high-performance models to enable wider wheels and tyres to be fitted.  If the high-performance version is to be a regular-production model, the usual practice is the integrate the flares into the fender.

1975 Holden Torana SL/R 5000 L34 (left) and 2020 Dodge Challenger SRT (right).  Limited production models however often have flares added which are obviously “tacked-on”.  That can be part of their attraction, giving the things the appearance of something obviously intended for competition, emphasizing too their “limited production” status.  The 1975 Torana L34 (and the 1977 A9X) was an extreme example, leaving exposed the bolts attaching the flares to the fenders.

Peter Brock (1945-2006) in his self-built Austin A30 Holden sports sedan (left), Hume Weir, circa 1969 and Harry Lefoe's Hillman Imp (right) at the same circuit in 1971.  Both were typical of the racing cars built by amateurs in the 1960s to compete in events with very loose regulations.  The prevailing theory seems to have been to find the smallest possible car and add to it the largest engine which fell conveniently to hand.  Brock used a 179 cubic inch (2.9 litre) Holden six in the little car which had begun life with a 803 cm³ (49 cubic inch) four yet even that wasn’t the most extreme of the time.  The Hillman Imp's light-weight and diminutive dimensions held great appeal for Australian earth-moving contractor Harry Lefoe (1936-2000) who had a spare 302 cubic inch (4.9 litre) Ford (Windsor) V8 sitting in his workshop.  By then, the Imp was a Chrysler product but because the published guidelines of the Australian Sports Sedan Association (ASSA) restricted engines to those from cars built by the manufacturer of the body-shell, the small-block Ford V8 could be put in an Imp because it had been used in the earlier Sunbeam Tiger.  So the big lump of an iron V8 replaced the Imp's 875 cm3 (53 cubic inch) aluminium four and such was the difference in size that Lefoe insisted his Imp had become "mid-engined" although it seems not to have imparted the handling characteristics associated with the configuration, the stubby hybrid infamous for its tendency to travel sideways.  It was never especially successful but it was loud, fast, spectacular and always a crowd favourite.  Also typical was the simple “flaring” of the wheel arches, easily crafted with sheet metal and often integrated with aerodynamic “improvements” created with by guesswork rather than wind-tunnels or computer emulations.  The technique was known as the “square flare”.

1974 Ford Cologne Capri.  Factories with bigger budgets sometimes use both wind-tunnels and computer emulation to optimize the shape of flares, often using them to direct airflow to radiators or brakes as well as permit the fitment of wider tyres.

1987 Mercedes-Benz 300E (left) and 1991 Mercedes-Benz 500E; note the modest flared wheel arches on the 500E which added about two inches to the width of the car, something which proved surprisingly significant.

In 1991, Mercedes-Benz finally gave the W124 (1984-1995 (body-styles other than the four-door sedan would remain in production until 1997 and 46 500Es were actually built in 1990)) an engine with the power to exploit the fine underpinnings.  The 500E (later E500 when the naming system was updated) was a response to demand from those who hankered after something like the old 300SEL 6.3 (W109 1968-1972) as well as a long-overdue model to compete with BMW’s M5 but, with development of the new S-Class (W140 1991-1998) over-budget and behind schedule, the production work on the 500E project was out-sourced to Porsche.  Porsche’s engineers did a good job mating the 5.0 litre (303 cubic inch) V8 to the chassis, a task which included some modifications to the suspension and a flaring of the wheel arches to accommodate the wider track.  So subtle were the flares that they’re almost imperceptible to the casual viewer and without a standard W124 with which to compare, probably few notice.  That’s not surprising given the 500E was a modest 56 mm (2.2 inches) wider than the more prosaic models (1,796 mm (70.7 in) vs 1,740 mm (68.5 in)).

However, those two-odd inches of additional width created by the wheel arch flares proved an unanticipated obstacle to volume production, the prototype found to be too wide to proceed at several points on the W124 production line.  As a glitch (in communication and systems management rather than engineering), it recalled an incident which afflicted the somewhat more ambitious Hubble Space Telescope (HST) which, upon deployment, was found to have one incorrectly ground mirror which blurred the view.  In software and hardware, NASA found a solution, a part of which was effected during a celebrated (and anyway scheduled) servicing mission.  On Earth, things were simpler for Mercedes-Benz which contracted with Porsche to handle part of the production process, the cars shuttled by truck between the two factories, located a few miles apart in Stuttgart.  That was inconvenient for Mercedes-Benz but fortuitous for Porsche, which, hard-hit by the recession-induced downturn in the sports car market, needed something to make use of their now substantially idle facilities.  The well-publicized arrangement meant it took eighteen days to complete every 500E but it added to the allure of the car and even at a very high price, 10,479 were sold and they were in many ways the blueprint for the AMG range which followed.  Encouraged by the success, the factory released the 400E (1991-1995 and later renamed E420) which, with a 4.2 litre (256 cubic inch) V8, didn’t demand the fitment of the five litre car’s wider track and flared wheel arches.  Being thus able to use the standard W124 production line, it was built at a much lower cost and 22,802 were sold.

Built by Ferrari: 1973 Dino 246GTS with "chairs & flares" options.

The rhyming colloquialism “chairs and flares” (C&F to the Ferrari cognoscenti and these days the early Dinos are an accepted part of the family) is a reference to a pair of (separately available) options available on later production Dino 246s.  The options were (1) seats with inserts (sometimes in a contasting color) in the style used on the 365GTB/4 (Daytona) & (2) wider Campagnolo Elektron wheels (which the factory only ever referred to by size) which necessitated flared wheel-arches.  In the early 1970s the factory wasn’t too punctilious in the keeping of records so it’s not known how many cars were originally built equipped with the wider (7½ x 14” vs 6½ x 14”) wheels but some privately maintained registers exist and on the basis of these it’s believed production was probably between 200-250 cars from a total run of 3569 (2,295 GT coupés & 1,274 GTS spyders (targa)).  They appear to have been most commonly ordered on UK & US market cars (although the numbers for Europe are described as “dubious” and thought an under-estimate; there are also an unknown number in other countries), the breakdown of verified production being:

246GT: UK=22, Europe=5, US=5.
246GTS: UK=21, Europe=2, US=91.

The “chairs and flares” cars are those which have both the Elektron option and the Daytona-style seats but because they were available separately, some were built with only one of the two, hence the existence of other slang terms in the Dino world including “Daytona package”, “Sebring spyders” and, in the UK, the brutish “big arches”.  In 1974, the Dino's option list (in US$) comprised:

Power windows: $270.00
Metalic Paint: $270.00
Leather upholstery: &450.00
Daytona type central seat panels: $115.00
Air-conditioning: $770.00
14 x 7½ wheels & fender flares: $680.00
AM/FM/SW radio: $315.00
Electric antenna & speakers: $100.00

At a combined US$795.00, the C&F combination has proved a good investment, now adding significantly to the price of the anyway highly collectable Dino.  Although it's hard to estimate the added value because so many other factors influence calculation, all else being equal, the premium would seem to to be well over US$100,000.  Because it involves only wheels, upholstery and metal, the modifications are not technically difficult to emulate although the price of a modified vehicle will not match that of an original although unlike some of the more radical modifications to Ferraris (such as conversions to roadsters), creating a C&F out of a standard 246 seems not to lower its value.  These things are always relative; in 1974 the C&F option added 5.2% to the Dino GTS's list price and was just under a third the cost of a new small car such as the Chevrolet Vega. 

Gas flaring on off-shore oil-rig.

It’s surprising gas flaring isn’t more controversial than it is.  A practice which dates from the earliest days of oil extraction, it was originally merely a safety procedure, disposing of the surplus and unwanted gas unavoidably associated with oil production but has long been recognized as wasteful of a valuable natural resource which, if harvested, could be used to generate energy now produced by more polluting sources such as coal.  The volume of gas flared annually (ie burned off in the atmosphere) is sufficient to satisfy the energy needs of all sub-Saharan Africa.  Additionally, the flaring process, which annually burns some 144 billion m³ of gas, is estimated to contribute to the atmosphere about 2.8 kilograms of CO₂ equivalent emissions for each m³, resulting in over 400 million tons of CO₂ annually and, the methane emissions resulting from the inefficiency of the flare combustion contribute significantly to global warming.  This is especially acute in the medium term because methane is over 80 times more powerful than CO₂ as a greenhouse gas so on a 20-year timeframe, the multiplier effect means the annual CO₂ equivalent emissions are increased by nearly 100 million tons.  There are technical solutions to this which would remove the need for most flaring as well as providing a valuable energy source less polluting than coal or diesel but, for the oil industry, the economics are not compelling.  Nor, given the relationships between the fossil-fuel industry and politicians, does there seem to be any hint of political will to pursue the issue.

Fake & Faux

Fake (pronounced feyk)

(1) To prepare or make something specious, deceptive, or fraudulent.

(2) To conceal the defects of or make appear more attractive, interesting, valuable etc, usually in an attempt to deceive.

(3) To pretend; simulate; emulate.

(4) To accomplish by trial and error or by improvising:

(5) To trick or deceive.

(6) In jazz music, to improvise (non pejorative).

(7) To play music without reading from a score (usually non pejorative).

(8) Anything made to appear otherwise than it actually is; counterfeit.

(9) A person who fakes; faker.

(10) To lay (a rope) in a coil or series of long loops so as to allow to run freely without fouling or kinking (often followed by down).

(11) Any complete turn of a rope that has been faked down; any of the various ways in which a rope may be faked down.

(12) In German, a male given name.

1350–1400: From the Middle English faken (to coil a rope) of unknown origin.  The nautical adoption fake (one of the windings of a cable or hawser in a coil) was from the Swedish veck (a fold) and probably entered English from exchanges between English and Scandinavian sailors.  The more familiar modern meaning is documented from 1775 as an adjective meaning “to counterfeit”.  It’s attested from 1812 as vagrants' slang meaning “to do for, rob or kill someone” but was also, in an echo of the earlier form, used to mean “shape something”.  It’s thought to have been either (1) a variant of the obsolete feak & feague (to beat), akin to Dutch veeg (a slap) & vegen (to sweep, wipe) or (2), a part of the Lingua Franca via Polari from the Italian facciare (to make or do).

It’s documented from 1851 as a noun (a swindle) and from 1888 was applied to a person (a swindler), but most etymologists assume the oral use was older.  The most likely source is thought to have been feague (to spruce up by artificial means), from the German fegen (polish, sweep) which, in colloquial use was used to mean "to clear out, to plunder".  In English, much of the early slang of thieves is from German or Dutch sources, dating from that great linguistic melting pot, the Thirty Years' War (1618-1648) and until the nineteenth century, was largely un-documented although the fragmentary evidence available does suggest use was constantly shifting.

Fake news (journalism deliberately misleading), although popularized in the 2016 US presidential campaign (and subsequently applied quite incorrectly), was actually first attested in 1894 although, as a device, fake news is probably about as old as news itself.  Faker as an agent noun from faker the verb is from 1846 and the noun fakement (forgery) is from 1811.  To “fake (someone) out” is a description of applied gamesmanship in sport and noted from 1941.  To jazz musicians, “to fake” was merely oral slang for improvising and the “fake book” is attested from 1951.  Interestingly, the adjective "jivey" was sometimes used as a pejorative (phony, fake) unlike "jive" which, in a musical context, was always purely descriptive.

Fake is a noun & verb, faker & fakery are nouns and the verbs (used with object) are faked, faking; the noun plural is fakes.  Synonyms include ersatz, fake, false, imitation, imitative, unreal, counterfeit, fabricated, factitious, spurious, substitute, affected, contrived, feigned, insincere, plastic, synthetic, unnatural, bogus, affected, forged, fraudulent, mock, phony, spurious, deception, forgery, hoax, scam, sham, trick, put on, assumed, fraud, impostor, quack, charlatan, deceiver, substitute, contrived, feigned, insincere, plastic, unnatural

Faux (pronounced foh)

Artificial or imitation.

1676: from the twelfth century French faux (feminine singular fausse, masculine plural faux, feminine plural fausses), from the Old French fals, from the Latin falsus (false), perfect passive participle from fallō (deceive, trick; mistake).  The origin of fallō is uncertain.  It’s thought either from the Proto-Italic falsō, from the primitive Indo-European (s)whzel (to stumble) or from the primitive Indo-European ǵhwel- (to lie, deceive) but etymologists note structural problems with the latter.  A doublet of false.

The word fake almost always carries negative connotations, the idea of something that is not real, an imitation designed to trick someone into thinking it is real or original.  A fake might be a forgery or copy which is (certainly with many digital fakes) indistinguishable from whatever is the real or original thing it imitates, indeed it might even be an improvement but it remains fake.

Lindsay Lohan in faux fur, amfAR gala, New York City, 2013.

Faux has since the 1980s been used in English (with French pronunciation) to describe anything which is imitative without attempting to deceive.  Prior to this, the only frequent use in English was the faux pas (breach of good manners, any act that compromises one's reputation (literally "false step")), noted since the 1670s.  Faux tends not to convey the negative association of fake because it so blatantly an alternative rather than an attempt to deceive, indeed, it can have positive connotations, such as when it’s fur.  Faux fur is now respectable and, among some circles, there’s long been a micro-industry devoted to turning into social pariahs anyone wearing the real thing.  Sometimes, supporters of PETA (People for the Ethical Treatment of Animals) use direct action, the flinging of red paint onto the offending coast or stole a favorite.

Pamela Anderson, mostly real.

People do however seem unforgiving of fake boobs which, even if advertised as fake (which really should make them faux), seem forever doomed to be called fake.  The preferred form seem to be "fake tits". 

Faux also blends well; there are fauxmosexuals & fauxtatoes.  Donald Trump dubbed Elizabeth Warren (b 1949; United States senator (Democrat) for Massachusetts since 2013) Pocahontas because of her claim to Native American ancestry which proved dubious but allies of her predecessor Scott Brown (b 1959; United States senator (Republican) for Massachusetts 2010–2013), referred to her as Fauxcahontas.  That was actually an incorrect use necessitated by the need of rhyme and word formation; technically she was a Fakecahontas but as a word it doesn’t work as well.  People anyway seemed to get the point: as a Native American, she was fake, bogus, phoney.

Christ with the Woman Taken in Adultery by Han van Meegeren (1889–1947) following Vermeer (1632-1675).

In May 1945, immediately after the liberation from Nazi occupation of the Netherlands, the authorities arrested Dutch national Han van Meegeren (1889–1947) and charged him with collaborating with the enemy, a capital crime.  Evidence had emerged that van Meegeren had during World War II sold Vermeer's Christ with the Woman Taken in Adultery to Hermann Göring (1893–1946; prominent Nazi 1922-1945, Reichsmarschall 1940-1945).  His defense was as novel as it was unexpected: He claimed the painting was not a Vermeer but rather a forgery by his own hand, pointing out that as he had traded the fake for over a hundred other Dutch paintings seized earlier by the Reich Marshal and he was thus a national hero rather than a Nazi collaborator.  With a practical demonstration of his skill, added to his admission of having forged five other fake "Vermeers" during the 1930s, as well as two "Pieter de Hoochs" all of which had shown up on European art markets since 1937, he convinced the court and was acquitted but was then, as he expected, charged with forgery for which he received a one year sentence, half the maximum available to the court.  He died in prison of heart failure, brought on by years of drug and alcohol abuse. 

His skills with brush and paint aside, Van Meegeren was able successfully to pass off his 1930s fakes as those of the seventeenth century painter of the Dutch baroque, Johannes Vermeer (1632–1675), because of the four years he spent meticulously testing the techniques by which as a new painting could be made to look centuries old.  The breakthrough was getting the oil-based paints thoroughly to harden, a process which naturally occurs over fifty-odd years.  His solution was to mix the pigments with the synthetic resin Bakelite, instead of oil.  For his canvas, he used a genuine but worthless seventeenth-century painting and removed as much of the picture as possible, scrubbing carefully with pumice and water, taking the utmost care not to lose the network of cracks, the existence of which would play a role in convincing many expert appraisers they were authentic Vermeers.  Once dry, he baked the canvas and rubbed a carefully concocted mix of ink and dust into the edges of the cracks, emulating the dirt which would, over centuries, accumulate.

Guilty as sin: Hermann Göring in the dock, Nuremberg, 1946.

Modern x-ray techniques and chemical analysis mean such tricks can no longer succeed but, at the time, so convincing were his fakes that no doubts were expressed and the dubious Christ with the Woman Taken in Adultery became Göring's most prized acquisition, quite something given the literally thousands of pieces of art he looted from Europe.  One of the Allied officers who interrogated Göring in Nuremberg prison prior to his trial (1945-1946) recorded that the expression on his face when told "his Vermeer" was a fake suggested that "...for the first time Göring realized there really was evil in this world".

2013 Mercedes-AMG G 63 6×6.

Aimed at the Middle East market and manufactured between 2013-2015, a run of one-hundred units was planned for the Mercedes-AMG G 63 6×6 and it was advertised on that basis, exclusivity part of the attraction.  Such was the demand that dealers prevailed on behalf of a few influential customers so some additional units were built but not many and within months, used models were selling for well above the US$550,000 (€379,000) list price.  That encouraged imitations.

2014 Brabus B63S.

The tuning house Brabus, noted for catering to the small but lucrative market of those who like the AMG cars but think they need more power, released the B63S, its 700 horsepower quite a chunk above the 536 offered by AMG.  Something imitative certainly but nobody calls the B63S a faux or a fake.  Being in some sense a manufacturer lends validity so what Brabus does can be imitative but what ends up as their part-number is not an imitation, let alone a fake.

2017 Mercedes-AMG G63 6×6 Conversion.

This was said to have been a “conversion” of a 2017 G63 by G Wagon Car Technology GmbH (Austria).  Very well done and said to have been completed with mostly factory part-numbers, most would regard it as a clone, replica or recreation.

1938 Mercedes-Benz G4 (W31).

The G63 6x6 may anyway have had its own hint of the imitative.  Although Mercedes-Benz prefers not too much to dwell on the details of its activities between 1933-1945, one of the remarkable vehicles it built during the era was the G4 (W31).  The factory developed three-axle cross-country vehicles for military use during the 1920s but after testing a number of the prototype G1s, the army declined to place an order, finding them too big, too expensive and too heavy for their intended purpose.  Adolf Hitler (1889-1945) however, as drawn to big, impressive machines as he was to huge, representational architecture, ordered them adopted as parade vehicles and the army soon acquired a fleet of the updated G4, used eventually not only on ceremonial occasions but also as staff and command vehicles, two even specially configured, one as a baggage car and the other a mobile communications centre, packed with radio-telephony.

Eventually, between 1934-1939, fifty-seven were built, originally exclusively for the OKW (Oberkommando der Wehrmacht (Armed Forces High Command)) and OKH (Oberkommando des Heeres (Army High Command)) but one was gift from Hitler to Generalissimo Franco (1892-1975; Caudillo of Spain 1939-1975).  The Spanish G4, one of few which still exists, was restored and remains in the royal garage in Madrid.  According to factory records, all were built with 5.0, 5.3 & 5.4 litre straight-eight engines but there is an unverified report of interview with Hitler’s long-time chauffeur, Erich Kempka (1910-1975), suggesting one for the Führer’s exclusive use was built with the 7.7 litre straight-eight used in the 770K Grosser (W07 (1930–1938) & W150 (1938–1943)).  Some of the 770s were supercharged so, if true, it's a tantalizing prospect but the story is widely thought apocryphal, no evidence of such a one-off ever having been sighted.

There are however fake cars and they're considered bogus if represented as a factory original (a modified version of something else).  Even if an exact copy of what the factory did, that’s fake yet exactly the same machine modified in the same way is instead a “clone” a “recreation” or a “replica” if represented as such.  Clone, recreation & replica do imply a exact copy but some leeway does seem to be granted given mechanical exactitude is sometimes simply not possible.  A vehicle which is substantially a replica of something but includes modifications to improve safety, performance or some other aspect of the dynamics is usually styled a “tribute” or restomod (a portmanteau word, the construct being resto(red) + mod(ified)).  The improvements can be transformative and, in certain cases, increase value but in others, might actually detract.  Whether a clone, a replica or a tribute, if what’s being referenced is something rare and desirable, the difference in value can be a factor of more than fifty times.  Originality can trump all.

1962 Ferrari 250 GTO recreation by Tempero of New Zealand.

As an extreme example there is the Ferrari 250 GTO, of which it’s usually accepted 36 were built although there were actually 41 (2 x (1961) prototypes; 32 x (1962–63) Series I 250 GTO; 3 x (1962–1963) “330 GTO”; 1 x (1963) 250 GTO with LM Berlinetta-style body & 3 x (1964) Series II 250 GTO).  The 36 in the hands of collectors command extraordinary prices, chassis 4153GT in June 2018 realizing US$70 million in a private sale whereas an immaculately crafted replica of a 1962 version by Tempero (New Zealand), said to be better built than any original GTO (although that is damning with faint praise, those who restore pre-modern Ferraris wryly noting that while the drive-trains were built with exquisite care, the assembly of the coachwork could be shoddy indeed), was listed for sale at US$1.3 million (no NFT required).  Even less exalted machinery, though actually more rare still, like the 1971 Plymouth Hemi Cuda convertible also illustrate the difference for there are now considerably more clones / replicas / recreations etc than ever there were originals and the price difference is typically a factor of ten or more.

Hearse

Hearse (pronounce hurs)

(1) A vehicle, such as a specially designed car or carriage, used to carry a coffin to a place of worship and ultimately to a cemetery or crematorium; a bier or hand-cart for conveying the dead to the grave.

(2) A triangular frame for holding candles, used at the service of Tenebrae (in Christianity (Western), a service celebrated on the evening before or early morning of Maundy Thursday, Good Friday, and Holy Saturday, involving the gradual extinguishing of candles while a series of readings and psalms are chanted or recited).

(3) A framework of wood or metal placed over the coffin or tomb of the deceased and covered with a pall; also, a temporary canopy bearing wax lights and set up in a church, under which the coffin was placed during the funeral ceremonies.

(4) A hind (female deer) in the second year of her age.

(5) A grave, coffin, tomb, or sepulchral monument (obsolete).

1250–1300; From the Middle English herse, hers & herce (a flat framework for candles, hung over a coffin), from the Middle French herse (a harrow; long rake for breaking up soil, harrow; portcullis (and in churches a descriptor of those large chandeliers with some resemblance to the long prongs of a rake)), from the Old French herce, from the Medieval Latin hercia, from the Classical Latin herpicem, accusative of hirpex (harrow), a rustic word ultimately from the Oscan hirpus (wolf), said by some etymologists to be an allusion to its sharp teeth but not all agree although all seem to concur the Oscan term is related to the Latin hīrsūtus (bristly, shaggy (and the source of hirsute)).

The verb rehearse dates from circa 1300 and was from Middle English rehersen & rehercen (to give an account of, report, tell, narrate (a story); speak or write words) and by the early fourteenth century the meaning had extended to "repeat, reiterate".  The source was the Anglo-French rehearser, from the twelfth century Old French rehercier (to go over again, repeat (literally "to rake over, turn over" (soil, ground, furrows in a field))), the construct being re- (again) + hercier (to drag, trail (on the ground), be dragged along the ground; rake, harrow (land); rip, tear, wound; repeat, rehearse;" from the French forms herce & herse (a harrow).  In English, the meaning "to say over again, repeat what has already been said or written" dates from the mid-fourteenth century, the now familiar sense (as a transitive & intransitive verb) of "practice (a play, part, etc.) in private to prepare for a public performance" emerged in the 1570s.

The use of hearse to describe the vehicles carrying coffins has become so pervasive that it’s now only in ecclesiastical jargon that funeral displays or church fittings are now so-named.  The funeral display picked up the name because they typically resembled a harrow and it was only in the fifteenth century that the sense of "a portcullis" appeared in English.  From there, use extended to other temporary frameworks built over the dead to be used while ceremonies were in progress while the idea of a "vehicle for carrying a dead person to the grave" came into use in the 1640s, the adoption presumably stimulated by covering structures being added to the horse drawn carts (or biers) on which coffins had traditionally been transported uncovered.

Recent hearses of note

Lindsay Lohan in habit, emerging from hearse in Machete (2010).  The Machete hearse was based on a 1987 Cadillac Brougham (1987-1992).

Between 1931-1979, General Motors' Cadillac division offered a line called the Cadillac Commercial Chassis, a long-wheelbase, heavy-duty platform which was mechanically complete but with a partially built body (without bodywork rear of the windscreen, doors and other panels included on request).  Produced on the D platform (exclusive to Cadillac), the Commercial Chassis was used by coach-builders to create high-roofed ambulances, hearses (often called funeral coaches in the US) and cleverly designed hybrids which at short notice could be converted from ambulances to hearses or used by a coroner's staff to transport a corpse; they were popular in towns with small populations.  The early Commercial Chassis were based on the Series 355 (1931-1935) and the Series 75 (1936-1992) from 1936 and although there were specific modification to the frame, the mechanical components were always shared with the 75 which, used for the big limousines, meant costs were amortized across the ranges.  After 1980, production continued on the downsized platform but there was no longer a separate D platform, the partially bodied cars structurally identical to the mainstream line.  The landau irons (which some coachbuilders insist should be called "carriage bars") on the rear side-panels emulate in style (though not function) those used on horse-drawn carriages and early automobiles (the last probably the Mercedes-Benz 300 (the “Adenauer”; W186 (1951-1957) & W189 (1957-1962)) Cabriolet D.  On those vehicles, the irons actually supported the folding mechanism for the fabric roof but on hearses they are merely decorative, there to relieve the slab-sidedness of the expanse of flat metal.

Funeral procession of Kim I: Kim Il-sung (1912-1994; The Great Leader of DPRK (North Korea) 1948-1994 (left) and Kim II: Kim Jong-il (1941–2011; The Dear Leader 1994-2011) (right).  Kim III (Kim Jong-un (b 1984; The Supreme Leader since 2011) is chief mourner and is here pictured with his left hand holding the wing mirror, the mounting of which identifies the cars as having probably been sold in Japan. 

In the West, the tradition is now for the coffin to be carried in a glassed-in enclosure, in effect a lengthened station-wagon, often with a raised roof.  Big station wagons are now extinct so hearses are fabricated by coach-builders usually with a large sedan or SUV as a base but in the wacky world of hearses, anything seems to be possible.  One quirky variation is pursued by Kim dynasty in the DPRK (North Korea).  There, the coffin is displayed on fluffy catafalque mounted on the roof of a limousine, something not far removed from the military tradition of using horse-drawn gun carriages.

The DPRK’s hearse appears to be a 1975 or 1976 Lincoln Continental which has been lengthened, presumably by one of the US coachbuilders with which Ford made such arrangements when the cars were new.  Given the state of US-DPRK relations since the end of the Korean War (1950-1953), the unexpected appearance of the big Lincolns attracted comment when first seen at the Great Leader’s funeral in 1994.  There were three stretched Lincolns in the cortege, all appearing to have been built in 1975 or 1976 (based on the full rear fender skirts and the five vertical bars separating the grille into six sections (the later Continentals used a narrower style)) and all would be powered by a 460 cubic inch (7.5 litre) version of Ford 385 series engine.  The wheelbase on two of the cars had been extended by an estimated 36 inches (915 mm), the other by perhaps a foot (300 mm) but all appeared equipped with fittings which suggested they’d been prepared for the Japanese market and the assumption is it’s from Japan they were exported.  That’s contrary to Japanese law but it’s known to happen, using third countries (usually China) as a first port-of-call, the practice being continued by Kim III (Kim Jong-un (b 1984; The Supreme Leader since 2011) who appears to have few problems obtain the Mercedes-Benz and Rolls-Royces which now adorn the presidential fleet, despite Western sanctions intended to stop such imports by the DPRK.  As the funeral of the UK’s Queen Elizabeth II illustrated, there is much symbolism in the continuity of use of the symbols and regalia of a dynastic past and should the Supreme Leader die (God forbid), it’s highly likely the Lincoln will be his hearse.

Land Rover used at the funeral Prince Philip, Duke of Edinburgh (1921-2021).

In the narrow technical sense, the Land Rover should probably be considered a funeral bier rather than a hearse because the coffin was un-covered, the word hearse applied such vehicles only after the hearses (framed coverings used in churches) were added to funeral biers in the 1640s.  It’s a distinction unlikely to bother many and the Land Rover has been almost universally referred to as a hearse.

It may look like many a Land Rover but, remarkably, the duke tinkered with the design over sixteen years, the result a modified 2003 Defender TD5 130 chassis cab finished in a military specification green (called dark-bronze green (or GDB in army supply parlance, reflecting the color appearing as “Green, Dark Bronze" in military databases).  Functionally, the most obvious modifications are to the tray where stainless steel stanchions with buffered, laterally placed rollers were engineered to secure the coffin and fitted to a custom made catafalque, for strength fabricated in steel rather the aluminum used for most of a Land Rover’s bodywork.  It’s actually a quite thoughtful design, suitable for parade and non-parade modes of coffin conveyance.  For parades, the coffin can be carried atop the catafalque while for transport tasks, the long, external strap hinges on the heavy steel rear hatch allow a coffin to be slipped inside the bed and thus out of view.  The rear hatch opens not to either side, but down and it includes a centre brace which folds to the ground, thereby bracing the hatch flat and so providing the bearers with more convenient lateral access to the coffin as they slide it in and out.  Cut into either side of the cabin's rear are two curved rear windows, affording the attending footmen extra visibility of their load when it's atop.  As a functional device to be used by an old Navy man, the workmanship is sturdy and well-finished but there’s been no attempt to conceal or disguise the bolt-heads and rivets.  So, it was a bit more than most of the Land Rovers (“gun buses” he called them) he used on shooting parties here and there and while he had long ago told the queen “...just stick me in the back of a Land Rover and drive me to Windsor", sixteen years of mission creep followed.

Hearses by German coach builders, Pollmann of Bremen: 1959 Mercedes-Benz 300 (W189) (left & 1967 Mercedes-Benz 600 (W100) (right).

Pollmann of Bremen have a long history in the construction of Mercedes-Benz hearses and after some difficult times in the early post-war years, the Wirtschaftswunder (the German post-war economic miracle) which emerged in the 1950s encouraged them to move from utilitarian designs to something more grand and they converted a number of 300 (W186 & W189, nicknamed the “Adenauer” because Konrad Adenauer (1876–1967; chancellor of the Federal Republic of Germany (FGR; West Germany) 1949-1963) used a number as the state limousine) models, one technical attraction being the innovative, self-levelling rear-suspension which provided a very stable load platform, regardless of the surface, something of some importance when carrying coffins.

The 600 was built on a (lengthened) 1967 short wheelbase (SWB) platform and remains a genuine one-off, the only 600 hearse ever built.  The story (which may be true), repeated whenever it’s offered for sale, is it was originally a sedan purchased by a German farmer (always referred to as Herr K) whose particular experience of the Wirtschaftswunder was the massive capital gain enjoyed when he sold his farmland for urban development.  Happy, he bought a Mercedes-Benz 600 (in champagne metallic gold) for his wife and commissioned an architect to design a house for them to enjoy.  Unfortunately, he arrived home one day to find the ungrateful hausfrau had run off with the architect and, unable to bear to keep the 600 because it was a reminder of the strumpet’s infidelity, he returned the car to the dealer to off-load.  It was sold to the coach-builders Pollmann which converted it to a hearse which seems appropriate although it's not known if the former farmer was impressed by the symbolism of the transformation.  It was for some years used for the purpose for which it was designed and has since been restored by US-based expert in all things 600esque, Karl Middelhauve.

State Jaguar XF hearse of the Royal Mews, built for the funeral of Elizabeth II (1926-2022; Queen of the UK and other places 1952-2022).

Elizabeth II was the first monarch of the television age and quickly grasped its implications, understanding better than many politicians of the early years of the mass-adoption of the medium that it used wisely it was a useful tool but that little good came from over-exposure.  Well acquainted too with a feeling for color, light and angle from long and sometimes doubtlessly tiresome sessions with painters and photographers, she sometimes surprised television producers with her knowledge of the technical aspects of their trade.  Her contributions the design of her own Jaguar XF hearse were those of someone who knew her funeral would be her last performance as a content provider for television and probably one which would attract the greatest audience in history.  Accordingly, the queen specified a design which would afford the best possible view of her coffin, regardless of the camera angle, so the glass would be more expansive, the roof was raised several inches from the dimension supplied originally by the royal household, the roof panel above the coffin fully glazed a particular request.  Climate change has affected the UK but it can still be relied upon sometimes to be dark and gloomy and, not knowing what the weather would offer on the day, she had the rear compartment fitted with lighting which would illuminate in a way that, if need be, there would be a clear, reflection-free view through the glass.

The state hearse is finished in Royal Claret, a specific royal-family color (and an official part-number used by manufacturers with a royal warrant) and has a notably large hood ornament, a silver-plated bronze statue of St. George slaying a dragon, a personal mascot of Her Majesty which appeared also on the state Bentley limousine.  The automotive ornaments seem to have been a bit of a thing for the queen, renderings of dogs sometimes observed on her Range Rovers.