Sunday, January 12, 2025

Triple

Triple (pronounced trip-uhl)

(1) Threefold; consisting of three parts (matching or not).

(2) Of three kinds; threefold in character or relationship.

(3) Three times as great; multiplied by three (numbers or quantities in general).

(4) In international law or international relations, as triple entente, triple alliance etc, a treaty or some state of arrangement between three states.

(5) In baseball (also called the three-base hit), a hit which enables the batter safely to reach third base.

(6) In (ten-pin) bowling, three strikes in succession.

(7) In basketball, a three-point field goal.

(8) In curling, takeout shot in which three stones are removed from play.

(9) In musical time or rhythm, having three beats in each bar

(10) As triple crown, in various sporting competitions (Rugby Union, thoroughbred racing, motor sport etc), a (sometimes informal) acknowledgement of victory in three specific events (use based on the triple crown (sometimes as triple tiara) once used for the coronation of the Roman Catholic Pope).

(11) In internal combustion engines (ICE), an engine with three pistons or rotors.

(12) One of three; a third (obsolete and the source of some misunderstandings when found in historic texts).

(13) In programming theory, as Hoare triple, a description of how the execution of a piece of code changes the state of the computation in Hoare logic, consisting of (1) a command to be run, (2) a pre-condition that holds true beforehand, and (3) a post-condition that holds true afterwards.

(14) In mathematics, a sequence of three elements or 3-tuple.

1325-1375: From the Middle English triple (there was also þripell), from the Old French triple or the Medieval Latin triplare (to triple) from the Latin triplus (threefold, triple), from the primitive Indo-European tréyes.  Triple is a noun, verb & adjective, tripled is a verb, tripling is a noun & verb, triply is an adverb and triplet is a noun; the noun plural is triples.

In English, the Latinate multiplier “triple” is but one of many ways the value three (3) is in some way expressed or applied.  “Three” is the highest value, single digit cardinal number, as an ordinal it’s “third” (the Latinate ordinal is “tertiary”), the adverbial form is “thrice” (or the more mundane “three times”, as a multiplier the term is “threefold” (also as “three-fold”), the distributive is “triply”, the collective “tripartite”, “trio” or “threesome” (ménage à trois a popular version which has tended to limit the utility of “threesome” for other purposes), the multiuse collective “triplet”, the Greek or Latinate collective “triad”, the collective prefix (from both Latin & Ancient Greek (the latter also had “trito”)) was “tri”, the fractional expression is “third” (the Latinate fractional prefix was “trient-”, the elemental “thrin” & “triplet” and a period of three years is a triennium.  However, while there are weeks, fortnights & months, there’s no accepted term which express a measure of 21 days although three months is often described as “a quarter” although in the context of the nine month gestation associated with human pregnancy, the three month blocks are "trimesters" (first, second & third).  The use in obstetrics extended to education and in systems where academic years exist in four semesters (or terms), there is also the "fourth trimester".

Boss & Co SxSxS 16-bore triple-barrel shotgun #4690.

Originally an adjective, the noun emerged in the early fifteenth century.  The use in baseball dates from 1880 while the various uses of triple-deck, triple-decker etc (a development of the earlier double-decker) for cakes, sandwiches, bunk-beds etc all came into use in the early 1940s.  Triple-barrel carburetors were rare but did exist, Porsche for example using them on their flat sixes.  Rugby Union in 1883 was the first to use “triple crown”, awarded in the UK to the side which won the three “home countries” (England, Ireland, Scotland & Wales) matches.  That was based on the use of the papal triple crown (sometimes as triple tiara) then used for the coronation of the Roman Catholic Pope and was later picked up in US thoroughbred racing: The Kentucky Derby, the Preakness Stakes, and the Belmont Stakes comprise the Triple Crown which was first officially awarded in 1919 although the term didn’t become widely used until the 1930s.  In motorsport, despite the popular perception, it’s never been an official award and many branches of the sport have their own triple crowns, most barely known outside of the small circle of their cognoscenti.  The three events which comprised the classic triple crown were (1) the Indianapolis 500 (first run in 1911), the 24 Hours of Le Mans (first run in 1923) and the Monaco Grand Prix (first run in 1929) and it’s been achieved only once.  That was by Graham Hill (1929–1975) who completed the set at Le Mans in 1972 and although he and others have suggested the Formula One World Championship should be included instead of the Monaco Grand Prix, the original arrangement seems still the accepted triple crown.

Triple sec liqueurs

First distilled as a commercial product in France, “triple sec” is the generic term for an orange-flavoured liqueur which, while rarely consumed alone, is one of the most widely used ingredients in cocktails and other mixed drinks.  It’s this one of the “essentials” in any cocktail bar and the best-known triple sec is Cointreau.  Curiously, there is no consensus about the origin of the term “triple sec” and the theories include (1) the reference in some of the early instructions for the production process to “triple distillation”, (2) the use of three types of orange peel (bitter, sweet & dried) or (3) the meaning “three times as dry”, the literal translation of the French sec being “dry”.  The last, while obvious, is discounted by historians of the industry because Triple Secs have probably always been quite sweet.  Whatever the origin, it’s now a universally used term for many orange liqueurs.

The Triple Alliance and Triple Entente were diplomatic arrangements formed in Europe in the decades prior to the First World War (1914-1918).  The Triple Alliance between Germany, Austria-Hungary & Italy was signed in 1882 as a defensive system directed entirely against France.  It was an integral part of the series of treaties and agreements variously negotiated or imposed by Otto von Bismarck (1815-1989; chancellor of the German Empire (the "Second Reich") 1871-1890) and needs to be understood in the way it interacted with other cogs in the Bismarck machine.  That machine, a collection of inter-locking treaties and agreements (some of them secret) worked to further the interests of (1) the German Empire and (2) a general peace in Europe and was a good device in Bismarck’s capable hands but it proved lethal when less competent practitioners (who didn’t fully understand the implications) inherited the tool.  The Triple Entente was between France, Russia and the UK and was formed in 1907; in the narrow technical sense it was not a formal military alliance but an “understanding” between the three to counter the growing power of Germany and the Triple Alliance.  The Ottoman Empire and Bulgaria would become attached to the Triple Alliance with the onset of war although Italy initially remained neutral before (in what would continue to be an Italian tradition) switching sided in 1915 to join the Alliance.  Both the Alliance and the Entente played their parts in the escalating tensions which culminated in the outbreak of hostilities which would trigger the chain reaction of declarations of war.  Had Bismarck still been in Berlin, it’s unlikely things would have been allowed to assume their own momentum.

Six-pack: Lindsay Lohan re-imagined as one of identical triplets in matching LBDs.

The word is used also as a modifier as required such as triple-barreled (used with three-element surnames and in various manufactured items but best known in shotguns), triple-headed (again widely used but probably still most associated with creatures from mythology, tripledemic (a term used in public health and epidemiology to describe the simultaneous outbreak of three epidemics or pandemics), triple fault (in computing a third (and fatal) error instance in a CPU attempting a graceful recovery from a double fault, triple jump (an athletic (track & field) event involving three different types of jump), triple goddess (a female deity who is either three goddesses in one or one who is triune (both three and one at the same time) and triple X syndrome (a chromosomal variation characterized by the presence of an extra X chromosome in each cell of a human female).

The papal triple tiara

Pius XII (1876-1958; pope 1939-1958) in the papal triple tiara, at his coronation, 12 March, 1939.

The papal triple tiara is a crown which has been worn by popes of the Roman Catholic Church since the eighth century.  Traditionally it was worn for their coronation but no pontiff has been so crowned since Paul VI (1897-1978; pope 1963-1978) in 1963 and he abandoned its use after the Second Vatican Council (Vatican II, 1962-1965).  The name tiara refers to the entire headgear and it has used a three-tiered form since a third crown was added during the Avignon Papacy (1309–1378).  It's also referred to as the triregnum, triregno or Triple Crown.  In a piece of one- (or perhaps four-) upmanship, Suleiman I (Süleyman the Magnificent, 1494-1566, Sultan of the Ottoman Empire 1520-1566) commissioned from Venice a four tier helmet to show, in addition to the authority claimed by popes, he could add the symbol of his imperial power.  Often put on display as the centrepiece of Ottoman regalia to impress visitors, there's no documentary evidence the sultan ever wore the four layer tiara, crowns not part of the tradition and, fashioned from gold and gemstones, it would anyway have been extraordinarily heavy.

A representation of the triregnum combined with two crossed keys of Saint Peter continues to be used as a symbol of the papacy and appears on papal documents, buildings and insignia.  Remarkably, there’s no certainty about what the three crowns symbolize.  Some modern historians link it to the threefold authority of the pope, (1) universal pastor, (2) universal ecclesiastical jurisdiction and (3) temporal power.  Others, including many biblical scholars, interpret the three tiers as meaning (1) father of princes and kings, (2) ruler of the world and (3) vicar of Christ on Earth, a theory lent credence by the words once used when popes were crowned:  Accipe tiaram tribus coronis ornatam, et scias te esse patrem principum et regum, rectorem orbis in terra vicarium Salvatoris nostri Jesu Christi, cui est honor et gloria in saecula saeculorum (Receive the tiara adorned with three crowns and know that thou art father of princes and kings, ruler of the world, vicar on earth of our Savior Jesus Christ, to whom is honor and glory for ever and ever).

Lindsay Lohan triple-pack DVD bundle.

Documents in the Vatican Archive suggest by 1130 the papal tiara had been modified to become a conventional (and temporal) symbol of sovereignty over the Papal States.  In 1301 during a dispute with Philip IV (Philip the Fair, 1268–1314, King of France 1285-1314), Boniface VIII (circa 1230–1303; pope 1294-1303) added a second layer to represent a pope’s spiritual authority being superior to an earthly king’s civil domain.  It was Benedict XII (1285–1342; pope 1334-1342 (as the third Avignon pope)) who in 1342 who added the third, said to symbolize the pope’s moral authority over all civil monarchs, and to reaffirm Avignon’s possession.  A changing world and the loss of the Papal States deprived the triple crown of temporal meaning but the silver tiara with the three golden crowns remained to represent the three powers of the Supreme Pontiff: Sacred Order, Jurisdiction and Magisterium.

Not since 1963 has a pope worn the triple crown.  Then, the newly-elected Paul VI, at the end of his coronation, took the tiara from his head and, in what was said to be a display of humility, placed it on the altar.  In a practical expression of that humility, the tiara was auctioned; the money raised used for missionary work in Africa although, keeping things in house, the winning bidder was the Archdiocese of New York.  Popes Benedict XVI (1927–2022; pope 2005-2013, pope emeritus 2013-2022) and Francis (1936-2025; pope 2013-2025) received tiaras as gifts but neither wore them.  Benedict’s, in a nice ecumenical touch, was made by Bulgarian craftsmen from the Orthodox Church in Sofia, a gesture in the name of Christian unity.  Benedict would have appreciated that, having always kept a candle burning in the window to tempt home the wandering daughter who ran off to Constantinople.

The Mercedes-Benz triple rotor Wankel

The original (although there was a prototype rendered in the tradition of functional brutalism) Mercedes-Benz C111 with triple rotor Wankel engine (1969).

Triple cylinder engines in cars were something of a niche in the early post war years but of late they’ve achieve a new popularity, improvements in electronics and combustion chamber design meaning three cylinders can now achieve what once required four and even with an equivalent displacement their efficiency is inherently greater because of the reduction in internal friction.  Obviously compact, they’ve proved an ideal power-plant in hybrid vehicles.  One quirky triple was the Mercedes-Benz C111 which first appeared in 1969 with a 1.8 litre (110 cubic inch) three-rotor Wankel engine, something then thought to have a great future; it seemed at the time a good idea.  The C111, although produced in a small run and finished in some cases to production car standards was only ever a test bed, not only for the doomed rotary engine but also developments in suspension design, anti-lock braking (ABS; Anti-Bloc System) and safety engineering.  The gullwing body really was designed by an Italian-born stylist but so long had he been in Germany that Teutonic ways had entered his soul so the C111 was less lovely than what might have emerged from a studio in Turin but at the time it still caused a stir, even though finished in what the factory called “safety orange”, their standard high-visibility paint for prototypes and test-beds.  Later versions were fitted with a four-rotor Wankel, a variety of diesels and even a 4.8 litre (292 cubic inch) V8, the fastest of the rotaries said to be capable of 300 km/h (188 mph) while the V8 version (C111-II-D) in 1976 set a new closed-course record on the Nardò Ring in Italy, clocking in at 403.978 km/h (251.815 mph).

Triple carburetors

1966 Ferrari 275 GTB/C (Gran Turismo Berlinetta Competizione (denoting a grand touring coupé built to competition-specification)).

When submitting to the Fédération Internationale de l'Automobile (the FIA; the International Automobile Federation) the application to homologate the 275 GTB/C for sports car racing, there was some glitch in the factory’s administrative processes because the document certifying the existence of a six-carburetor option for the 275 GTB wasn’t part of the paperwork enclosed.  That meant the 275 GTB/C could appear on the grid only with triple carburetors so to compensate, Ferrari had Weber produce a run of 40 DF13 units which in addition to their higher flow-rate featured lightweight magnesium bodies instead of the aluminium housing and were distinguished also by the distinctive, rearward-facing inlet trumpets.  As might be expected, original Weber 40 DF13s now command a premium price.  Twelve 275 GTB/Cs were built and the model was a turning point in being the last Ferrari built for racing to use the classic Borrani wire wheels.  Such had been the advances in tyre technology that by 1966 the grip generated transferred stresses so acute that in extreme conditions the spokes could break, a tendency exacerbated by the wheels’ additional width (7 inch front 7½ rear); there were accidents.  Such was the concern the two 275 GTB/Cs built as road cars were factory-fitted with aluminum-alloy wheels although the lovely Borranis continued to be made available for the later and much heavier 365 GTB/4 (Daytona, 1968-1973) and 365 GTC/4 (1971-1972), the factory cautioning they were suitable only for road use.  In truth, using a 275 GTB/C on the road was a dubious proposition because, as a weight-saving measure, the body panels had been fabricated in thin 20-gauge aluminium; about half the thickness of the metal used for the road cars, it could be dented just by being touched and the dainty bumperettes (which offered at least some protection on the other variants of the 275 GTB) were wholly fake and merely affixed to the panels with no underlying structure.

1960 Jaguar XK150S 3.8 (left) and schematic of typical installation of Jaguar's auxiliary enrichment thermo-carburetor (right).

The last in the XK series (XK120 (1948-1954), XK140 (1954-1957) & XK150 (1957-1961)), the Jaguar XK150 debuted with a version of the twin carburetor 3.4 litre XK-Six used since 1948.  Increased weight had blunted the XK150's performance, something not wholly off-set by the slight increase in power coaxed from the engine and in 1958 the option of an "S" specification was made available as the XK150S, restoring the pace of the earlier cars, the raised output achieved with a revised cylinder head and triple carburettors (seen earlier in the 1950s on the C-Type, D-Type & XKSS).  The final and fastest of the species was the 3.8 litre version of the XK150S, introduced in 1960; the engine in essentially this configuration would later be shared with the early E-Types (XKE) and Mark X, the triple carburetor arrangement carried when the 4.2 litre versions were released in 1964.  The triple carburetor engines were in 1968 withdrawn from the US market because the anti-emission regulations made the cost of certification prohibitive although, while in North America buyers had to be content with twin-carburetor units, the triples continued for RoW (rest of the world) vehicles exported to other places or sold in the home market.  When the last of the six-cylinder E-Types was made in 1971, that was the end of the line for the triple carburettor Jaguar.  It is however misleading to suggest the XK150S, E-Type and Mark X/420G were the only series-production Jaguars with triple carburetors because on some cars during the 1950s & 1960s, the factory fitted a smaller electromagnetically controlled “auxiliary carburetor” which augmented the main pair, making starting easier.  The unusual arrangement acted as a choke but it was a complicated solution to a simple problem and, while performing faultlessly in testing, in the real world with gas (petrol) of varying quality and in different climatic conditions, it sometimes proved troublesome and there were owners who gave up and installed a conventional choke.

1966 Pontiac 2+2 421 HO Tri Power.

The early carburetors were all single throat (later also as “choke” or “barrel”) devices and almost all were gravity-fed; it wasn’t until the 1930s the first two-barrel (then called a “duplex”) units appeared.  That design was such an advance because the duplexing allowed “fuel separation” manifolds which more accurately sent the mixture to the most distant cylinders; the adoption if this technology in 1934 allowed the output of Ford’s then new “flathead” V8 to rise from 60 to 85 horsepower (HP).  Buick in 1941 created what was, in effect, the first four-barrel system by installing two two-barrel units, the second becoming active only when the throttle had been opened far enough to operate the progressive linkage.  The advantage of that was economy of operation because the additional fuel-burn happened only on demand; it was an approach Detroit would use (in gradually diminishing numbers) until 1971.  Four-barrel carburettors which operated on the same model appeared at scale in the 1950 and became an industry standard, some even installed in pairs on the high-performance vehicles.  Ideal in many ways for the V8 layout, the problem for the manufacturers was the engines grew at a much greater rate than the carburetors and while the dual four-barrel configuration was suited to some, a better compromise for many was to use triple two-barrels.  Pontiac and Oldsmobile chose that path in 1957 and Chevrolet and Cadillac followed in 1958.  Ford flirted only briefly with the triple two-barrel before switching for a few years to dual four barrels for their high performance V8s, their first venture in 1958 when three were bolted onto the big, heavy 430 cubic inch (7.0 litre) MEL V8 although in that form it appeared only on one Mercury for that single season.  As higher-volume four-barrel carburetors became widely available, the rationale for the triple option faded and Chevrolet ceased use for all but the full-sized line and the Corvette; the last triple carburetor Corvettes were built in 1969.  Chrysler was last to adopt the idea and the last to offer it, Trans-Am themed 340 cubic inch (5.5 litre) Plymouth ‘Cudas and Dodge Challengers made in 1970 while the 440 cubic inch (7.2 litre) (advertised variously as “Six Pack” by Dodge and “Six Barrel” by Plymouth) was available in several models between 1969-1971 (it's said six 1972 cars were so configured) although its last appearance was in the Jensen SP, the last of which was built in 1973.  Jensen's experiment had at the time seemed a good idea because, with the engines outlawed in the US, they obtained the surplus stock at an attractive price but in the Interceptor's smaller engine bay and equipped with air-conditioning (something Chrysler never coupled with the triple carburetor engines), the SP proved troublesome and production was terminated, Jensen not taking up to option to buy the remaining stock, 

"Triple" is used of many things: Lindsay Lohan and her lawyer in court, Los Angeles, December 2011.

Of taillights and exhaust tips 

1957 DeSoto Adventurer Convertible.

DeSoto's signature triple stacked taillights were a footnote in Detroit's macropterous era of the late 1950s, the style making possible the distinctive vertical arrangement.  Chevrolet would for years make triple taillights a trademark of their more expensive lines (although, apart from the odd special built for the show circuit, they resisted the temptation to add a third to the Corvette (the additional rear apertures on the abortive 1963 Corvette Grand Sport (GS) were for air extraction)) but they appeared always in a less memorable horizontal array.  DeSoto's motif was Chrysler's most successful use of the fins but it wasn't enough to save the brand  which was crowded out of the mid-priced market, not only by competition from General Motors (GM) and Ford but also by intra-corporate cannibalization, squeezed from below by Dodge and from above by Chrysler's new Newport line.  Demand for DeSotos collapsed and that 3034 1961 models were built in late 1960 happened only to use up the large inventory of the few parts still exclusive to the brand.  The last of the line, heavily discounted, were not sold until well into 1961 by which time DeSoto was a single-model range and any loyal customer unable to be supplied with one after stocks were exhausted was rewarded instead with a similarly configured Chrysler Newport, a notch up the corporate hierarchy.  The 47-day production run of the 1961 DeSotos was short but it was longer than that of Ford's doomed 1960 Esdel, 2864 of which left the production line over 34 days late in 1959. 

More sharing of stuff than before: 1960 DeSoto Fireflite four-door hardtop (left) and 1960 Chrysler New Yorker four-door hardtop (right).

Note the New Yorker's larger rear window.  Remarkably (by today's standards), the Chryslers of this generation offered two different designs of rear glass, the extra surface-area described in the brochures as the “Extra-large rear window” and it was a time when such flourishes were a matter purely for designers and accountants whereas now it would require a separate programme crash-testing several vehicles.  The big glass was standard on all two-door hardtops & New Yorker four-door hardtops and optional at various times on the Saratoga, Newport and Windsor four-door hardtops.

1961 Chrysler brochure (page 7).

The phrase "EXTRA-LARGE REAR WINDOW" really did appear (capitalized) in the brochures and the simplicity in the description wasn't always typical of the advertising copy of an era during which words like "vista", "panoramic" or "dioramic" might have been expected when extolling the virtues of having more glass.  In the same (1961) brochure, the plain-speaking language may be compared with "FLIGHT-SWEEP DECK LID", used to describe the fake spare tyre cover the agency further explained was a "smooth sculptured circle" which added "a distinctive finishing touch".  In the wild, the "flight sweep deck lid" was tended to be called the "washing machine lid" or "toilet seat".  "Flight-Sweep" was an allusion to a pair of concept-cars Chrysler sent around the show circuit in 1955 and they genuinely did have the spare tyre housed under the mounting although the complexity of the assembly would have seen it vetoed by the accountants as too expensive for mass-production.  When "Flight Sweep" was used as an advertising hook for the 1956 range, while some of the styling cues from the show cars did appear the "toilet seat" did not but it was a feature (many suggesting, even then, a blemish) between 1957-1960 when it was fitted as standard on some of the higher-priced lines and an option on others.  There were buyers who chose the option so the "toilet seat look" must have had some appeal.   

By 1959 the writing was on the wall for the once popular DeSoto and the 1960 range would prove its swansong, the last of the breed barely modified Chryslers and the only real hint of the past was the taillight's triple frets.  On the DeSoto the ridges were a modest attempt to retain brand identity but in optics such things have a purpose and are known as “Fresnel lenses” or “Fresnel ribs”, the name from French civil engineer Augustin-Jean Fresnel (1788–1827), remembered for his research into optics which led eventually to the near-unanimous acceptance of the nature of light being a wave (he was half-right but light was later proved to possess a wave-particle duality).  His more enduring Fresnel lens used the catadioptric (reflective/refractive) principle and what the “stepped” design did was extend the reach of lighthouse beams, doubtlessly saving the lives of many seafarers.  Fresnel’s invention was a refinement of the dioptric (refractive) stepped lens, a concept first published by the French cosmologist and mathematician Georges-Louis Leclerc, Comte de Buffon (1707-1788) and Fresnel’s enhancements better distributed and directed the light, improving visibility from longer distances and a greater range of angles.

By 1960 (left) the DeSoto's taillights were a shadow of the way the triple-stack motif had been defined in 1959 (right): This juxtaposition is DeSoto Red Tail Lights in Black and White by Paul Ward.  Many designers probably will prefer the later interpretation but there's a charm to the triple stack. 

1969 Dino 206 GT by Ferrari in Azzurro Metallizzato (left), 1974 Ferrari 365 GT4 in Rosso Corso (centre) and 1975 Ferrari 365 GT4 BB in Verde Germoglio.

Unexpectedly, in the early 1970s, Ferrari had a flirtation with triple taillights and they doubled-down for the 365 GT4 BB (better known as the Berlinetta Boxer), adding a pair of triple tail-pipe apparatuses (thus a count of six rather than the usual four) for the 4.4 litre Flat-12.  Before the decade was out it must have been decided four of either was enough and the factory decided for a while (mostly) to stick to the classics: as designs like the Dino 206 GT illustrate, less can be more.  Since the BB however, Ferraris have also appeared with two and three tailpipes (some in the 1970s had but one) and in the twenty-first century many cars come with just a minimalist pair of taillights.  Ascetically, no arrangement works as well as the traditional template: four lights, four pipes.

The fetish of motorcycle exhaust systems

1980 Laverda Jota 1000 (3-into-2, far left), 1973 Suzuki GT750 "Water Buffalo" (3-into-4, centre left), 1972 Kawasaki 750 Mach IV (H2) (3-into-3, centre right) and 2017 MV-Agusta Dragster 800Rc (3-into-3, far right).

Triple cylinder engines have been a feature of motorcycle engines for decades and different manufacturers have taken various approaches to the exhaust systems, an item which exerts upon riders a special fascination.  It’s not unusual to fit single systems (3-into-one) but there are also some which “siamesed” the central header pipe, the derived pair joining the two outer pipes to duct into two mufflers.  Unusually, Suzuki for a while offered 380, 550 & 750 cm3 machines with 3-into-4 systems, the central header again “siamesed” but with the novelty of terminating the two pipes in separate mufflers, thereby emulating the appearance of a four-cylinder machine.  It was a curious arrangement which Suzuki abandoned and other manufacturers choose not to follow (although there had been after-market suppliers which concocted 2-into-4 systems which exchanged the "advantage" of "the look" for the drawback of additional weight and needless complexity).  Greatly at the time, Suzuki must have valued symmetry.

1973 Kawasaki H2 Mach IV 750 (left), 1975 Triumph X-75 Hurricane (centre) and 2020 MV Agusta Dragster 800 RC 75th Anniversario (right).

Somewhat earlier, asymmetry hadn’t frightened Kawasaki which used pragmatic 3-into-3 engineering for their range (250, 350, 400, 500 & 750 cm3) of charismatic, highly strung two-strokes, one pipe to the left, two to the right and it was a distinctive feature which, although sometimes seen on the track, remains rare on the road.  In the same era, Triumph on their X75 Hurricane took 3-into-3 asymmetry to its logical conclusion, its three pipes arranged in a radically upswept stack on the right.  It looked dramatic and was much admired but didn’t catch on although there’s been the odd revival, the Italian house MV-Agusta adopting the look and engineering a particularly aggressive interpretation on their Dragster 800RC.  The Italians can make even exhaust pipes artistic statements.  When the Guggenheim Museum in New York staged The Art of the Motorcycle exhibition (October 2001-January 2003), one featured machine was the MV Agusta F4, and there was a focus on the way its four pipes exited rakishly from the tail section.

1969 Triumph Trident T150.

So there have been triple-cylinder motorcycles with exhaust systems configured as 3-into-1, 3-into-2, 3-into-3 & 3-into-4 but the early versions of the Triumph Trident and BSA Rocket 3 (1968-1975) offered a unique take on things with a design which had the three headers ducted into two mufflers, each of which terminated with three exhaust stubs so it can be described as a 3-into-2-into-6 which seems one layer of complication too many.  The styling on the early Trident and Rocket wasn’t well received and was revised for 1971.  Neither motorcycle was a commercial success because they arrived too late; had the pair been released in 1966 as was planned, things might have been better because genuinely they were fast and offered a level of refinement beyond the parallel twins which for years had been a mainstay of the British industry.  As it was, within weeks of their debut, Honda’s epoch-making 750-Four was on the market, a generation (or more) advanced compared with the competition and when the Kawasaki 900 later followed, even the (slight) performance advantage enjoyed by the British triples vanished.

2022 Triumph Rocket 3 GT in triple black.

When Triumph announced the Rocket 3 in 2019, most attention was on the numbers, the 2458 cm3 (150 cubic inch) triple being the largest displacement engine available in a motorcycle and the (163 ft-lb) (221 Nm) torque generated also industry leading, topping even the big Ducatis and the straight-six BMW.  Triumph since 2004 been at the top of the displacement tree with the Rocket III’s 2294 cm3 (140 cubic inch) engine and the updated model was very much a modernization exercise, something which may account for the decision to switch from the traditional Roman numerals to a digitally compliant “3”.  Being a triple there were of course options for how to handle the exhaust ducting and for the GT model Triumph opted for the asymmetric on the model of the old Kawasaki two-strokes rather than reprise its own X-75 Hurricane of nearly half a century earlier.  Unlike Kawasaki, Triumph didn’t make asymmetry a signature feature, choosing to route the third exhaust, almost inconspicuously, just under the swing-arm on the left side, a curious juxtaposition with the visual statement of intent made by the two on the right.  Doubtlessly the engineering behind the decision was sound and to add a bit of high-tech bling, some Rocket 3’s had carbon-fibre exhaust tips and most conspicuously they were carbon-fibre.

Saturday, January 11, 2025

Lipstick

Lipstick (pronounced lip-stik)

(1) A crayon-like oil-based cosmetic used in coloring the lips, usually in a tubular container.  Lip-gloss & lip-liner (hyphenated and not) are the companion products whereas lip balm is a non-cosmetic product to prevent drying & cracking of the skin.

(2) As “lipstick tree”, the shrub Bixa orellana, native to Mexico and northern South America.  The common name is derived from (1) the arils (tissue surrounding the seed) being the orange-red colourant annatto and (2) the texture & consistency of the arils recalling that of commercially manufactured lipstick.

(3) In slang, the canine penis.

(4) In certain LGBTQQIAAOP circles, as “lipstick lesbian”, a lesbian who displays traditional, conventional feminine characteristics (opposed to a “butch lesbian”).  Some guides to such things note (1) the term can be a slur if used in the wrong context and (2) in some sub-groups a “lipstick lesbian” is one attracted to “other feminine women”, as opposed to a “femme” (a feminine lesbian attracted to butch lesbians).  The alternative to “lipstick lesbian” is “doily dyke” but both alliterative forms should be used with care because in most contexts they are probably now at least microaggressions.

(5) In economics, as “lipstick effect”, a theory which suggests that during economic downturns, consumers display a greater propensity to purchase low cost luxury goods (such as premium lipsticks).

(6) To apply lipstick to; to paint with lipstick.

1875-1880: A coining in US English, the construct being lip + stick.  Lip was from the Middle English lippe, from the Old English lippa & lippe (lip; one of the two sides of the mouth), from the Proto-West Germanic lippjō (lip), from the Proto-Germanic lepjan & lepô, from the primitive Indo-European leb- (to hang loosely, droop, sag).  The Germanic forms were the source also of the Old Frisian lippa & West Frisian lippe, the Middle Dutch lippe, the Dutch lip, the Old High German lefs, the German Lippe & Lefze, the Swedish läpp, the Norwegian leppe and the Danish læbe.  However, some etymologists have questioned the Indo-European origin of the western European forms and the Latin labium, though it’s said they agree the Latin and Germanic words “probably are in some way related” and the Latin may be a substratum word.  The French lippe was an Old French borrowing from a Germanic source.  Stick was from the Middle English stikke (stick, rod, twig), from the Old English sticca (twig or slender branch from a tree or shrub (also “rod, peg, spoon”), from the Proto-West Germanic stikkō, from the Proto-Germanic stikkô (pierce, prick), from the primitive Indo-European verb stig, steyg & teyg- (to pierce, prick, be sharp).  It was cognate with the Old Norse stik, the Middle Dutch stecke & stec, the Old High German stehho, the German Stecken (stick, staff), the Saterland Frisian Stikke (stick) and the West Flemish stik (stick).  The word stick was applied to many long, slender objects closely or vaguely resembling twigs or sticks including by the early eighteenth century candles, dynamite by 1869, cigarettes by 1919 (the slang later extended to “death sticks” & “cancer sticks).  The first known use of “lipstick” in advertizing was in 1877 (although some sources claim this was really a “lip balm” and lipstick (in the modern understanding) didn’t appear for another three years.  “Liquid lipstick” was first sold in 1938 and by the mid 1960s variations of the substance in a variety of liquid and semi-solid forms was available in pots, palettes and novel applicators.  Lipstick is a noun & verb and lipsticking & lipsticked are verbs; the noun plural is lipsticks.

Dior Rouge Lipstick #999.

In economics, the “lipstick effect” is a theory which suggests there is an identifiable phenomenon in consumer behavior in which there’s an increased propensity to purchase small, affordable luxury goods (“designer lipsticks” the classic example) during economic downturns as an alternative to buying larger, more expensive items.  The idea is that as a consumer’s disposable income contracts, the lure of luxury goods remains so although the purchase of the $4000 handbag may be deferred, the $50 lipstick may immediately be chosen, an indulgence which to some extent satisfies the yearning.  The theory is not part of mainstream economics and has been criticized for being substantially impressionistic although more reliable data such as the volume of chocolate sold by supermarkets had been mapped against aggregate economic indicators and this does suggest sales of non-essential items can increase during periods of general austerity.

Beauty Bakerie Lip Whip Matte Liquid Lipstick in Mon Cheri.

The phrase “put lipstick on a pig” is a clipped version of “even if you put lipstick on a pig, it’s still a pig” and it means that cosmetically altering something in the hope of making it seem more appealing than it is doesn’t alter its fundamental characteristics and flaws.  It’s a saying in the vein of “you can't make a silk purse of a sow's ear”, “you can’t polish a turd”, “mutton dressed as lamb” & “old wine in a new bottle” and is often used of products which have been updated in a way which superficially makes them appear “improved” while leaving them functionally unchanged; it’s often used of cars and political platforms, both products which have often relied on spin and advertising to disguise the essential ugliness beneath the surface.  It’s been part of American political rhetoric for decades and usually passes unnoticed but did stir a brief controversy when Barack Obama (b 1961; US president 2009-2017) used: “You can put lipstick on a pig. It's still a pig.” as part of his critique of the “change” theme in the campaign of John McCain (1936–2018), his Republican Party opponent in the 2008 presidential election.  The reason Mr Obama’s use attracted was that earlier, Sarah Palin (b 1964) had said during her acceptance speech as Mr McCain’s running mate: “You know the difference between a hockey mom and a pit bull?  Lipstick. It turned out to be the best line of their lackluster campaign.  Because of her well-publicized speech and the fact Ms Palin was the only one of the four candidates on that year’s ticket actually to wear lipstick (as far as is known), it was immediately picked up as a potentially misogynistic slur.  However, the outrage lasted barely one news cycle as the fact-checkers were activated to comb the records, revealing Mr McCain the previous year had used it when deriding the abortive healthcare proposal developed by the equally doomed crooked Hillary Clinton (b 1947; US secretary of state 2009-2013) while installed as FLOTUS (First Lady of the United States).

Lindsay Lohan in applying red lipstick (left) and smoking a "stick" (right), from a photo-shoot by Terry Richardson (b 1965) for Love Magazine, Spring/Summer Edition, 2012.

Use turned out to be a long “across the aisle” thing. Thomas Harkin (b 1939; US senator (Democratic-Iowa) 1985-2015) applying it in 1989 to George HW Bush’s (George XLI, 1924-2018; US president 1989-1993) plan to send military aid to the El Salvador government and Ann Richards (1933–2006; governor (Democratic) of Texas 1991-1995) in 1992 added a flourish when she said of the administration’s call for the Democratic-controlled congress to move on a constitutional amendment to force the government to keep a balanced budget: “This is not another one of those deals where you put lipstick on a hog and call it a princess.  The line received much attention and she added a new variation in 1990 when criticizing the administration for using warships to protect oil tankers in the Middle East (which she labeled a “hidden subsidy for foreign oil”): “You can put lipstick on a hog and call it Monique, but it is still a pig.  At least in Texas, that may have achieved some resonance because in her failed 1994 gubernatorial race against George W Bush (George XLIII, b 1946; US president 2001-2009), her campaign used the slogan “Call it Monique” as a way of disparage her opponent’s proposals.  The use of “Monique” was apparently random; as far as is known there was no “Monique problem” in the White House of George XLI in the way there was a “Jennifer with a ‘J’ problem”. Commendably, Governor Richards did stick to the theme, unlike Mr Obama in 2008 who couldn’t resist a further metaphor in case his audience was too dim to understand the first, adding: “You can wrap an old fish in a piece of paper called ‘change’.  It's still going to stink.  That was laboring the point by gilding the lily.

Sarah Palin and Barack Obama, 2008.  Sarah Palin was wasted in politics and was a natural for Fox News and such.

Helpfully, the industry has defined the math of "perfect lips" and even more helpfully (for imperfect women), a lip pencil can be used to apply lip liner to make one's shape tend towards the perfect, providing the definition lines within which lipstick can be applied.  When using a lip pencil, a pencil sharpener is an essential accessory.

Nars Velvet Matte Lip Pencil in Dragon Girl.

People have been expressing the idea in different ways for at least centuries.  In 1732 the English physician and lay-preacher Thomas Fuller (1654–1734) published Gnomologia: Adagies and Proverbs; wise sentences and witty saying, ancient and modern, foreign and British which included “A hog in armour is still but a hog.  The English antiquary & lexicographer Francis Grose (circa 1725-1791) included an entry for “hog in armour” in his A Classical Dictionary of the Vulgar Tongue (1785) which he explained was “an awkward or mean looking man or woman, finely dressed.  So, something like “mutton dressed as lamb”, a put-down rendered more cutting still by what used to be called the Fleet Street tabloids coining “mutton dressed as hogget”, a classic example of what used to be called bitchiness, a genuine red top speciality.  Charles Spurgeon (1834-1892) was an English Particular Baptist preacher (with all that implies) and although most of his prodigious writing was concerned with defending his sect against the encroachments of liberal & pragmatic theology and ritual, he did publish odd secular work including The Salt-Cellars (1887), a compendium of proverbs in which he noted: “A hog in a silk waistcoat is still a hog” meant “Circumstances do not alter a man’s nature, nor even his manners.

Dior Addict Lip Gloss Glow Oil in 007 Raspberry.

But it was pigs & lipstick which became the most common form but apparently only after the mid 1980s although the incongruity of the juxtaposition of pigs and lipstick had appealed earlier appealed to some.  In 1926 the “colorful” journalist Charles Lummis (1859-1928) had a piece in the Los Angeles Times which included: “Most of us know as much of history as a pig does of lipsticks.” but the first known appearance of the modern phrase is thought to have been in the Washington Post in 1985, quoting a San Francisco radio host who suggested plans for renovating Candlestick Park (instead of building a new downtown stadium for the Giants “…would be like putting lipstick on a pig.  After that it’s never gone away, an anti-abortionist in 1992 quoted as saying of legislative amendments of which he did not approve: “You don't want to put lipstick on a pig” and Rick Santorum (b 1958; US senator (Republican-Pennsylvania 1995-2007) added spelled it out, telling the chamber legislative reforms to government subsidies for southern peanut and sugar farmers were the lipstick while the pig was the subsidy programme itself.  In 1998, the often lachrymose Republican John Boehner (b 1949; Speaker of the US House of Representatives 2011-2015), apparently while dry-eyed, bemoaned what he called a “rudderless Republican congress”: "When there's no agenda and there's no real direction, what happens is you really can't have a message; you can put lipstick on a pig all day long, but it's still a pig.

Lipstick, lip gloss, lip liner & lip balm

Lipstick is primarily for style, there to add color (and they are produced in just about every shade imaginable) but it also protects and to some extent hydrates the lips, indeed, some have additives for just this purpose.  The texture can be creamy, matte, satin, or glossy and lipsticks have included glitter and even a swelling agent for those who want a plumper-lipped look although it applied with some expertise, even an unadulterated lipstick can provide the visual effect of greater fullness. 

Lip Gloss can be used either as a stand-alone product or as a finisher over lipstick, somewhat analogous with a “clear coat” over paint, providing a “varnishing” effect.  What lip gloss does is add shine and often a hit of color to the lips.  As the name implies, the texture is glossy and although usually lightweight, the finish can be sticky, models often applying lip gloss sever times during a photo-shoot to ensure the luster is constant.  They’re mostly sheer or translucent, though some have shimmer or glitter added, thus they can produce a (sort-of) natural, shiny look or add visual depth to lipstick.

Fenty Beauty Stunna Lip Paint Longwear Fluid Lip Color in Uncensored.

Lip Liners (applied with a lip pencil) are a maintenance tool.  What a lip liner does is define the edge of the lips, providing a protective barrier which prevents feathering or bleeding of lip color (ie from a lip stick or lip gloss.  Almost always matte, lip liners are essentially pencils for the lips and their use requires the same firm consistency in application that an artist adopts when putting graphite to paper.  Specialists caution it does take practice to master the art and their golden rule is “less is more”: begin with several light applications until technique is honed and arcs can be described in one go.  Done well, a lip liner can be outline the lips, fill them in for longer-lasting color and to a remarkable extent, change the appearance of their shape.

Lip Balm is only incidentally a beauty aid; they’re used to moisturize, soothe, and protects lips from dryness or chapping so are used by those playing sport, sailing rock-climbing and such.  Most are creamy and waxy, designed to endure for several hours of outdoor use (and often include a sunscreen) although some intended for those in indoor, dry-air environments (such as air-conditioned offices) are lightweight and glossy; aimed at the female market these are often flavored (mandarin, cherry, strawberry etc).  The indoor variety typically are transparent or lightly tinted and while some can be used as a base under other products, not all lipsticks or lip glosses are suitable; it depends on the composition.

Cultural practices mean “lipstick” is associated mostly with shades of red although (depending on the manufacturer) just about any color is available including some which sparkle.  Goths and emos of course like black and purple but a few manufacturers do have white in their range but it doesn’t suit everyone or every occasion.  Apart from looking remarkably like one's recent application of zinc cream just prior to spending time in the summer sun, to use white lipstick requires more than the usual attention to the surrounding colors (outfit, hair, skin tone, eyeliner etc).  Paired with dyed gray hair, white-framed spectacles or the right clothing it can work but the most dramatic contrast is of course available to those with dark skin who should probably use white lipstick as a stand-alone highlight, however tempting may be the accessories.

The "Lipstick Mark": 1976 Lincoln Continental Mark IV, with Lipstick and White Luxury Group in Lipstick Red with White Normande grain vinyl roof in Landau style (left) and white on white (right).

The Ford Motor Company’s Lincoln Continental Mark IV (1971-1976) was a classic “land yacht”, a class of car which was a feature of the US motoring scene of the 1960s & 1970s; it was an exemplar of the “personal luxury car”, a subset of the breed.  Although an exercise in packaging of wonderous inefficiency which today seems remarkable, the Mark IV was a great success for the corporation and was highly profitable because it was built on the same platform as the Ford Thunderbird with which it shared both a mechanical specification and a substantial part of the structure with only some panels, interior fittings and additional bits & pieces distinguishing the two.  The pair was among the industry’s most profitable lines and in 1976, Lincoln released the first of its “designer” series Mark IV’s, “trim & appearance” packages which included touches from the associated designers (Bill Blass, Cartier, Givenchy & Pucci) and to ensure those watching knew just which design house’s bling a buyer had chosen, the C-Pillar “opera window” (a much-loved affectation of the age) was etched with the signature of the relevant designer.  More profitable even than the standard line, of the 56,110 Mark IVs produced in 1976, 12,906 were one or other of the designer editions.

Extract from 1975 Lincoln Continental Mark IV brochure.

As well as the “branded” designer edition cars, beginning in 1973, Lincoln made available its LGO (Luxury Group Option), trim package which offered a color-coordinated exterior, vinyl roof, and interior with the color mix changed each season.  The Lipstick and White Luxury Group first appeared on the Continental Mark IV option list for the 1975 range but in its first season, externally, the cars exclusively were white, the choice for the “White Normande grain” (code LW) vinyl roof between a full covering of the optional “Landau” style which spread only over the rear section; there was also an alternative vinyl called “Cayman” (designed to resemble the skin of the tropical American crocodilian which is similar to an alligator).  The red was limited to the interior, the accent stripes across the button-tufted white leather upholstery (code DN), the cut-pile carpets and other fittings such as the dashboard, steering wheel and highlights on the doors.  In 1975 the package listed at US$400 but it was an era of high inflation and by 1976 this had risen to US$477; in the same season Ford offered a similar “Lipstick Luxury Group” on the Thunderbird which was listed at US$337-546 depending on the configuration.  It’s the 1976 editions which are most memorable because of the choice of red paint and for maximum effect red vinyl side moldings could be added for those who thought the ensemble otherwise too subtle.  Just how many were built (an often quoted number is 1250) isn’t known but while most seem to have opted for white paint, it’s the red ones which are most associated with the option and the shade appears closest to Dior's lipstick #744 (Party Red). 

1976 Lincoln Continental Mark IV, Lipstick Edition.

So a 1976 Continental Mark IV with the Lipstick and White Luxury Group (known among the Lincoln cognoscenti as “The Lipstick Mark”) could be painted White (code 9D) with optional red pinstripes (code 3) or Lipstick Red (code 2U) with optional white pinstripes (code 2) and either could be paired with the red or white vinyl roof coverings.  In the brochure, like the side moldings, the custom pin stripes were “recommended”.  All that meant from the outside one’s Lipstick Mark could appear either as a typical “white on white” land yacht of the era or really make a lipstickesque statement in red & white or all red; it was a matter of what one wanted from life.  Such a splash did the Continental’s visual choices make in 1975 that for many buyers, the significant feature of four wheel disk brakes probably passed unnoticed and it's not known if Ford ever attempted (al la the Bill Blass, Cartier, Givenchy & Pucci associations) to partner with Dior or any other cosmetics house for the Lipstick edition.

1993 Rolls-Royce Corniche IV in "Ferrari Red" (“red, on red, on red”).

The Lipstick Marks must have made an impression but there was a least one person who would have found them understated because in 1991 Rolls-Royce issued a work-order (WO) for a Corniche IV Convertible (by the 1990s even Rolls-Royce no longer called such things DHCs (drophead coupé)) ordered by a customer in Switzerland who had specified a number of what the factory called “production deviations and special features”.  Stating the obvious, the theme clearly was “red” and the WO specified everything was to be finished in what was described as “Ferrari Red 9520120” and it certainly appears to emulate the Italian factory’s famous Rosso Corsa (racing red).  There may have been technical reasons why a timber like rosewood wasn’t used but the effect was achieved with the WO instruction: “Veneer to be birdseye maple to match Ferrari Red” although there must be something different about the leather used for steering wheels because the WO included the proviso: “Steering wheel to be in red hide dyed to match Ferrari Red if possible.  Otherwise St James Red”.

These days, high-end manufacturers all run “bespoke” divisions which exist to accommodate just about any billionaire’s whim within what physics and engineering permit but by the standards of the early 1990s, this “Ferrari red” Corniche was an exceptional build; the closest matches in the Dior lipstick color chart are #999 Velvet and #080 Red Smile (#754 Pandore being slightly more subdued).  The industry term used to describe the color scheme of convertibles is “paint, on upholstery, on roof”.  Between 1971-1995, the factory produced 6823 Corniches (including the equivalent Bentley model), of which 244 were the Corniche IV (1992-1995) and while not a few were “black, on black, on black” or “white, on white, on white” (the latter in the 1960s & 1970s also a favorite among Cadillac owners), this “red, on red, on red” one truly is unique, a genuine “one-of-one”.

In a promotion, the Tussy Lip Stick Company offered three 1967 Mustangs as prizes for contest winners, each finished in a shade of pink which matched the lip sticks Racy PinkShimmery Racy Pink Frosted & Defroster.  Defroster sounds particularly ominous but to set minds at rest, Tussy helpfully decoded the pink portfolio thus:

Racy Pink: "A pale pink".

Racy Pink Frosted: "Shimmers with pearl". 

Defroster: "Pours on melting beige lights when you wear it alone, or as a convertible top to another lip color".

The fate of the cars is unknown but nerds might note the three prizes were 1967 models while the model (as in the Mustang) in the advertisement is from the 1966 range.  That's because the advertising copy had to be made available before the embargo had been lifted on photographs of the 1967 range.  The men on Madison Avenue presumably dismissed the suggestion of what might now be thought "deceptive and misleading" content with the familiar "she'll never know".

Thursday, January 9, 2025

Magazine

Magazine (pronounced mag-uh-zeen)

(1) A publication that is issued periodically, usually bound in a paper cover, and typically contains essays, stories, poems, etc., by many writers, and often photographs and drawings, frequently specializing in a particular subject or area, as hobbies, news, or sports.

(2) A room or place for keeping gunpowder and other explosives, as in a fort or on a warship.

(3) A building or place for keeping military stores, as arms, ammunition, or provisions.

(4) A metal receptacle for a number of bullets or cartridges, inserted into certain types of automatic and semi-automatic weapons which, when empty, is removed and replaced by a full receptacle in order to continue firing.

(5) In broad or narrowcast media (radio, TV, social etc), a production consisting of several, usually short, segments in which various subjects are examined, usually in greater detail than on a regular newscast.  In the jargon of the industry: the magazine format.

(6) A device for continuously recharging a handling system, stove or boiler with solid fuel.

(7) A storehouse or warehouse (now rare).

(8) A collection of war munitions.

(9) A rack for automatically feeding a number of slides through a projector.

(10) In film-stock photography, an alternative name for cartridge.

(11) A city regarded as a marketing centre (archaic).

1581: From the Middle French magasin (warehouse, store), from the Italian magazzino (storehouse), from the Arabic مَخَازِن‎ (makhāzin) (plural of مَخْزَن‎ (makhzan) (storehouse)) noun of place from خَزَنَ‎ (khazana) (to store, to stock, to lay up); from the same Arabic source came the Spanish almacén (warehouse) and it's an example of European languages borrowing from an Arabic in plural form to create a singular form.  The original Arabic plural مخازن (maxāzin) was from the singular noun مخزن (maxzan) (storehouse; depot; shop).  A magazinette was  a small or short magazine (in the sense of a periodic publication), based on the notion of a novella or operetta.  Such things do still exist but the term has fallen from use.  In the early days of the commercial availability of semi-automatic firearms, at least one manufacturer did label those used with handguns "magazinette", the idea being they were a small version of the "magazines" supplied with larger weapons but the four syllable suggestion seems almost instantly to have been replaced by "clip".  The informal noun describing the industry publishing magazines was magazineland.  Magazine, magaziner & magazinette are nouns and magazinelike (and magazine-like) is an adjective (magazinesque seems to be non-standard); the noun plural is magazines.

Lindsay Lohan, Vogue magazine (Spanish edition), August 2009.

The original general sense of “storehouse” is almost obsolete except for military purposes and in naval history, magazines feature frequently because their detonation (usually as a result of attack but sometimes accidents too) was often the cause of ships being sunk, often with a high death-toll.  As used to describe books figuratively as “storehouses of information”, the form emerged circa 1640, the first application to a "periodical journal" was the Gentleman's Magazine in 1731.  Over the years magazines have appeared in a variety of formats with paper stock of different sizes and quality and have been as small as a single sheet or have run to hundreds of pages.  Although high-end publications were often lavish, it was only after the 1970s that the use of glossy paper became the industry standard after for years often appearing only on covers.  In the West, the the 1970s, 1980s & 1990s were the golden decades for magazines (and newspapers), the general trend of rising prosperity and the attractiveness of the medium to advertisers meaning growth of the sector was assured and the ease with which new entrants could appear was enhanced by the rise of desktop publishing, meaning entire editions could be composed with equipment which cost a tiny faction of what was required even a generation earlier.  There was churn because many came and went and the periodic recessions claimed some but during those decades the trend was more and not less.

Jarre 10-Shot Pinfire "Harmonica" pistol with 10 chamber magazine.

The early pistols were essentially small-scale muskets with the same, single-shot capability but there was for decades a quest to find a reliable and economical to manufacture design which increased this capacity and the “harmonica” design was an early invention, breech loaded with a steel slide magazine which contained chambers for the projectiles.  The capacity was determined by the size of the magazine although, obviously, the design inherently precluded carrying one in a conventional holster were the magazine in place.  The earliest known examples date for the 1740s.

Ruger Single-Nine .22 Magnum revolver (9-round cylinder) in stainless-steel with fibre-optic front sight (left) and Desert Eagle .50 Magnum Semi-Automatic (7 round magazine) in stainless steel (right).

At various points in the nineteenth century, for volume production, the industry settled on (1) revolvers with a "revolving" cylinder containing the cartridges and (2) semi-automatics with the shells held in a magazine (or “clip”) housed usually in the grip.  The two designs each have advantages and disadvantages: In their favour, revolvers are reliable and, with fewer moving parts, are less prone to jamming, (2) are easy to use (basically “point & fire”), (3) are easy to clean and maintain, (4) are available in a variety of calibres (although the larger the bore, the lower the cylinder’s capacity, the range from 5 x .50 to 9-12 x .22) and (5) can be fired even if pressed against an object.  The drawbacks include (1) slower reloading, (2) bulk (revolvers tend to be wider and heavier due to the cylinder) and (3) many revolvers have an inherently heavier trigger pull.  Semi-automatic often offer (1) a higher capacity for a given calibre than most revolvers, (2) faster reloading (assuming one has a replacement clip), (3) a thinner profile, (3) lighter trigger pulls (especially single-action units) and (4) a remarkable range of accessories including rails for lights, lasers and optics.  The drawbacks include (1) complexity and a greater number of moving parts, thus increasing the risk of jams or misfeeds, (2) steeper learning curve for users because of the more complex construction and operation, exacerbated by there being greater structural variation between manufacturers than with revolvers, (3) greater sensitivity to exactitude in load specification and (5) if pressed against an object, the slide can slightly move, preventing fire.

The early days of the internet, when most interactions happened on desktops or laptops, appears to have had little effect on the magazine publishing industry and may even have stimulated demand but it was in the early 2010s the near simultaneous arrival at scale of bandwidth, social media and smartphones which created a vicious cycle of (1) increasing volumes of content moving from established publishers to social media & (2) the advertising revenue following the viewers who followed the content.  The decade was littered with publications which either moved on-line or folded entirely but nothing compared with the sudden hit in 2020-2021 of the COVID-19 pandemic when titles which had for a generation or more been staples of the industry ceased to be.  However, some subsequently were revived and what seems to have happened is that many non-specialist titles (such as fashion magazines) have been re-invented as niche players designed to appeal to a small market with the interests and disposable income (the famous A1 & A2 demographic) which will attract advertisers.  A kind of pre-packaging of the audiences micro-marketers crave, this segment of the magazine business can be compared with narrowcasting and for some, the glossy magazine is something desirable and just another form of technology albeit one which can be a more pleasant and more convenient way to consume content and prices has risen so such things can also be flaunted as a status symbol, the sense of exclusivity sometimes not wholly illusory because some titles do restrict certain content to their print editions.  In the West, it's unlikely the glossies will ever again be the mass-market force they once were but as the revival of vinyl records demonstrated, where ongoing demand exists for something technically obsolete, provided a business model can be found profitably to provide supply, niches can survive and thrive.

The Economist's editors' choice of the ten covers which seemed best to define 2016.  At the time, 2016 seemed a ghastly year but worse was to come. 

However, being something that looks like a glossy magazine and sits in the shop on the shelf with other magazines does not guarantee that it is a magazine.  The English weekly The Economist (published since 1843) certainly ticks all the boxes for the criteria of what most people would think constitutes a magazine yet it has always described itself as a "newspaper".  That probably seems strange to many given the structure and nature of the content is more closely aligned with other specialist publications labelled "magazines" than with almost all "newspapers".  The explanation is relates to the the way the word "newspaper" was understood in 1843 and until 1971 it was printed in a broadsheet format (the change to the modern form in no way affecting editorial content).  Just to add some typically Economistesque precision, the editor in 2016 clarified the position further by explaining "perfect-bound" publications (the binding process used) were in 1843 called "newspapers".  If that sounds a highly technical point, so it should because economics remains, by definition and habit, the publication's meat & drink and economics is a technical business.  Whether it is or can ever be a science is one of those amusing arguments in which minds are never changed.

The Economist is renowned also for its cartoons and the dry, occasionally sardonic captions which accompany the photographs and illustrations used lend color or context to articles.  A rough guide to Hell appeared on the cover of the 2012 Christmas double issue (December 2012).  Theologically dubious, as a piece predictive of the decade ahead, it proved remarkably prescient.

Politically, The Economist is best classified as belonging to "the fiscally conservative, socially liberal faction of the rational centre-right" and one perhaps surprising quirk revealed in a survey conducted by a US university was the high number of readers who turn first to the weekly obituary, the subjects of which are an eclectic lot: In addition to the expected popes, politicians & potentates, criminals, Cassanovas & courtesans and musicians, mandarins & megalomaniacs (there's some overlap with other categories), there are lives recorded which might otherwise be forgotten such as the man who spent decades gathering and storing all the typefaces used by the world's typewriters.  Nor are non-humans neglected, Alex the African Grey (science's best known parrot) & Benson (England's best-loved fish), both granted the valedictories they doubtlessly deserved.