Bikini

Bikini (pronounced bih-kee-nee

(1) A two-piece bathing suit for women.

(2) A style of brief fitted low on the hip or slightly below.

(3) The name of an atoll in the North Pacific; one of the Marshall Islands and the site of two-dozen odd US nuclear weapon tests between 1946-1958 (with initial capital).

(4) As Bikini State, the UK Ministry of Defence's alert state indicator (1970-2006).

(5) In the retail coffee trade, barista slang applied to smaller variations such as a demitasse (or demi-tasse (half cup), used traditionally to serve espresso).

(6) In engineering & design, a casual term used sometimes for any shape deemed even vaguely bikinilike. 

1946:  Although known as the Eschscholtz Atoll until 1946, the modern English name is derived from the German colonial name Bikini, adopted while part of German New Guinea and was a transliteration from the Marshallese Pikinni (pʲi͡ɯɡɯ͡inʲːi), a construct of Pik (surface) + ni (coconut or surface of coconuts).  Bikini is a noun and bikinied, bikinilike and bikiniless are adjectives (bikiniesque is non-standard); the noun plural is bikinis.

Highly qualified content provider Busty Buffy (b 1996) in powder blue seekini (a bikini fashioned from a semi-sheer fabric).

In medicine, the “bikini-cut” or “bikini line incision” is doctor’s slang for the “Pfannenstiel incision”, a surgical incision permitting access to the abdomen, the exact location chosen for the optimal aesthetic outcome; it was named after German gynaecologist Hermann Johannes Pfannenstiel (1862–1909), who in 1900 invented the technique.  The modern slang is a reference to the “bikini line” (the part of a woman's pubic region not covered by a swimsuit (the fashion being it’s usually waxed, lasered or shaved to be free of pubic hair)).  In the UK, the technique was popularized by Professor John Munro Kerr (1868–1960) who published his results in 1920 (having first applied the method in 1911) and that's why in the English-speaking world the terms “Kerr incision” and “Pfannenstiel–Kerr incision” both are sometimes used.  In the slang of fat-shaming, a “fatkini” is a bikini larger a certain size and regarding the cut-off point where bikini becomes fatkini, some critics are more uncompromisingly stern than others.

1970 Monteverdi Hai 450 SS.

The skimpiness of the fabric used in a bikini's construction meant it could be used as a point of emphasis.  When in 1970 the Swiss boutique manufacturer Monteverdi displayed the Hai (German for "shark"), one journalist acknowledged the stunning speed but noted the lack of practicality, storage space judged to be adequate for a “topless bikini” (a numokini or unikini in the modern parlance).  Peter Monteverdi (1934–1998) claimed the Hai was "a pre-production prototype" and listed it in his catalogue at a then hefty US$27,000 (more even than the coach-built two-door versions of the Rolls-Royce Silver Shadow and while they would have attracted a very different buyer-profile, the comparison was indicative of market relativities).  The consensus is Peter Monteverdi never intended series-production because the Hai was really just an impractical show-piece built to generate publicity (and in that it succeeded) though four eventually were made with only the first fitted with the charismatic 7.0 litre (426 cubic inch) Chrysler Street Hemi V8.  The other three, two of which were built shortly before Mr Monteverdi's death, used the less powerful but also less cantankerous 7.2 litre (440 cubic inch) unit.  As a footnote for trivia buffs, although it's accepted orthodoxy "the factory never installed air conditioning (A/C) in Street Hemi-equipped cars", Monteverdi did fit A/C to the first Hai so the true truism should read "No Chrysler factory ever..."          

Proliferation; variations on the theme of bikini

Bikinis: Samantha Ronson (left) admiring the black bikini of former special friend Lindsay Lohan (right), both with bare feet, Los Cabos, Mexico, October 2007.

The swimwear was first so named in 1946, the brief as a stand-alone garment adopting the term in 1960 while the trikini, dating from 1967, was a variation with separate bra cups fastened by Velcro.  A lack of structural integrity doomed the design for the mass-market but trikinis continue to be used by the fashion industry, mostly in static photography where movement is minimalized.  Trikini was at the time etymologically wrong because falsely it presumed bikini a compound with a bi prefix, an assumption not unreasonable because the English prefix bi is derived from the Classical Latin bi, which, like the Ancient Greek counterpart di, means “two”.  However, trikini is now etymologically correct because (1) bikini and its variations have been wholly been absorbed into English with compounds coined as needed and (2) progress in the fashion industry proved so prolific a new suffix (apparently first suggested by US author Bill Safire (1929–2009)), emerged: -kini.  Those thus far seen have included:

Monokini (a one-piece swimsuit in a variety of designs which tends to be variations on the notion of a bikini top and bottom in some way connected with (a usually minimal) piece of fabric although for the catwalks, designers have showed "bikinis" in which coverage is afforded to only one breast.

Bikini (a two-piece swimsuit with top & bottom)

Trikini (a type swimsuit which uses three, strategic-placed fabric triangles, sometimes achieved with the use of an adhesive)

Facekini (a piece of swimwear worn on the head and covering the face and head)

Burkini (a full body bathing suit which includes a hood; a kind of figure-hugging Burqa for swimming of which not all muftis & mullahs (and certainly no ayatollahs) approve)

Mankini (a kind of sling bikini for men)

Bandkini (a swimsuit consisting of strapless bandeau top and bikini bottom)

Halterkini (a swimsuit consisting of halter top and bikini bottom)

Tankini (a bathing suit composed of tank top and the lower half of a bikini)

Skirtini (a two-piece swimsuit consisting of top and short, skirted bottom)

Microkini (a very skimpy bikini)

Poligrill's helpful identification chart which illustrates the bikini's mix-and-match potential, wearers able to choose the styles best suited to different parts of the body and no longer is it expected (except by dictatorial types like Vogue's editors) the color or fabric of top need match bottom.

Nokini (an casual identifier for beach which permits toplessness for women)

Slingkini (a one-piece swimsuit resembling the Y-shape frame of a slingshot which is supported by fabric at the neck)

Stringkini (a two-piece swimsuit constructed with string-like cords that is scantier and more revealing than a regular bikini)

Sidekini (a swimsuit designed to optimize the side-boob effect (not suitable for all))

Camikini (a swimsuit consisting of thin-strapped camisole top and bikini bottom)

Flagkini (a swimsuit top informally created by the wrapping of a flag)

Duckini (a swimsuit made of a stick-on material (not to be confused with Kim Kardashian's endorsement of gaffer’s tape for use as ad-hoc corsetry))

Numokini (a bikini worn without the top (also called Unikini))

Underkini (a swimsuit designed to optimize the under-boob effect (not suitable for all))

Seekini (a translucent or semi-translucent swimsuit)

Hikini (a swimsuit with a higher-profile bottom)

Louis Réard with polka-dot bikini (left), an original 1946 Bikini (centre) and Mademoiselle Barnardini during the 1946 photo-shoot, clad in rather more fabric than previously she'd donned for her professional engagements.  

Louis Réard (1896-1984) was a French engineer who took over his mother's lingerie business, the bathing ensemble he designed debuting in 1946; as a concept it wasn’t new, such things documented by many cultures since antiquity but Réard’s design was minimalist by the standards of the time.  It was at the time suggested he choose the name because an exploding A-bomb was his preferred simile for the effect on men but in subsequent interviews he claimed his mind was focused on what he expected expected to be an "explosive commercial and cultural reaction" to his design.  That's a significant distinction but both were based on the detonated device.  Although originally Réard’s registered trademark (patent number 19431), "bikini" has long been generic. When first displayed at Paris's Piscine Molitor (a large swimming pool complex) in July 1946, so scandalous did the established catwalk models find the notion of exposed navels that all declined the job so Monsieur Réard was compelled to hire Mlle Micheline Barnardini (b 1927), then an exotic (ie not infrequently nude) dancer from the Casino de Paris.  For Mlle Barnardini even the skimpiest bikini was more modest than her usual professional lack of attire.  According to M Réard, his inspiration came when on a beach at St Tropez, he observed young ladies rolling up their bathing suits to get a better tan.

Model Adriana Fenice (b 1994) in olive green bikini.

Le Monde Illustré in August 1947 applied a little of their bourgeois intellectual thuggery in comparing the denuding of the surface of Bikini Atoll by the bomb’s blast wave with the near-elimination of flesh-covering material in the swimsuit:  “Bikini, ce mot cinglant comme l’explosion même... correspondait au niveau du vêtement de plage à un anéantissement de la surface vêtue; à une minimisation extrême de la pudeur”.  (Bikini, a word now of explosions, compares the effect of the state of the clothing at the beach to an annihilation of the dressed surface; an extreme minimization of modesty.)  Even then however it wasn't something all that novel, two-piece swimwear often seen since at least the 1930s and French fashion designer Jacques Heim (1899–1967) early in 1946 had staged a re-launch of his pre-war two-piece swimsuit which he named the Atome, (atoms then much in the public imagination as something very small yet possessing great power) advertising it as "the world's smallest bathing suit".  However, unlike Réard's creation, it covered the navel, most of the buttocks and more of the breasts, enabling M. Réard truthfully to claim the bikini was "smaller than the smallest bathing suit".  The rest is history.

The bikini and the land yacht

Land yachts: 1972 Imperial LeBaron two-door hardtop (left) and 1978 Chrysler New Yorker two-door hardtop (right).  Although even at the time derided by critics as wastefully absurd, for those inside they were a cosseting cocoon and for many that had much appeal.

The term “land yacht” came into use in the 1970s to describe the huge, luxury automobiles which the major US manufactures all produced and they were strong sellers in early Nixon-era America, surviving the first oil shock (1973-1974) to remain a profitable segment until late in the decade driven extinct by the government edict, the CAFE (corporate average fuel efficiency) dooming the breed.  The Cadillacs and Lincolns were the most emblematic and numerous of the breed but on the basis of length, at 235¼ inches (5975 mm), the 1973 Imperial was actually the biggest.  All were highly inefficient and, despite the dimensions, frequently were transport only for one or two although, once inside, passengers enveloped by leather or velour and the driving experience, although not fast by the standards of today was truly effortless, smooth and quiet.  So isolated from the outside world were occupants from that a frequent comment was they seemed “to float down the road”, hence the term “land yacht”.

Ford Australia advertisement for Landau (1974).  By the time of its release in August 1973, nobody else in Australia did make anything quite like it and the industry's consensus (wishing it the best of luck) was Ford was welcome to the uncontested market sector.

In the US, the term “land yacht” tended to be applied derisively by those who disapproved of the excess, inefficiency and general environmental thuggery the ownership of such things was thought to convey.  It was only in the twenty-first century when they were close to a vanished species the term became almost affectionate as their dubious qualities meant they came to be thought charming nostalgia pieces.  While they were in production however, in promotional material, the manufacturers never called them “land yachts”, preferring words like “luxury” or “exclusive” but in Australia, Ford did run one such associative advertisement for its take on the land yacht: the Landau (manufacturer’s code JG70, 1973-1976).  The advertisement with juxtaposition of Landau and yacht ran in 1974 and there’s nothing to suggest the agency’s idea was anything other than wishing to associate the car with another product on the shopping lists of the rich (or at least the “lease list”, the tax accountant’s tending to provide clients with the “3F Rule” (“If it flies, floats or fornicates, rent or lease, don’t buy.”).  Still, unlike some other cars which might have appealed to the “yacht demographic”, once fitted with a tow bar, the Landau would have been better than many at towing a decent-sized boat.

1973 Ford Landau (front) and 1975 Ford LTD (rear).

The bright colors were not typical of the usually "formal" colors (white, navy blue, maroon etc) chosed by LTD & Landau buyers and only six Landaus were finished in Wild Violet (paint code Z, Shade 13305).  Most of the more lurid hues manufacturers offered during the early 1970s vanished from the color charts when lead was banned from paint, not returning until the next century when new chemical mixes were concocted to replicate what the lead did. 

With only some 1400 made, commercially, the Landau was impressively unsuccessful although the companion four door model (LTD) enjoyed not only solid sales but high profitability because, structurally, it was little more than an elongated Falcon laden with gorp (the word “bling” not then in use).  Dating from the late 1950s, the pleasing “gorp” was a re-purposing (as a noun & verb) by US car designers of the acronym GORP which stood for “granola, oats, raisins, peanuts”, a popular nutritional mix carried by hikers, bush-walkers and such (the designers' notion being the adding of a bit of every decorative thing).  In that spirit, like the LTD, the Landau gained lashings of velour or real leather, fake wood, hidden headlights, a coat of arms of dubious provenance, the novelty of a 24-hour analogue clock and a padded vinyl roof (one of the high points of 1970s fashion).

Ford LTD (P5 & P6) and Landau (ZG70) air-conditioning controls.

Actually, the padding was a really bad idea because the foam tended to trap moisture (especially in the country’s more tropical northern regions) and rust thus became inevitable.  On the Landau, the use of a vinyl roof was particularly cynical because it was cheaper to glue one on than it would have been properly to finish the “plugs” crudely welded in to reduce the size of the rear side windows, rendering a more “formal” roof-line.  Unwanted for years, the Landau is now a collectable and some owners have removed the vinyl roof and properly finished the metalwork beneath, greatly enhancing the aesthetics.  The LTD and Landau did though have some worthwhile features including four-wheel disc brakes (a first for Australia and they were world-class) and a set of aviation-style sliding controls for the air-conditioning, dismissed by some as “an affectation” but really quite fetching and a tactile pleasure.  Surprisingly, although built on the “compact” (in US terms) 111 inch (2819 mm) wheelbase rather than the full-sized platforms of the US land yachts which could have a wheelbase almost 18 inches (457 mm) longer, except in width, the Landau’s interior space was little different.  The dinosaurs of the 1970s however weren’t the first of the species, a bikini-themed US-French hybrid the MRCA (most recent common ancestor).  Despite also using nautical nomenclature, the "boat-tailed" roadsters of the inter-war years belong to a different genus.    

Land yacht: 1948 Le Yacht de la Route "Bikini" by Henri Chapron on the chassis of a 1937 Packard Super Eight.

Before in 1940 taking over his mother’s lingerie business, Louis Réard was an automobile engineer for Renault and one with a flair for publicity so to promote his new swimsuit, he in 1948 commissioned coach-builder Henri Chapron (1886-1971 and in the 1960s to become famous for his various lines of Citroën DS, DW & ID coupés & cabriolets) to build what he called Le Yacht de la Route (the yacht of the road).  Chapron’s design included an actual boat bow, a cabin with portholes, a mast from a yacht and a rear deck where models would pose in bikinis when the car was driven around France on promotional tours.

1937 Packard Super Eight with Formal Sedan coachwork (left) and a 1939 example of the sturdy chassis and straight-eight.  The big Packards of this era were the favored transport of comrade Stalin (1878-1953; Soviet leader 1924-1953), a fair judge of such things.  In the post-war years, Soviet engineers would reverse-engineer the Packard and produce a copy, a common practice the regime (mostly unlawfully) applied to aircraft, military weapons, electronics and much else.  Walt Disney (1901–1966) drove a Packard of this generation and while, on paper, his political philosophy differed greatly from that of comrade Stalin, between them, an organization behaviorist might find more similarities than differences.  More reassuringly, both Marlene Dietrich (1901-1992) and Mae West (1893–1980) at times had big Packards in their garages.

Originally the "Bikini's" coachwork (perhaps "hull" might be a better word) was mounted on the chassis of a 1948 Hotchkiss Artois but its 3.5 litre (212 cubic inch) straight-six proved inadequate to propel to heavy load so it was swapped for that of a 1937 Packard Super Eight, the torquey 6.3 litre (384 cubic inch) straight-eight able effortlessly to cope.  It may have been someone in Detroit was smitten by the portholes because in 1956 a pair appeared (as a “delete option”) on the 1956 Ford Thunderbird’s fibreglass hard-top.  On the Thunderbird they were added to enhance rearward visibility but by the 1970s, reshaped first as ovals before assuming other shapes, they were re-named “opera windows” and became an almost inevitable addition to Detroit's land yachts.  Like the vinyl roof, the fad took an unconscionable time a-dying.

Model Adriana Fenice in another bikini, created ad-hoc with a neon-green & black combo.  Note the difference in the fabric of the two pieces, the mix-and-match "ensemble" approach often taken by bikini-wearers because when, sold in sets, the size which accommodates one part, isn't always a good fit for another.

The curiously named "Bikini State" was the system by which an alert state was defined by the UK's Ministry of Defence (MoD) to warn of non-specific forms of threat, including civil disorder, terrorism or war.  Introduced in 1970, it was in use until 2006 and the MoD's official position has always be "bikini" was a code name selected at random by a computer; those who accept that story are presumably not familiar with the long military tradition of providing misleading answers, either to amuse themselves or confuse others.  There were five Bikini alert states: (1) White which meant essentially there was no indication of a specific or general threat, (2) Black which referred to a situation in which there was heightened concern about internal or external threats, (3) Black Special which indicated an increased likelihood of the conditions which triggered a Black Alert, (4) Amber which confirmed the existence of specific threats or the higher probability of entering a state of armed conflict and (5) Red which covered everything from a specific threat (including the target(s) to actually being in a state of war and at risk of a nuclear strike.

Lindsay Lohan models the MoD's Bikini State alert system rendered as cartoons by Vovsoft, left to right: White, Black, Black Special (string), Amber and Red.  

The need for a system which was better adapted to providing advice to the whole population rather than just the military & civil service was acknowledged after the 9/11 attacks in the US when it was recognised the threat environment had shifted since the Cold War and that the whole country should be regarded as "target rich" in much the way the security services treated Northern Ireland.  Accordingly in 2006, the Government adopted a new five layer system: (1) Low, last seen in the brief, optimistic era between the end of the "troubles" in Northern Ireland (1998) and the week of the 9/11 attacks, (2) Moderate which is about as close to "normal" as anyone now reasonably aspires to achieves and suggests folk should be "alert but not alarmed", (3) Substantial which indicates some event is likely, (4) Severe which indicates a heightened level of threat beyond the substantial and (5) Critical which suggests there is intelligence to indicate an imminent attack and security precaution should be elevated to their highest level.

Many countries have similar systems in place although most maintain different arrangements for civilian & military purposes, the latter always tied to specific protocols and procedures.  Some are trans-nation such as those used by the European Union (EU) and the North Atlantic Treaty Organization (NATO) and five-layers used to be the preferred option although this has changed.  In the US the military's DEFCON (defense readiness condition) uses five color-coded levels ranging effecting from "stand easy" to "global thermo-nuclear war is imminent or already begun".  The now defunct civilian Homeland Security Advisory System (HSAS; 2002-2011) used a five-level approach but it was much criticized and since 2011 the US has used National Terrorism Advisory System (NTAS) which is event specific and defined by start and end dates, rather than maintaining the country in some nominal state of alert.

Sala delle Dieci Ragazze (Room of the Ten Girls), a first century AD mosaic in Villa Romana del Casale, Sicily.  For whatever reason, it was a later addition, added atop what's thought to be a conventional geometric mosaic.  

The bikini might in the popular imagination be thought a symbol of Western freedom and something which liberated women from the demands they remain as invisible as possible but the concept of the garment is truly ancient.  Some 2 miles (3.2 km) from the Sicilian town of Piazza Armerina lie the ruins of what would once have been the impressive Roman villa, Villa Romana del Casale.  A UNESCO (United Nations Educational, Scientific and Cultural Organization) World Heritage Site thought to have been built early in the fourth century AD, it contains one of the most extraordinary collections of ancient Roman mosaics, all thought the works of African artists and artisans.  One creation which has proved of great interest is that which sits in what is popularly known as the Sala delle Dieci Ragazze (Room of the Ten Girls), depicting ten women, nine of whom wearing something in the style of two-piece bathing suits, archeologists suggesting the bottom being a loincloth made cloth or leather and known as a subligaculum, a scanty version of the male perizoma worn both as underwear and sometimes by athletes and slaves.  It was a design which is thought to have spread throughout the empire because archaeologists in Britain discovered during the dig of an old well a leather “thong” that was found to date from shortly after the time of Christ.  Its size and shape was exactly that of a modern bikini bottom and it’s now an exhibit at the Museum of London.

The top part was essentially a breast-band, known also to have been worn in Greece where the garment was known as a mastodeton or apodesmos (a strophium to the Romans).  In deference to comfort, mastodetons are thought often to have been made from linen and they were in essence the "sports bras" of Antiquity.  The contribution to fashion is one thing but what interested historians was that the women are clearly participating in sports, their “bikinis” activewear and not swimwear.  Some of the activities are ambiguous but it’s obvious some are running, another is in the throes of throwing a discus while two are engaged in some form of ball sport.  Interestingly, the ball is multi-colored but whether this reflected the nature of sporting equipment in Antiquity or was a piece of artistic license isn’t known.  Of political interest are the young ladies with crowns of roses and palm-fronds, traditionally the prizes awarded to those victorious in athletic competitions so the events were, to some degree, apparently structured.  It’s a myth women in the Roman Empire were always banned from sport although there were restrictions in that men and women competed separately and while, in Athenian tradition, men generally competed naked (something outside the home not permitted for women), the ancient “bikinis” were a compromise which afforded comfort while avoiding unduly exciting any man whose glance might fall upon female flesh.

That the US nuclear tests at Bikini Atoll made the swimsuit a world-wide success was noted by one Australian entrepreneur who, after the British conducted their own tests in October 1952 in the Montebello Archipelago, some 60 miles (100 km) off the north-west coast of Western Australia, attempted to promote his own variation: the Montebello suit (actually a bikini under another name.  The tests, known as Operation Hurricane, came about because the British, fearful of (1) a nuclear-armed Soviet Union, (2) a possibly resurgent Germany and (3) a one-day un-interested United States, were anxious to possess their own independent nuclear deterrent.  The British project proved a success and the UK to this day maintains a boutique-sized but strategically significant array of nuclear weapons and a delivery system which permits them to be aimed at any target on the planet.  The Montebello swimsuit of the early 1950s was not a success but the name has be revived and bikinis using the name are now available.

Burkini

Burkini (pronounced boo-r-kee-nee or burr-kee-nee)

A type of bathing suit for women covering the torso, limbs, and head, leaving exposed the face, hands and feet.

2004: The construct was a portmanteau of bur(k)a + (bi)kini (by extraction from bikini, in interpreting the "bi" as a prefix "bi-), thereby creating the new suffix "bur-").  Burka (other spellings including burkha & burqa) was from 1836, from the Hindi बुरक़ा (burqā) (برقع‎ (burqā) in Urdu), from the Persian برقع‎ (borqa), from the Arabic بُرْقُع‎ (burqu).  The -kini was an adoption of the –kini in the Bikini, first noted in 1946.  Although known as the Eschscholtz Atoll until 1946, the modern English name is derived from the German colonial name Bikini, adopted while part of German New Guinea and was a transliteration from the Marshallese Pikinni (pʲi͡ɯɡɯ͡inʲːi), a construct of Pik (surface) + ni (coconut or surface of coconuts).  The alternative spelling is burqini.  Burkini is a noun; the noun plural is burkinis.    The name is proprietary and trademarked name (as Burkini and Burqini) owned by its inventor, Aheda Zanetti (b 1967), a Lebanese-born Australian fashion designer, so technically should be used with an initial capital in that context but lower-case is correct if used in the generic sense to describe similar swimwear.

Lindsay Lohan in burkini, Thailand, April 2017.  Note the exposed feet which would have attracted the disapprobation of Afghan Taliban’s Ministry for the Promotion of Virtue and Prevention of Vice.

Although most associated with those who adopt the style for religious reasons, it works functionally for anyone seeking to maximise skin protection.  The suits are made of SPF50+ fabric, generally using a finely-knit polyester swimsuit fabric rather than the heavier neoprene used for wetsuits.  The design is intended to respect Islamic traditions of modest dress but its acceptability is debated; few Muftis have seemed impressed and no ayatollah is known to have commented although it’s known influential Hanafi scholars at Al-Azhar University in Cairo, Egypt, reject full-body swimsuits as allowable wear in mixed company.  Appeal is however cross-cultural; burkinis proving popular in Israel, among both Jewish-Haredi and Muslims and there is the functional appeal, especially for those with fair skin, of protection from harsh sun.  In France, where there had been controversy since 2009, in 2016 a number of French municipalities banned the burkini, citing concerns about the repression of women.  The Burkini was released in 2004, following Zanetti’s earlier creation, the Hijood (a portmanteau of hijab and hood) designed permit participation in sports by Muslim girls whose practice of observance didn’t allow the clothing traditionally used in the West.

Scuttle

Scuttle (pronounced skuht-l)

(1) In nautical use, a small hatch or port in the deck, side, or bottom of a vessel; a cover for such a hatch; small opening in a boat or ship for draining water from open deck.

(2) A small hatch-like opening in a roof or ceiling that provides access to the roof from the interior of a building.

(3) In nautical use, deliberately to sink one's ship or boat by any means (eg by opening the sea-cocks), usually by order of the vessel's commander or owner.

(4) To abandon, withdraw from, or cause to be abandoned or destroyed (plans, hopes, rumors etc).

(5) To run with quick, hasty steps; scurry; a quick pace; a short, hurried run.

(6) A deep bucket for carrying coal.

(7) In northern British dialectal use, a broad, shallow basket, especially for carrying vegetables; a dish, platter or a trencher (sometimes called scuttle dish).

(8) The part of a motor-car body lying immediately behind the bonnet (hood), called the cowl in the US.

Pre 1050: From the Middle English scutel & scutelle (trencher) and scuttel (dish, basket, winnowing fan), from the Old English scutel (dish, trencher, platter), from the Latin scutella (serving platter; bowl), diminutive of scutra (shallow dish, pan) and (perhaps) the Latin scūtum (shield).  The Latin scutella was the source also of the French écuelle, the Spanish escudilla, the Italian scudella.  It was also a source of much Germanic borrowing, the source of the Old Norse skutill, the Middle Dutch schotel, the Old High German scuzzila and the German Schüssel (a dish).  The Meaning "basket for sifting grain" is attested from the mid-fourteenth century and as a "bucket for holding coal", use dates from 1849.

The sense of a “hole cut in a ship for some purpose” dates from 1490–1500, firstly as “skottell”: Of obscure origin, possibly from the Middle French escoutille, or from the Spanish escotar (to cut out) & escotilla (hatchway), the construct of which was escot & escote (a cutting of cloth) + -illa (a diminutive suffix of Germanic origin).  In the Gothic skaut meant “hem or seam).  Another possible link is to the Middle English scottlynge (scampering), a variant of scuddle and frequentative of scud.  The idea of hatches and holes in ships later extended to automobiles, the scuttle (cowl in the US) the space between the windscreen and bonnet (hood).  The sense of "cutting a hole in a ship to sink it" was first attested in the 1640s, an extension of use from the late-fifteenth century skottell (opening in a ship's deck), either from the French escoutille (which in Modern French is écoutille) or directly from the Spanish escotilla (hatchway), a diminutive of escota (opening in a garment), from escotar (cut out).  Scuttle & scuttling are nouns & verbs, scuttleful is a noun and scuttled is a verb; the noun plural is scuttles.

You're wrong.—He was the mildest manner'd man
That ever scuttled ship or cut a throat:
With such true breeding of a gentleman,
You never could divine his real thought;
No courtier could, and scarcely woman can
Gird more deceit within a petticoat;
Pity he loved adventurous life's variety,
He was so great a loss to good society.

Don Juan (1819–24) canto III, stanza XLI, by Lord Byron (1788–1824)

The figurative use to describe the sense of abandonment or destruction of the planning etc of something is recorded from 1888.  In military use this can be combined with the use of scuttle to describe a rapid, sometimes erratic crab-like walk suggestive of panic; the recent US evacuation from Kabul, would, in more robust times, have been called a scuttle.  The sense of "scamper; scurry" emerged in the mid-fifteenth century, probably related to the verb scud and perhaps influenced by the odd imperfect echoic.

A variation of the scuttle as a hole in the deck was scuttlebutt to describe a "cask of drinking water kept on a ship's deck, having a hole (scuttle) cut in it for a cup or dipper" is from 1805, supplanting the earlier (1777) “scuttle cask”.  Scuttlebutt is first recorded as meaning “rumor; gossip" in 1901 and was nautical slang before coming into general use late in World War I (1914-1918).  The modern corporate form, analogous with “gathering around the scuttlebutt” is the office “water-cooler” conversation.  The idea of information (accurate or otherwise) being associated with drinking water is doubtless as old as prehistoric people gathering at a drinking place and there’s the World War One era “furphy”, a descriptor of a rumor proved wrong, based on its origin being talk exchanged between soldiers having a yarn at one of the army’s Furphy brand water tanks.

Scuttle shake

The term scuttle shake is used to describe the shuddering displayed in many convertible cars, especially when traversing rough or uneven surfaces.   The vibrations happen because, without the strength provided by a fixed-roof, open-top automobiles generally are less structurally rigid than closed vehicles.  It’s called scuttle-shake because, although the scuttle (the area between the bonnet (hood) and the windscreen) is not the only place where the shuddering happens, it’s there where it’s usually most severe, often to the point where other vibrations tend not to be noticed.  The scuttle is affected because the erratic forces are generated through the tyres, to the chassis or frame to the point of the least structural rigidity: the bulkhead atop which sits the scuttle.  There is a transatlantic difference in that what most of the English-speaking world calls a scuttle is a cowl in US use.  Despite that, the term scuttle shake and cowl shake are both used in the US, probably because cars made there were always less susceptible to the phenomenon because the body-engineering standards were higher, Detroit always willing to add more bracing even at the cost of increasing overall weight.  It's speculative but perhaps it became so associated with foreign cars it was just natural to think scuttle and not cowl.

The archetypical scuttle shakers were the Triumph TR roadsters (TR2-TR6 1952-1976), the reputation gained because of the platform’s long life; although the TR6 bore no external resemblance to its earliest antecedents, much the same chassis and body structure underlay them all.  Many contemporaries of the TR2 and TR3 also suffered the problem but most manufacturers went through three or four generations in the quarter century the separate chassis TRs were produced, benefitting from the improvements in design and body engineering which passed by Triumph's aging roadster.  By the time the TR6 entered production in 1969, none of the competition still shook so much; that doesn’t mean that by the late twentieth century the problem went away but it was much ameliorated.  Notably, in the 1980s, generational shift, an improving economy and the non-appearance of the rumored US legislation which would have outlawed convertibles enticed some manufacturers back into the drop-top market so new models appears to demonstrate the difference.  Because volumes would be small, the development costs associated with new models was thought prohibitive so these were usually modified coupés.  Cutting the roof of a closed car is the classic recipe for scuttle shake but the techniques to strengthen structures had much improved over the years and the basic bodies were anyway inherently stronger because of the regulations imposed to improve crashworthiness.  Drivers could certainly tell the difference in body-rigidity but few were anything like a Triumph TR6 (unless it was a Saab 900; the Swedish car's convertible body was famously flexible).

Triumph TR2 (1953-1955).

After a similar looking prototype based on a pre-war platform was rejected, a redesign produced the TR2.  The specification was unpromising for a sports car; a hardly innovative ladder frame chassis, a two litre (122 cubic inch) engine based on one used in tractors (!), rudimentary weather protection and an already dated body but it was a success on both sides of the Atlantic.  On the road, it turned out to be greater than the sum of its parts, easily exceeding 100 mph (162 km/h) when that was something rare and, in the UK, it was the cheapest car which could make the claim.  Not delicate or in any way exquisite to drive ("agricultural" the usual description, perhaps a nod to the tractor engine), its characteristics were predictable by the standards of the time and it was soon effective in competition.  Over eight-thousand were built.

Triumph TR3 (1955-1962).

Essentially an updated TR2, the TR3 would be upgraded throughout its life in three identifiable generations although the factory regarded the changes as normal product development and never used different designations to distinguish between them (in the collector car market they're known as TR3, TR3A (1957) & TR3B (1962)).  Although still lacking many of the civilizing accruements buyers would soon expect, in its time the TR3 was a great sales hit and was campaigned successfully both by the factory teams and privateers in just about every category of competition for which it was eligible.  The advantages of using the tractor engine had become apparent in the TR2: the thing was both tuneable and close to indestructible if run by the book.  In the TR3, the usual English route to power (bigger carburetors, bigger valves, bigger ports and a more radical camshaft) was followed and 100 bhp (75 kw) was achieved.  Disk brakes, first used on the Factory Le Mans TR2s, were added to all but the earliest TR3s and the driving experience, despite the addition of rack and pinion steering, though offering nothing like the precision of the Italian competition, was rewarding if a little brutish (although the thing had gained respect and was now rarely called "agricultural").  Almost seventy-five thousand were built.

Triumph TRS with "sabrina" engine, Le Mans, 1960.

Like the TR2, the TR3 was a popular choice as a race car but by the late 1950s, the competitive cars from Britain, Italy and the US had been developed well beyond what the TR2 had tended to face earlier in the decade.  For various reasons, it wasn’t easy for European manufacturers to pursue the path to power and performance by adopting the American approach of big displacement so they chose the alternative: greater specific efficiencies & higher engine speeds.  In Italy, as early as 1954 Alfa Romeo had proved the once exotic double overhead camshaft (DOHC) configuration was viable in relatively low-cost, mass-production machines and even in England, MG’s MGA Twin Cam had been released, short-lived though it was.  Triumph’s cars had enjoyed much success, both in the marketplace and on racetracks but their engines were based on one used in a tractor and while legendary robust, it was tuneable only up to a point and that point had been reached, limiting its potential in competition.  The solution was a DOHC head atop the old tractor mill and this the factory prepared for their racing team to run in the 1959 Le Mans 24 Hour classic, naming the car in which it was installed the TR3S, suggesting some very close relationship with the road-going TR3 although it really was a prototype and a genuine racing car.  The engine used at Le Mans was called the “sabrina”.

Sabrina in some characteristic poses.

Norma Ann Sykes' (1936–2016 and better known by her stage name: Sabrina)  early career was as a model, sometimes in various stages of undress, but it was when in 1955 she was cast as a stereotypical “dumb blonde” in a television series she achieved national fame.  On stage or screen, she remained a presence into the 1970s and although without great critical acclaim although the University of Leeds did confer an honorary D.Litt (Doctor of Letters) for services to the arts so there was that.

The Le Mans campaigns with the sabrina Engine: TR3S (1959, left), TRS (1960, centre) and the TRS team crossing the line in formation for what was a "staged  photo-opportunity", none of the cars having completed the requisite number of laps to be classified a "finisher" (1960, right).  In 1961, all three went the distance, taking the "Teams Prize".  

Some resemblance in the mind's eye of an engineer: Sectional view of the sabrina.

The engine's original project code was 20X but an engineer's chance remark at the assembly bench caught on so "sabrina" it became.  Anatomically, the engineers were of course about right because the front sectional view of the sabrina engine’s internals do align with what Dr Vera Regitz-Zagrosek (b 1953; Professor of Cardiology at the University of Zurich), describes as “the bikini triangle”, that area of the female human body defined by a line between the breasts and from each breast down to the reproductive organs; it’s in this space that is found all the most obvious anatomical differences between male & female although the professor does caution that differences actually exist throughout the body, down to the cellular level.

Triumph used the sabrina engine for three consecutive years at Le Mans, encountering some problems but the reward was delivered in 1961 when all three cars completed the event with one finishing a creditable ninth, the trio winning that year’s team prize.  Satisfied the engine was now a reliable power-plant, the factory did flirt with the idea of offering it as an option in the TR sports cars but, because the differences between it and the standard engine were so great, it was decided the high cost of tooling up for mass production was unlikely to be justified, the projected sales volumes just not enough to amortize the investment.  Additionally, although much power was gained by adding the DOHC Hemi head, the characteristics of its delivery were really suited only to somewhere like Le Mans which is hardly typical of race circuits, let alone the conditions drivers encounter on the road.  As a footnote in Triumph’s history, it was the second occasion on which the factory had produced a DOHC engine which had failed to reach production.  In 1934 the company displayed a range-topping version of their Dolomite sports car (1934-1940), powered by a supercharged two litre (121 cubic inch), DOHC straight-8.  The specification was intoxicating and the lines rakish but, listed at more than ten times the price of a small family car, it was too ambitious for the troubled economy of the 1930s and only three were built.

Professor Regitz-Zagrosek's "bikini triangle": Lindsay Lohan illustrates (left) and with (as imagined by an engineer) with overlaid "Sabrina" timing gear (right).

When viewing the casing containing the gears & timing chains running from the bottom-end to the front camshaft bearings, one can see why Sabrina rapidly would have entered the mind of an engineer.  Apparently it began with a chance remark at the assembly bench but nobody could think of a more appropriate description so the official project name it became, the original "20X" soon forgotten.  Anatomically, the engineers were of course about right because the front sectional view of the sabrina engine’s internals do align with what Dr Vera Regitz-Zagrosek (b 1953; Professor of Cardiology at the University of Zurich), describes as “the bikini triangle”, that area of the female human body defined by a line between the breasts and from each breast down to the reproductive organs; it’s in this space that is found all the most obvious anatomical differences between male & female although the professor does caution differences actually exist throughout the body, down to the cellular level.

Triumph TR4 (1962-1965).

Although the chassis and drive-train of the TR3 substantially were carried over, the TR4 received a new body, designed in Italy by Giovanni Michelotti's (1921–1980) design house, continuing what would prove a lucrative association for both the Italians and the British.  Modernised in function as well as form, the TR for the first time enjoyed wind-up windows and much improved ventilation as well as the novelty of the option of a kind of targa top, the first on the market although it was Porsche which decided to copyright the name.  To compensate for the increased weight, the engine was bored out to 2.1 litres (128 cubic inches) but the smaller version remained a factory option for those wished to run in competitions under the FIA’s 2.0 litre (122 cubic inch) rules, although, being a tractor engine with the usual wet cylinder liners, it wasn’t difficult for owners of a 2.1 to down-size.

A 1965 Triumph TR4A appeared in Netflix's Lindsay Lohan film Irish Wish (2024) and the IMCDB (Internet Movie Cars Database) confirmed it was registered in Ireland (ZV5660, VIN:STC65CT17130C) as running the 2.1 litre version (17130C) of the engine.  The Triumph 2.1 is sometimes listed as a 2.2 because, despite an actual displacement of 2138 cm³; in some places the math orthodoxy is ignored and a "round up" rule applied, something done usually in jurisdictions which use displacement-based taxation or registration regimes, the "rounding up" sometimes having the effect of "pushing" a vehicle into a category which attracts a higher rate.  The lack of the "IRS" (independent rear suspension) badge on the trunk (boot) lid indicates the use of the live rear axle.

This time Triumph did create official version names as the specification changed.  In 1965, the TR4A was released, marked by a small power increase but, more significantly, independent rear suspension which necessitated a change to the rear of the chassis frame.  Improvements in tyre technology had increasingly exposed the limitations of the TR4’s live axle which, mounted on such a low chassis, offered only limited wheel travel, something disguised by the grip of the TR2-era tyres which tended predictably to slide but when fitted with modern radial-ply tyres, the loss of grip could be sudden and unexpected.  The IRS greatly improved the ride and raised the limits of adhesion, making for a safer road car but those using a TR4 in competition still opted for the live axle which offered more control in the hands of experts who preferred to steer with the throttle.  Many TR4As were actually fitted with the live axle, re-designed to accommodate the changes to the chassis.  Facing competition from much improved MG and Austin-Healy roadsters, sales suffered somewhat with around forty-thousand TR4s built.

Triumph TR5 (1967-1968 and sold in North America as the TR-250).

Visually almost identical to the TR4, the TR5 benefited from being powered by a 2.5 litre (153 cubic inch) version of Triumph’s (again almost indestructible) straight-six and in a first for a volume British manufacturer, it used Lucas mechanical fuel injection, tuned to a healthy 150 bhp (112 kw) (although even at the time many thought this seemed a little optimistic).  Again available with the clever targa (usually called the “Surrey Top” although the factory insisted the “surrey” was merely a the roof part of the whole system), the bigger engine meant the TR5 became a genuine 120 mph (195 km/h) car.

For the first time (and a harbinger of what lay ahead), TR5s built for the North American market differed significantly from most of those destined for the rest of the world.  Instead of fuel-injection, the new world cars breathed through a pair of Zenith-Stromberg carburetors and, to mark the debut of the 2.5 litre six, were named TR-250.  The combination of the loss of the fuel injection and the addition of the early anti-emissions plumbing did sacrifice power, the TR-250 rated at 111 bhp (81 kW) but performance was still slightly better than the TR4, the feeling being the US car’s official power was likely a more accurate number than the 150 bhp claimed for the TR5.  The TR5 was in production for only a short time and fewer than three-thousand were built, the importance of the US market illustrated by almost eight and a half thousand TR-250s being shipped during the same time.  The IRS was now fitted to all cars.

Triumph TR6 (1968-1976).

Like its predecessor, the TR6 was built with both fuel injection and carburetors but all were labelled TR6 regardless of destination, the US market and those with less developed infrastructure missing out on the newer system.  The car itself was almost unchanged underneath but new front and rear styling was grafted onto the TR4/TR5 centre section, styled this time by Karmann of Germany so it was English underneath, Italian in the middle and German to the front and rear.  The targa top was retired, replaced by a hardtop designed in-house and the restyle, universally praised as ruggedly handsome, was well received.

Although the factory labelled the whole run as TR6, such were the variations over the years that Triumph nerds differentiate several (informal) versions, some based on detail differences and some on significant changes in specification.  All models produced for the North-American market used carburetors (the mechanical fuel-injection system unable to comply with the more onerous emission rules), delivering 104 bhp (78 kw) and this configuration was used also in some export markets because of anticipated difficulties in servicing the Lucas equipment in countries with a less developed infrastructure.  The home market and most other export cars used fuel injection which, again rated at 150 bhp, delivered almost identical performance to the TR5.  In 1972, the fuel-injected cars were re-tuned with a milder camshaft, lower compression ratio and smaller inlet valves, the factory revising the claimed power to 125 bhp (94 kw) although performance barely suffered, hinting the new claim might be more accurate than the old.  The engine revisions suited the motoring conditions of the day, traffic volumes now much heavier and the re-tuned engine delivered its power over a wider range, the slight sacrifice in top-end performance noticed by few.

A home market 1974 TR6 in magenta, one of the more appealing of the wide range of color choices (some of the hues of brown not fondly remembered) British Leyland offered during the 1970s (left) and a 1976 US market TR6 (right).  The revised detailing at the front was a consequence of needing to install more substantial bumpers to comply with legislation, the rubber dagmars fitted also at the rear.  Unusually the smaller British roadsters of the era sold in most markets, air-conditioning was (as a dealer-fitted option) available on later US market cars.  Compared with genuinely modern sports cars like the Datsun 240Z or even the flawed Jensen-Healy, the TR6 was antiquated but remained so immensely satisfying to drive buyers seemed not to mind and sales remained strong, the end coming only because it was clear it soon would no longer be possible to modify the thing to meet upcoming US legislation.  At the end of its seven year run, it was the most successful of the traditional TRs, well over ninety-thousand made of which over eighty-three thousand were exported.  Although the TR6 was not visually recognizable as a descendent of the TR2, one thing remained constant throughout: scuttle shake.