Cokebottle

Cokebottle (pronounced koke-bott-el)

A descriptor for a design where objects either resemble or are inspired by the shape of the classic Coca-Cola bottle.

1965: From an unsuccessful trademark application file in the US by the Chevrolet division of General Motors (GM), cokebottle thus word that never was.  The Coca-Cola name was a deliberately alliterative creation which referred to two of the original ingredients (leaves of the coca plant and kola nuts (source of the caffeine).  Coca is from the Erythroxylaceae family of cultivated plants native to western South America and renowned as the source of the psychoactive alkaloid.  Used since the drink’s debut in 1886, the cocaine was removed from Coca-Cola in 1903, the remainder of the recipe remaining famously secret.  Coke dates from 1908 in US English and was a clipping of clipping of cocaine although it’s not known when the word was first used to refer to the drink but given the rapidity with which slang forms emerge to describe popular products, it’s at least possible it pre-dated the drug reference although the company did not lodge a trade-mark application for Coke until 1944 although in internal company documents it appears at least as early as 1941.  While the drink produced a number of derived forms (Diet Coke, Coke-Bottle, frozen Coke, Coke-float, Coke Zero and the most unfortunate New Coke), those attached to the narcotic are more evocative and include coke dick, cokehead, coke whore and coke-fucked.  Bottle was from the Middle English botel (bottle, flask, wineskin), from the Old French boteille (from which Modern French gained bouteille), from the Medieval Latin butticula, ultimately of uncertain origin but thought by most etymologists to be a diminutive of the Late Latin buttis (cask, barrel).  Buttis was probably from a Greek form related to the Ancient Greek πυτίνη (putínē) (flask) and βοῦττις (boûttis), from the imitative primitive Indo-European bhehw (to swell, puff).

Lindsay Lohan seems to tend to prefer her Coca-Cola in cans but occasionally is seen drinking from the bottle.

Between its unpromising origin in 1926 as a lower-cost alternative to the anyway non-premium Oakland brand and its demise (with a whimper) in 2010, Pontiac in the 1960s did enjoy a brief, shining moment of innovation and style.  Pontiac had been one of a number of companion brands introduced by GM as part of a marketing plan to cover every price segment (the so-called "Sloan Ladder" conceived by Alfred P Sloan (1875–1966; president of General Motors (GM) 1923-1937 and Chairman of the Board 1937-1946)) with a distinct nameplate, Cadillac gaining LaSalle, Oldsmobile gaining Viking, Oakland gaining Pontiac and Buick gaining Marquette; only the high-volume Chevrolet stood alone.  The idea was that as one's wealth increased, one would take the "next step on the ladder" so that after the ninth and final step, the man who once bought a Chevrolet now bought a Cadillac, after which there was nowhere else to go except another new Cadillac.  The effects of the Great Depression meant the experiment didn’t last and GM would soon to revert six divisions, the newcomers Viking and Marquette axed while Pontiac, which had proved both more successful and profitable than the shuttered Oakland, survived, joined LaSalle which lingered until 1940 and then there were five.  Pontiac also returned to the line-up when car production resumed late in 1945 and, benefiting from the buoyant post-war economy, enjoyed success although much of the engineering was based on that of Chevrolet while the side-valve engines were obsolescent.  Things began to change in 1955 when a new overhead-valve (OHV) V8 was introduced, a power-plant which faithfully would serve the line for a quarter century in displacements between 265 cubic inches (4.3 litres) and 455 (7.5L) and, unusually for US manufacturers during the era, Pontiac used the one basic block for all iterations.  By 1955, all Pontiacs sold in the US were V8 powered (some sixes were still made for overseas markets) and the division began to become more adventurous, joining the power race, fielding cars in competition and moving up-market.  However, the first real master-stroke (one of several innovations which would contribute to such stellar growth in both sales and reputation in the decade to come) was the introduction in 1959 of the "wide-track" advertising campaign.

1959 Pontiac convertibles:  A Canadian Parisienne (left) built on the Chevrolet X-Frame and a US Catalina (right) on Pontiac’s wide-track frame; note the gaping wheel-wells on the Canadian car.

There were not a few visual exaggerations in the wide-track advertising campaign but the underlying engineering was real, the track (the distance between the centre of the tyre-tracks across each axle-line) increased by 5 inches (125 mm).  This improved the handling, giving the Pontiacs a more sure-footed stance than most of the competition and an attractive low-slung look,  If anyone had any doubts about the veracity of the “wide track” claim, the Canadian Pontiacs were there for comparison.  Because of internal corporate agreements, the bodies of the Canadian Pontiacs were mounted on the Chevrolet X-frame with its narrow track and the difference is obvious, the wheels looking lost inside the cavernous lacunas created by the overhanging bodywork.  In the US, sales soared and while a comparison with the recession-hit 1958 is probably misleading, the success of the wide-track programme did propel the division from sixth to fourth place in the industry and for much of the 1960s Pontiac Motor Division (PMD) was one of the industry's most dynamic name-plates.

1960s Pontiac Wide-Track advertising graphic art by Art Fitzpatrick (1919–2015) & Van Kaufman (1918-1995).

Memorable as the 1960s Pontiacs were, of note too was the graphic art produced by Art Fitzpatrick (1919–2015) & Van Kaufman (1918-1995) whose renderings were ground-breaking in the industry in that rather than focusing on the machine, they were an evocation of an life-style, albeit one which often bore little relationship to those enjoyed  by typical American consumers.  Still, that was and remains the essence of aspirational advertising and Fitzpatrick & Kaufman influenced their industry with techniques still seen today and students of art history would identify elements from mannerism.  The pair didn't take things so far they became surrealists but truth-in-advertising rules in the 1960s were not as demanding as they would become; although the big Pontiacs after 1959 genuinely were wide-tracked, they weren’t quite as wide as Fitzpatrick & Kaufman made them appear.  Never had "longer, lower & wider" really been that wide.

Envious of what Pontiac had achieved in trade-marking wide-track for the wide track advertising campaigns, GM’s Chevrolet division attempted to claim both cokebottle and coke-bottle for similar purposes, wishing to run a campaign to tie in with their new styling idea for its big cars, using similar curves to those seen on the classic coke bottle. The authorities in Detroit declined the application and legal advice to Chevrolet suggested there was little chance of success against likely opposition from the Coca-Cola Corporation.

Chevrolet Impala two-door hardtops: 1965 (left), 1966 (centre) & 1967 (right).

However, along with much of the industry, Chevrolet did produce cars inspired by the shape which came to be known as coke bottle styling and on the big cars, the cokebottle motif was expressed mostly in the curves applied to the rear-coachwork.  Chevrolet toned-down the look in 1968-1969 but by then it had spread to other manufacturers, including those across the Atlantic and Pacific Oceans and although by the early 1970s it was dated, the realities of production-line economics meant the look in some places lingered, even into the 1980s, the odd revival (usually in the rear-fender shape) still seen from time-to-time though modern interpretations do (except on sports cars and their ilk) tend to be more subtle than the exuberant lines of the 1960s.  Essentially bodies with outward curving fenders with a narrow centre, the technique had also been adopted by the aeroplane designers as a necessary means of dealing with the aerodynamic challenges created by supersonic speeds and although the National Advisory Committee for Aeronautics (NACA) labelled the design principle area rule, most engineers referred to it as coke bottle or, among themselves, the Marilyn Monroe.

1969 Chevrolet Corvette L88 convertible.  The classic example of cokebottle styling is the third generation (S3) Chevrolet Corvette (1968-1982) where the idea is executed front and rear.  In the design of twenty-first century sports cars, the motif still appears.

Coca-Cola bottles and a replica of the 1914 A.L.F.A. Aerodinamica Prototipo (aerodynamic prototype) which used the shape of the bottle introduced in 1900).  The replica is now exhibited at the Alfa Romeo Historical Museum in Arese. 

In the narrow technical sense, cokebottle styling had been done as early as 1914 although there’s nothing to suggest Coca Cola's bottle design of 1900-1914 provided any inspiration.  The A.L.F.A. 40/60 HP Aerodinamica Prototipo was built by Italian coachbuilder Carrozzeria Castagna in 1914 on a commission from Milanese Count Marco Ricotti (the distinctive machine at the time described as the Siluro Ricotti (the Ricotti Torpedo)).  Although relatively large & heavy, the designers assumed the aerodynamic properties of the teardrop-shaped body (the coach-builder listed it as a "droplet", an instance of Italian borrowing from English) would permit the then impressive top speed of 150 km/h (93 mph), a useful increase of 25 km/h (16 mph) over the standard 40/60.  Unfortunately, the additional weight meant rendered it no faster although the appearance certainly was memorable.  The 40/60 used an overhead valve (OHV) in-line four cylinder engine with a displacement of 6.1 litres (371 cubic inches) with a rating of 70 HP (51 kW).

Going topless: The count takes countess and children for a post-roofectomy drive.

It took the industry some decades to work out that while men might be signing the checks (cheques), women exerted much influence on the choice of car to be purchased and as early as the 1930s some manufacturers did add women to their design teams for "look and feel" stuff like interiors (it took longer for them to infiltrate the engineering offices).  Countess Ricotti however made her impact early.  The shape of the Siluro Ricotti was optimized to achieve the best possible aerodynamic efficiency while providing enough internal space comfortably to accommodate six, the original benchmark the top-speed number.  That proved illusory but, dictated by the fluid dynamics of air-flow, the radiator and engine had been placed within the passenger compartment and while this had certain advantages, it also meant heat soak through the aluminium skin and a tendency for the cabin to fill with fumes of gas (petrol) and oil.  That was what the countess disliked and she refused to let her children be driven in the thing.  The count had envisaged it as the ideal family car so in a spirit of marital compromise had Carrozzeria Castagna remove most of the roof, turning it into a kind of phaeton to be enjoyed during Milan's many warm, sunny days.

Sometime during Italy's turbulent inter-war period the Siluro Ricotti was lost but over two years during the 1970s, Alfa Romeo's engineers, using old photos and the extant original blueprints, created a replica on a surviving 40/60 chassis.  That machine is now on display at the Alfa Romeo Historical Museum in Arese and the website confirms the top speed as only the 139 km/h (86 mph) the factory had verified for the Corsa (racing) version of the 40-60 which used distinctly non-aerodynamic bodywork but with an engine tuned to deliver 73 HP (54 kW).

Barracuda

Barracuda (pronounced bar-uh-koo-duh)

(1) Any of several elongated, predaceous marine fishes of the genus Sphyraena, certain species of which are used for food. The large fish are notoriously voracious and are found world-wide in tropical & sub-tropical waters; the collective noun is "battery".

(2) In slang, a treacherous, greedy person (obsolete).

(3) In slang, one who uses harsh or predatory means to compete.

(3) A car produced by the Plymouth division of Chrysler Corporation in three generations between 1964-1974 (as both Barracuda and 'Cuda).

1670-1680: From American Spanish, thought derived from customary use in the Caribbean, borrowed from the Latin American Spanish barracuda, perhaps from a Cariban word, most likely the Valencian-Catalan barracó (snaggletooth), first recorded as barracoutha.  There was the suggestion barracó may come from Latin in which the word barra could be used to mean "bar", the idea being this was a reference to to the elongated, bar-like shape of the fish; the theory is regarded as speculative.  Barracuda is a noun and barracudalike is an adjective; the noun plural is is barracuda or barracudas.

The plural of fish is an illustration of the inconsistency of English.  As the plural form, “fish” & “fishes” are often (and harmlessly) used interchangeably but in zoology, there is a distinction, fish (1) the noun singular & (2) the plural when referring to multiple individuals from a single species while fishes is the noun plural used to describe different species or species groups.  The differentiation is thus similar to that between people and peoples yet different from the use adopted when speaking of sheep and, although opinion is divided on which is misleading (the depictions vary), those born under the zodiac sign Pisces are referred to variously as both fish & fishes.  So, for most folk, the best advice if a plural of "barracuda'" is needed is to (1) use which ever produces the most elegant sentence and (2) be consistent in use.  However, ichthyologists (and probably zoologists in general) will note the barracuda genus "Sphyraena" consists of 29 species and will use "barracuda" if speaking of many fish of the one species and "barracudas" if fish of more than one species are involved.

The danger presented by barracuda in open water is well documented.  The US Navy's heavy cruiser USS Indianapolis (CA-35) was the warship which in July 1945 delivered to Tinian Naval Base the critical components for "Little Boy" the atomic bomb (a uranium device, for decades a genuine one-off, all other nuclear weapons built with plutonium until (it’s suspected) the DPRK (North Korea) used uranium for at least one of its tests) and it was torpedoed and sunk by an Imperial Japanese Navy submarine.  Because of wartime circumstances, the sinking remained unknown for some four days and of the crew of 1195, only 316 survived of the 890 who made it into the water, many of the rest taken by “sharks and five-foot long barracudas.”

Barracuda (1977) was US horror movie set on the Florida coast.  The plot-line involved the inhabitants of a small town being menaced by batteries of barracuda which have become highly aggressive because of chemical intervention by a former military doctor who has gone mad while conducting secret government research into hypoglycaemia and its effect on human behavior.  The film was not well-reviewed and critics noted the "derivative & dubious plot, poorly executed special effects and lack of focus on the title character (the fish)". 

The Plymouth Barracuda & 'Cuda, 1964-1974

While the 1964 Ford Mustang is credited with creating the pony-car market, it was actually the Plymouth Barracuda which came first, released seventeen days earlier.  Ford’s used the approach of draping a sexy new body over an existing, low-cost, platform and drive-train and Chrysler chose the same route, using the sub-compact Valiant as Ford were using their Falcon.  In the years to come, there would be many who adopted the method, often with great success and on both sides of the Atlantic, there other manufacturers would create their own "pony cars".  Despite the chronology, it's the Mustang which deserves the credit for the linguistic innovation, the term "pony car" an allusion to the equine association in the Ford's name and a nod also to the thing being (in US terms at the time), a "smaller" car.  If was only after the Mustang had both created and defined the segment the Barracuda came to be called a pony car. 

1965 Ford Mustang "notchback".

Unfortunately, despite the project having been in the works for years, a sudden awareness Ford were well advanced meant Chrysler’s lower-budget development was rushed.  Despite the Valiant’s platform and drive-train being in many aspects technically superior to the less ambitious Falcon, Plymouth’s Barracuda was a bit of a flop, outsold by its competitor initially by around ten to one, numbers which got worse as "Mustangmania" overtook the land.  While the Mustang got what was called “the body from central casting”, from the windscreen forward, the Barracuda retained the sheet-metal from the mundane Valiant, onto which was grafted a rear end which was adventurous but stylistically disconnected from the front.

1964 Plymouth Barracuda.

It was an awkward discombobulation although, with the back-seat able to be folded down to transform the rear passenger compartment into a large luggage space, it was clever, practical design.  Although in the years to come, the notion of such lines being used for a "liftback" or "hatchback" would appear, even during the design process, it was never envisaged that the rear window might be made to open.  At the time, the matter of of installing the big, heavy piece of glass and its edging was thought challenge enough without adding the engineering the necessary hinges and body-mounting points.  Although not a stressed panel, the glass did contribute to structural rigidity which was good but it also produced much heat-soak into the interior; driving an early Barracuda on a hot' sunny day could be a "sticky" experience, vinyl upholstery a standard fitting and air-conditioning expensive and a generation away from becoming commonplace.  

1971 Jensen FF Mark III, one of 15 built.

The novelty of the Barracuda's rear-end was a giant window which, at 14.4 square feet (1.34m³), was at the time the largest ever installed in a production car.  In 1966, even grander glazing was seen on the Jensen Interceptor, styled by Italy’s Carrozzeria Touring, but there it was ascetically successful, the lines of the big trans-Atlantic hybrid more suited to such an expanse of glass.  Unlike Plymouth, Jensen took advantage of the possibilities offered and had the glass double as a giant, glazed trunk (boot) lid.  It didn't quite create one of the shooting brakes so adored by the gentry but it did enhance the practicality. Using Chrysler's big-block V8s and (but for a handful built with manual gearboxes) TorqueFlite automatic transmission, the Interceptor was no thoroughbred but it offered effortless performance and the bullet-proof reliability for which the US power-trains of the era were renowned.

1968 Plymouth Barracuda hardtop.

The extraordinary success of the Mustang nevertheless encouraged Chrysler to persist and the Barracuda, though still on the Valiant platform, was re-styled for 1967, this time with the vaguely Italianesque influences (noticed probably more by Americans than Italians) seen also in 1966 with the release of the second series of Chevrolet’s doomed, rear-engined Corvair.  Although the rear-engine configuration proved a cul-de-sac, aesthetically, the later Corvairs were among the finest US designs of the era and, unusually, the lovely lines were implemented as successfully in four-door form as on the coupe.  Visually, the revised Barracuda didn't quite scale the heights achieved by Chevrolet but greatly it improved on the original and was offered with both notchback and convertible coachwork, as well as the fastback the Mustang had made popular but, because of the economic necessity of retaining some aspects of the Valiant’s structure, it wasn’t possible to realise the short-deck, long-hood look with which the Mustang had established the pony car design motif used still today.

1969 Pontiac Firebird Trans Am.

General Motors’ (GM) answer to the Mustang wasn’t as constrained by the fiscal frugality which had imposed so many compromises on the Barracuda, the Chevrolet Camaro and the substantially similar Pontiac Firebird both introduced in 1966 with a curvaceous interpretation of the short-deck, long-hood idea which maintained a relationship with the GM’s then voguish “cokebottle” designs.  In a twist on the pony car process, the Camaro and Firebird were built on an entirely new platform which would later be used for Chevrolet’s new competitor for the Valiant and Falcon, the Nova.  Just as the pedestrian platforms had restricted the freedom to design the Barracuda, so the Camaro’s underpinnings imposed compromises in space utilization on the Nova, a few inches of the passenger compartment sacrificed to fashion.  For 1967, Ford released an updated Mustang, visually similar to the original but notably wider, matching the Camaro and Firebird in easily accommodating big-block engines, not something Chrysler easily could do with the Barracuda.

1969 Plymouth 'Cuda 440.

However, this was the 1960s and though Chrysler couldn’t easily install a big-block, they could with difficulty and so they did, most with a 383 cubic inch (6.3 litre) V8 and, in 1969, in a package now called ‘Cuda, (the name adopted for the hig-performance versions) a few with the 440 (7.2 litre).  At first glance it looked a bargain, the big engine not all that expensive but having ticked the box, the buyer then found added a number of "mandatory options" so the total package did add a hefty premium to the basic cost.  The bulk of the big-block 440 was such that the plumbing needed for disc brakes wouldn’t fit so the monster had to be stopped with the antiquated drum-type and nor was there space for power steering, quite a sacrifice in a car with so much weight sitting atop the front wheels.  The prototype built with a manual gearbox frequently snapped so many rear suspension components the engineers were forced to insist on an automatic transmission, the fluid cushion softening the impact between torque and tarmac.  Still, in a straight line, the things were quick enough to entice almost 350 buyers, many of whom tended to enjoy the experience a ¼ mile (402 metres) at a time, the drag-strip it's native environment.  To this day the 440 remains the second-largest engine used in a pony car, only Pontiac's later 455 (7.5) offering more displacement.

1968 Plymouth Barracuda convertible.

For what most people did most of the time (which included turning corners), the better choice, introduced late in 1967, was an enlarged version of Chrysler’s small-block V8 (LA), now bored-out to 340 cubic inches (5.6 litres); it wouldn’t be the biggest of the LA series but it was the best.  A high-revving, free-breathing thing from the days when only the most rudimentary emission controls were required, the toxic little (a relative term) 340 gave the Barracuda performance in a straight line not markedly inferior to the 440, coupled with markedly improved braking and cornering prowess.  One of the outstanding engines of the era and certainly one of Detroit's best small-block V8s, it lasted, gradually detuned, until 1973 by which time interest in performance cars had declined in parallel with the engineers ability economically to produce them while also complying with the increasingly onerous anti-pollution rules.

1968 Hemi Barracuda, supplied ex factory with un-painted black fibreglass.

Of course, for some even a 440 ‘Cuda wouldn't be enough and anticipating this, in 1968, Plymouth took the metaphorical shoehorn and installed the 426 cubic inch (6.9 litre) Street Hemi V8, a (slightly) civilised version of their racing engine.  Fifty were built (though one normally reliable source claims it was seventy) and with fibreglass panels and all manner of acid-dipping tricks to reduce weight, Plymouth didn’t even try to pretend the things were intended for anywhere except the drag strip.  The power-to-weight ratio of the 1968 Hemi Barracudas remains the highest of the era.  The things sometimes are described as "1968 Hemi 'Cudas" but in the factory documentation they were only ever referred to as "Hemi Barracuda" because the 'Cuda name wasn't introduced until the next season.  

1971 Plymouth 'Cuda coupe.

The third and final iteration of the Barracuda was introduced as a 1970 model and lasted until 1974.  Abandoning both the delicate lines of the second generation and the fastback body, the lines were influenced more by the Camaro than the Mustang and it was wide enough for any engine in the inventory.  This time the range comprised (1) the Barracuda which could be configured with either of the two slant sixes (198 (3.2) & 225 (3.6) or one of the milder V8s, (2) the Gran 'Cuda which offered slightly more powerful V8s and some additional luxury appointments including the novelty of an overhead console (obviously not available in the convertible) and (3) the 'Cuda which was oriented towards high-performance and available with the 340, 383, 440 and 426 units, the wide (E-body) platform able to handle any engine/transmission combination.  Perhaps the best looking of all the pony cars, sales encouragingly spiked for 1970, even the Hemi ‘Cuda attracting over 650 buyers, despite the big engine increasing the price by about a third and it would have been more popular still, had not the insurance premiums for such machines risen so high.  With this level of success, the future of the car seemed assured although the reaction of the press was not uncritical, one review of the Dodge Hemi Challenger (the ‘Cuda’s substantially similar stable-mate), finding it an example of “…lavish execution with little thought to practical application”.  Still, even if in some ways derivative (and as the subsequent, second generation Chevrolet Camaro & Pontiac Firebird would at the time suggest, outdated), the styling (the team led by John Herlitz (1942–2008)) has since been acknowledged as a masterpiece and when the "retro" take on the Challenger was released in the next century, those were the lines reprised, the new Mustang and Camaro also following the 1960s, not the 1970s.

1970 Plymouth Barracuda with 225 cubic inch (3.7 litre) slant-6 (left) and 1970 Plymouth Barracuda Gran Coupe (right).

It's the most powerful (The Hemis and triple-carburetor 440s) of the third generation Barracudas which are best remembered but production of those things (produced only for 1970 & 1971) never reached four figures.  Of the 105,000 Barracudas (some 26,000 of which were 'Cudas) made between 1970-1974, most were fitted with more pedestrian power-plants like the long-serving 318 cubic in (5.2 litre) V8 and the 198 & 225 (3.2 & 3.7) Slant-6, the latter pair serving what used to called the "grocery-getter" market (which in those less-enlightened times was known also as the “secretary's” or “women's” market); the sales breakdown for the other pony cars (Mustang, Camaro, Firebird, Challenger & Javelin) all revealed the same trend to some degree.  The Gran Coupe was the “luxury” version of the Barracuda, the engine options limited to the 225, 318 & 383 but with a better-trimmed interior, (something welcome in what was otherwise a quite austere environment of hard, unforgiving plastic) and some exterior bling including body sill, wheel lip and belt-line moldings.  The most notable fitting in the Gran Coupe was the overhead console, something earlier seen in the Ford Thunderbird.  A fairly large fitting for its limited utility (it included little more than an overhead light, low-fuel and door-ajar warning lights), other manufacturers would extend their functionality.  The overhead console wasn't available in the convertible version which was still sold as a "Gran Coupe", Plymouth using "coupe" as just another model name, applying it to two and four-door sedans and well as the blinged-up Grans pair.

1970 Plymouth AAR 'Cuda in "Lemon Twist" over black.

In 1970, there was a run of “AAR ‘Cudas”, a promotional model which tied in with the cars run in the Trans-Am series by the “All American Racers” (AAR) team run by US driver Dan Gurney (1931-2018).  Unlike the earlier cars produced in a certain volume in order to fulfil homologation requirements for eligibility in the Trans-Am (the Chevrolet Camaro Z28 (1967) (which in the factory’s early documents appeared as both Z-28 & Z/28) and Fords Boss 302 Mustang (1969), the AAR ‘Cudas were built in a more permissive regulatory environment, the requirement to homologate an engine within the 5.0 litre (305 cubic inch) limit dropped, the teams permitted to “de-stroke” larger mass-produced units.  The change was made explicitly to tempt Chrysler to compete, removing the expensive business of developing a special engine, exactly what Chevrolet and Ford had earlier been compelled to do and the spirit of compromise was at the time in their, the NASCAR (National Association for Stock Car Auto Racing) recently having nudged their 7.0 litre (quoted as 427 cubic inchs) to 430 to accommodate Ford’s new 429 (the 385 series V8).  So, although homologated, the AAR ‘Cudas didn’t have as close a relationship with what Gurney’s operation ran on the circuit compared with that enjoyed by the earlier Z28 Camaros and Boss Mustangs.

Underbody of 1970 Plymouth AAR 'Cuda in "Lemon Twist" over black.

The much admired side exhausts emulated the look of the (unlawful) "cut-out" systems some hot-rodders used but the AAR units were ducted using special mufflers with inlets & outlets both at the front.  Something of an affectation and probably a structural inefficiency in terms of gas-flow, they were undeniably a sexy look and AMG in the twenty-first century would adopt the "cut-out" look for the Mercedes-Benz G55 & G63 although without the convoluted path.

They did however look the part, equipped with a black fibreglass hood (bonnet) complete with lock-pins and a functional scoop, rear & (optional) front spoilers and a very sexy “side exhaust system” exiting just behind the doors.  Uniquely, the 340 in the “Trans-Am” cars ran a triple carburetor induction system (unlike the actual 5.0 litre race cars which were limited to a single four-barrel) and was rated at 290 (gross or SAE (Society of Automotive Engineers)) horsepower, a somewhat understated figure arrived at apparently because that was what was quoted for the Camaro Z28 and Boss 302 Mustang.  The engine genuinely was improved, the block a “special run” using an alloy of cast iron with a higher nickel content and including extra metal to permit the race teams to install four-bolt main bearings (none of the AAR road cars so configured).  Just to make sure buyers got the message, the front tyres were fat Goodyear E60x15s while the rears were an even beefier G60x15, a mix which was a first for Detroit and produced a pronounced forward rake.  So even if the AAR ‘Cudas really weren’t “race-ready”, they looked like they were which was of course the point of the whole exercise and they proved popular, Plymouth making 2724 (all coupes), 1604 of which were fitted with the TorqueFlite 727 automatic transmission, something not seen on the Trans-Am circuits but which was ideally suited to street use.  Dodge’s companion “homologation special” was the Challenger T/A in an identical configuration and of the 2400 coupes made, 1411 were automatics.

1970 Plymouth AAR 'Cuda with dealer-fitted (or re-production) front "chin" spoiler (option code J78) (left) and 1970 Plymouth AAR 'Cuda with standard rear "ducktail" spoiler (mandatory option J82) (right).

The black ABS plastic rear "ducktail" spoiler (mandatory option code J82) was standard on the AAR 'Cudas (and differed from the "wing" style unit optional on other 'Cudas) while the pair of front "chin" spoilers (J78) were optional.  The chin spoilers were not fitted by the factory but supplied as a "dealer-install kit" and shipped in the car's trunk (boot), the result being some variations in the mounting position so cars so configured.  The chin spoilers are available as re-productions (some even including the original Mopar part-number) and because they were dealer-installed it can be hard to tell whether they are original equipment, the slight variations in the positioning of the originals further muddying the waters.  For the “originality police” for whom “matching numbers” is the marker of the highest form of collectability, the small ABS protuberances are thus a challenge because while a rare dealer receipt or shipping list from 1970 can prove the provenance, an alleged authenticity can be difficult to disprove because there are now documented techniques by which plastic can be “aged”, a la the tricks art forgers once used to make a recent painting appear centuries old.  Scientific analysis presumably could be applied to determine the truth; there’s no record of the originality police ever having resorted to that but it may happen because in the collector market the difference in value between “original” and “not original” can be significant.

1970 Plymouth Barracuda Option M46 detail sheet (left) and 1970 Plymouth Barracuda with M46 (or re-production) rear (non-functional) quarter-panel (sill) scoop (right).

The reproduction of obscure and once rarely ordered options has meant there doubtlessly are more AAR ‘Cudas with the chin spoilers than were ever sold in that form and even the less desirable Barracudas are serviced by the industry.  In 1970 there was option code M46 which included (1) an Elastomeric (elastomer a rubbery material composed of long, chain-like molecules (or polymers) capable of recovering their original shape after suffering an impact) rear quarter-panel (sill) air scoop in front of the rear wheels, (2) matte black lower-body trim with white and red pinstripes, (3) a rear-panel black-out (similar to that used on the ‘Cuda), complemented with chrome trim from the Gran Coupe (the “luxury” version of the Barracuda which, despite the name, was available also as a convertible) and (4) blacked-out front & rear valences.  Offered only for 1970 Barracudas, Chrysler’s records indicate fewer than 450 were built but the reproduction scoops are sometimes seen even on later models including ‘Cudas on which they were never available.  Unlike the AAR’s chin spoilers, option code M46 was factory-fitted so authenticity can be verified by the fender tag.  Unlike the spoilers (which would have had some aerodynamic effect), option M46 was purely a “dress-up”, the quarter-panel scoop “non-functional” and only emulating the “rear-brake cooling ducts” sometimes used on race cars or exotic machines.  

1971 Plymouth 'Cuda convertible.

Circumstances conspired to doom the ‘Cuda, the 426 Hemi, the Challenger and almost the whole muscle car ecosystem.  Some of the pony cars would survive but for quite some time mostly only as caricatures of their wild predecessors.  Rapidly piling up were safety and emission control regulations which were consuming an increasing proportion of manufacturers’ budgets but just as lethal was the crackdown by the insurance industry on what were admittedly dangerously overpowered cars which, by international standards, were extraordinarily cheap and often within the price range of the 17-25 year old males most prone to high-speed accidents on highways.  During 1970, the insurance industry looked at the data and adjusted the premiums.  By late 1970, were it possible to buy insurance for a Hemi ‘Cuda and its ilk, it was prohibitively expensive and sales flopped from around 650 in 1970 to barely more than a hundred the next year, of which but a dozen-odd were convertibles.  Retired with the Hemi was the triple carburetor option for the 440; 1971 was the last time such a configuration would appear on a US-built vehicle.

It was nearly over.  Although in 1972 the Barracuda & Challenger were granted a stay of execution, the convertible and the big-block engines didn’t re-appear after 1971 and the once vibrant 340 was soon replaced by a more placid 360.  Sales continued to fall, soon below the point where the expensive to produce E-body was viable, production of both Barracuda and Challenger ending in 1974.  From a corporate point-of-view, the whole E-Body project had proved a fiasco: not only did it turn out to be labour-intensive to build, it was only ever used by the Barracuda & Challenger, a financial death sentence in an industry where production line rationalization was created by "platform-sharing".  Even without the factors which led to the extinction however, the first oil-crisis, which began in October 1973, would likely have finished them off, the Mustang having (temporarily) vacated that market segment and the Camaro and Firebird survived only because they were cheaper to build so GM could profitably maintain production at lower levels.  Later in the decade, GM would be glad about that for the Camaro and Firebird enjoyed long, profitable Indian summers.  That career wasn't shared by the Javelin, American Motors’ belated pony car which, although actually more successful than the Barracuda, outlived it only by months.

1971 Hemi 'Cuda convertible at 2021 auction.  Note the "gills" on the front fender, an allusion to the "fish" theme although anatomically recalling a shark more than a barracuda.  

It was as an extinct species the third generations ‘Cudas achieved their greatest success... as used cars.  In 2014, one of the twelve 1971 Hemi ‘Cuda convertibles sold at auction for US$3.5 million and in 2021, another attracted a bit of US$4.8 million without reaching the reserve.  In the collector market, numbers do "bounce around a bit" and while the "post-COVID" ecosystem was buoyant, by 2024 it appears things are more subdued but, like Ferrari's Dino 246GT & GTS, the 1971 Hemi 'Cuda convertibles remains a "litmus-paper" car which is regarded as indicative of the state of the market.  The next time one is offered for sale, the fall of the hammer will be watched with interest.

Sphyraena barracuda (great barracuda).

The barracuda, most notably the Sphyraena barracuda (great barracuda), can grow quite large with lengths of 3-5 feet (0.9-1.5 metres) being common but specimens have been verified at just over 6 feet (1.8 metres), weighing in excess of 100 lb (45 KG) although most caught by recreational fishers tend to be around 20-30 lb (9-14 KG).  They’re a fast, powerful predator, making them a much sought-after target for the more adventurous anglers, attracted by their aggressive strikes, impressive speed, and challenging fights, most hunting done in warmer coastal waters.  The techniques employed include including trolling, casting with artificial lures and live bait fishing but because of their sharp teeth and aggressive nature, specialized equipment such as wire leaders is often used to prevent them cutting through fishing lines.  Among recreational fishers, the pursuit is often on the basis of “the thrill of the chase” because the species can pose genuine health risks if eaten because of ciguatera poisoning, a toxin which accumulates in the fish’s flesh when they consume smaller, contaminated fish.

Hofit Golan (b 1985; left) and Lindsay Lohan (b 1968; right) fishing off Sardinia, July 2016 (left).  Fortunately perhaps, Ms Lohan didn’t hook a barracuda and caught something less threatening.  Apparently also fishing for “the thrill of the chase” (right), she posted on Instagram: “Bonding with nature. I let my little friend swim away after.” 

Rectilinear & Curvilinear

Rectilinear (pronounced rek-tl-in-ee-er)

(1) Forming or formed by straight lines.

(2) In geometry, as rectilinear grid, a tessellation by rectangles or rectangular cuboids (also known as rectangular parallelepipeds) that are not, in general, all congruent to each other.

(3) Of, pertaining to or characterized by straight lines.

(4) In, moving in, or characterized by a movement in a straight line or lines.

(5) In architecture, as the rectilinear style, the third historical division of English Gothic architecture.

1650–1660: From the post-Classical Latin, either from rectilīneāris or from rectilīneus (the source also of rectiline) + -ar, in either case the ultimate sources being rectus (straight) + līnea (line).  Rectus was from the primitive Indo-European root reg- (move in a straight line) with derivatives meaning "to direct in a straight line".  The suffix -ar is from the Latin from -ālis with dissimilation of “l” to “r” after roots containing an “l” thus āris and used to form adjectives (usually from a noun) to convey the sense of a relationship or “of; pertaining to”.  The English adjectival suffix –ar (of, near, or pertaining to) is widely appended, usually to nouns and is not restricted to those of Latin origin (the synonymous forms including -al, -an, -ary, -ese, -ic, -id, -ish, -like, -oid, -ory, -ous & -y).  Rectilinear came to be used in the sense of “a figure bounded by straight lines" by 1728, an evolution of the earlier meaning “straight lined”.  Rectilinear & rectilineal are adjectives, rectilinearity is a noun.

Curvilinear (pronounced kur-vuh-lin-ee-er)

(1) Consisting of or bounded by curved lines.

(2) Forming or moving in a curved line.

(3) Formed or characterized by curved lines.

(4) Of lines, having bends; curved.

(4) In mathematics, a set of coordinates determined by or determining a system of three orthogonal surfaces

1690s: From the Latin, derived from curvi (a combined form of the Latin curvus (crooked, bent, curved) + līneāris, from līnea (line).  The construct of līneāris was līnea (line) + -āris (the adjectival suffix).  The Latin curvus was ultimately from the primitive Indo-European sker & ker (to bend, curve, turn) + -wós (before it became associated with perfect stems, the suffixes -wós- & -us- had a more general function, forming athematic verb participles with the meaning "having x-en").  The earlier form was curvilineal, dating from the 1650s.  Curvilinear is an adjective, curvilinearity a noun and curvilinearly an adverb.

A juxtaposition of curvilinearity and rectilinearity: Lindsay Lohan, Vanity Fair shoot, October 2010.

In engineering, as in nature, matters of rectilinearity and curvilinearity tend to be products variously of inheritance, circumstance, economics or necessity.  In design however, sometimes fashion is allowed (indeed sometimes encouraged) to prevail over function and in automotive styling, the rectilinear (known in its most extreme form as knife-edge or razor-edge design) was a motif which came and went.  In the early days when things were truly little more than starkly functional, straight lines were dominant but the industry also inherited many of the traditions of the architecture of the horse-drawn carriage and embellishments could be quite curvaceous.  Line and curve co-existed in the inter-war years and as interest grew in streamlining to improve aerodynamics, the curves actually assumed a functional purpose.  At the same time, severity of line became itself a defined style, associated with formality and wealth, structurally because the straight lines tended to exaggerate size so the bigger cars appeared larger still and perhaps psychologically because they conveyed a message of casual disregard for something like streamlining, relying instead on power.  The big, bustle-backed limousines of the pre-war years were the exemplars.

Rolls-Royce Phantom IV (1950-1956 (left)), Triumph 1800-2000 Renown (1946-1954 (centre)) & Triumph Mayflower (1949-1953 (right)).

In the post war-years, in Europe and US, designers were attracted to the new.  In Europe that meant the avant-garde while across the Atlantic it could mean anything from restrained formalism to macropterous absurdity.  In England however, there was still a hankering for the familiar and among the coachbuilders (and Rolls-Royce which had begun building its own “standard” bodies) it was “business as usual” and, barely updated, the razor-edged lines returned.  Remarkably, as a niche, the style would be produced in tiny numbers until the 1990s even as modernity overtook the land.  So clearly, on a big scale it worked for the small, exclusive market at which it was targeted, a rolling denotation of wealth and power and this was what attracted others to apply the rectilinear lines on a smaller scale, at a lower price.  The leading proponents were Standard-Triumph which in 1946 released their middle-class 1800 as a kind of shrunken (though no less angular) Rolls-Royce or Bentley.  Generally, it was judged an aesthetic success although it quickly became dated and before long, the company was emulating American cars, their shrunken versions of those rather less pleasing.  The 1800 however maintained sufficient popularity to remain in production for eight years and that encouraged the idea the motif might translate well to something even smaller.  Hence in 1949, the Triumph Mayflower, small, stubby and wholly unsuited to a style which worked only at scale; the only thing more absurd than its existence was that the company designed it with the US market in mind.  The advertising agency suggested advertising it as “the watch charm Rolls-Royce” but whether that was vetoed by threats from Rolls-Royce or watch charm makers isn’t recorded.  A failure in every market in which it was offered (conspicuously so in the US), it was replaced by an anonymous-looking blob which might have designed by someone French in an unimaginative moment or an Italian on a bad day.

1967 Cadillac Eldorado (left), 1971 Fiat 130 Coupé (centre) and 1983 Volvo 760 GLE (right).

Until the oil shocks of the 1970s forced just about everyone to take aerodynamics seriously, the rectilineal would come and go as a fashion trend.  Cadillac’s 1967 Eldorado was an outstanding example and has aged better even than its curvier companion, the Oldsmobile Toroando of a year earlier but probably the high point of the modern razor-edge was Pininfarina’s Fiat 130 Coupé, its dimensions a stylistic sweet-spot which proved as suited to the saloon and shooting brake the designer world later exhibit; regrettably, neither reached production and the coupé proved a commercial failure, albeit one much admired.  That wasn’t something often said of one of Europe’s less successful straight-edged ventures, the 1982 Volvo 700 series.  Looking something like an earnest but uninspired student at a technical college might have submitted for assessment, Volvo at the time claimed it would remain timeless over the years to come while the rounded shapes around it soon became dated.  In that they were certainly wrong, the competition becoming more curvilinear still and soon Volvos nip-and-tuck specialists were finding ways to smooth the corners, not an easy task given the shape the patient was in and something really not possible until the re-skinned 900 was released in 1990.  The 700 had, by Volvo’s standards, a short life but it’s remembered for a bon mot from another designer who mused that it “…might be a good-looking car when they take it out of the packing-case”.

1953 Jaguar C-Type (XK120-C) continuation (left), 1957 Jaguar XKSS (centre) & 1961 Jaguar E-Type (XK-E) (1961).

Curves can be mere styling devices and in the 1960s General Motors (GM) actually created a motif they called cokebottle, summoning the idea of a Coca-Cola bottle on its side, itself evocative of the female form supine.  Plans to trademark the word were abandoned when the lawyers assured everyone using a lowercase “c” and claiming it to be a portmanteau word would fool neither the Coca-Cola company nor the judge.  Sometimes though, the curves were functional, Jaguar in 1950 shaping the aluminum skin on the XK120-C (C-Type) simply to be as low and aerodynamic as possible, the curves bulging only where necessary to provide coverage for the wheels and tyres.  On the subsequent D-Type (and the road-going derivative the XKSS), the impression was that the curves had become exaggerated, bulging more sensually still.  It’s not entirely an optical illusion but the shape is wholly functional, the designers actually lowering the centre, a revised mounting of a now dry-sumped engine permitting a lower bonnet (hood) line and thus a smaller frontal area.  The wheels and tyres remained much the same height so the curvature of the skin enveloping them is so much more obvious on a body otherwise lower.  The remarkably small frontal area did the job at Le Mans; the D-Type nearly 20 mph (32 km/h) faster than Ferrari's far more powerful 375.  By the time the E-Type was released in 1961, it could actually have been done with a little less curvature but we should all be grateful it looks as it does.

1960s original (left), 2022 modern (centre) & 2022 retro (right).

Objects like refrigerators offer designers a little more scope given that a low drag coefficient hardly matters although the modern, rectilinear versions presumably optimize space efficiency, offering the highest internal volume relative to external dimensions.  That said, there’s clearly still some demand for fridges which emulate the rounded style most associated with the 1950s and 1960s, several manufacturers with a retro line and they’re available in the pastel shades of the era.