Dump

Dump (pronounced duhmp)

(1) To drop something or let fall in a mass; fling down or drop heavily or suddenly.

(2) To empty the contents of something (by tilting, overturning etc).

(3) To dismiss, fire, or release from a contract.

(4) In informal (and very common) use, to end a relationship with someone (especially a romantic partner), used mostly when the action is one-sided although there are many mutual dumpings, even if some are technically retrospective.

(5) Suddenly to transfer or rid oneself of some responsibility, task or duty.

(6) In the slang of boxing (1) to knock down an opponent & (2) intentionally to lose a match.

(7) In commerce (1) to put (goods or securities) on the market in large quantities and at a low price without regard to the effect on market conditions or (2) deliberately to offer goods in large quantities or at prices below the cost of production & distribution in an attempt to drive out competition.

(8) In international trade, to sell (goods) into foreign markets below cost in order to promote exports or damage foreign competition.

(9) In computers, (1) to print, display or record on an output medium the contents of a computer's internal storage or the contents of a file, often at the time a program fails, later to be used to debug or determine the cause or point of failure or (2) as screen dump, to print or create an image file of the screen’s display.

(10) Of precipitation (rain, hail & (especially) snow), heavy downfalls.

(11) In historic use, a small coin made by punching a hole in a larger coin (called a holey dollar and issued in both Canada and Australia).

(12) A deep hole in a river bed; a pool (a northern England regionalism).

(13) In slang, to kill; to arrange or commit murder.

(14) To fall or drop down suddenly.

(15) To throw away, discard etc something.

(16) In informal use, to complain, criticize, gossip, or tell another person one's problems (often as “to dump on”); to treat with disrespect, especially to criticize harshly or attack with verbal abuse.

(17) In vulgar slang, an evacuation of the bowels; to defecate (often as “take a dump”; men especially fond of the phrase “huge dump”).

(18) An accumulation of discarded garbage, refuse etc; a tip or landfill site, also called a dumpsite or dumping-ground.

(19) In military use, a collection of ammunition, stores, etc, deposited at some point, as near a battlefront, for distribution (ammo dump, fuel dump etc).

(20) In mining, a runway or embankment equipped with tripping devices, from which low-grade ore, rock etc., are dumped; the pile of stuff, so dumped.

(21) In informal use, a place, house or town (even a state or entire country according to some) that is dilapidated, dirty, or disreputable.

(22) In merchandising, a bin or specially made carton in which items are displayed for sale.

(23) In surfing (of a wave) to hurl a swimmer or surfer down.

(24) To compact bales of wool by hydraulic pressure (Australian and New Zealand).

(25) A mournful song; a lament; a melancholy strain or tune in music; any tune (obsolete).

(26) A sad, gloomy state of the mind; sadness; melancholy; despondency (usually in the form “down in the dumps”).

(27) Absence of mind; reverie (now rare).

(28) Heavily to knock; to stump (Scottish, obsolete).

(29) A thick, ill-shapen piece (UK, archaic).

(30) A lead counter used in the game of chuck-farthing (UK, archaic).

(31) A type of dance (obsolete).

1300–1350: From the Middle English dompen & dumpen (to fall suddenly, plunge), from the Old Norse dumpa (to thump, strike, bump).  The modern senses of the transitive verb and noun are unknown prior to the nineteenth century and may either be from another source or are an independent expressive formation.  There may have been some Scandinavian influence such as the Norwegian dumpa (suddenly to fall) which may also be linked with other Germanic forms such as the Middle Low German dumpeln (to duck) and the Danish dumpe (suddenly to fall).  The use in the sense of “hole used for the disposal of unwanted items by burying” was a development of the Scots dump (hole in the ground), the Norwegian dump (a depression or hole in the ground), the German Low German dumpen (to submerge) and the Dutch dompen (to dip, sink, submerge), something obviously not unrelated to the early fourteenth century meaning “throw down or fall with force, drop (something or someone) suddenly” which didn’t exist in Old English.  The modern use is actually most modern, the sense “unload en masse, cause to fall out by tilting up a cart etc” not recorded until it emerged in American English by 1784 while that of “discard, abandon” dates from 1919.  The use in economics to describe “export or throw on the market in large quantities at low prices” was first noted in 1868 in the context of anti-competitive practices.  A dumping ground was first documented in 1842 although the term may earlier have been in oral use.  Dump & dumping are nouns & verbs, dumped is a verb, dumper & dumpage are nouns and dumpy is an adjective; the noun plural is dumps.

By 1865, the noun dump was understood as place “where refuse is dumped, piled or heaped; a repository of refuse matter” and applied originally to extractive mining as a development of the verb, the use extending to sites for discarding domestic rubbish by 1872, the earlier “dumping-ground” common by 1857.  The meaning “any shabby or dilapidated place” dates from 1899 while the use by the military to describe places for the “collection of ammunition, equipment etc, deposited at a convenient point for later distribution” was a product of World War I (1914-1918), noted first in 1915 and possibly a development from soldiers’ slang although the later war-time slang to mean “act of defecating” appears to be of civilian origin, noted first in the US in 1942.  The dump-truck was first so described in 1930s and although truck had for decades been used to dump stuff, the name was derived from the use of hydraulic rams to enable to load more quickly to be emptied by raising the load bed or freight compartment at an acute angle.

Lindsay Lohan and her lawyer in court, Los Angeles, 2011.

The “Dempster-Dumpster trash-hauling mechanism” remains familiar as the modern “dumpster”, a large, mobile container designed to be removed by a truck and taken away so the contented could be dumped in a dump, the container quickly reused.  It was patented by the Dempster brothers of Knoxville, Tennessee who ran an operation manufacturing waste collection vehicles (which would eventually include the Dempster Dumpmaster and Dempster Dinosaur).  The Dempster-Dumpster system achieved success by creating a system of mechanically emptying standardized metal containers which had been perfected between 1935-1937.  The concept of the dumpster (a standardized design able to be stored, re-used and transported efficiently) later influenced the development of container shipping.  The name dumpster became generic and was itself linguistically productive: “dumpster diving” (1979) described the practice of scavenging from dumpsters while “dumpster fire” was a figurative reference to a situation at once calamitous, foul and either insoluble or, if fixable, not worth the effort.  In use, a “dumpster fire” is similar to a “train wreck” or “shit show” but different from a “hot mess”, hot messes worth fixing because they remain in essence, desirable.  The use of “dumpster fire” spiked in the run-up to the 2016 US presidential election, used not only by both camps but also disillusioned neutrals.

The noun landfill dates from 1916 was a euphemism for dump although unlike some of the breed, it was at least literally true.  The adjective dumpy (short and stout) was from circa 1750 and the origin is undocumented but many etymologists assume it was linked to dumpling (mass of boiled paste (also “a wrapping in which something is boiled”)) which dates from circa 1600 and was from the Norfolk dialect, again of uncertain origin but the source may be Germanic or simply from “lump” (and there are those who argue dumplings were probably originally “lumplings”).  Lump was from the Middle English lumpe, from a Germanic base akin to the Proto-Germanic limpaną (to glide, go, loosely to hang).  “Humpty Dumpty” was a French nursery rhyme hero (it seems first to have been translated into English in 1810) and in the late eighteenth century it had been used to mean “a short, clumsy person of either sex”, presumably a reduplication of Humpty (a pet form of Humphrey (which was used of mandarin Sir Humphrey Appleby in the BBC Television comedy Yes Minister) although a humpty-dumpty in the 1690s was originally was a drink, a cocktail of “ale boiled with brandy” which probably tasted better than it sounds.  The construction was based presumably on hump and dump but the basis has eluded researchers.  In the late twentieth century, “hump & dump” was repurposed to describe the practice (habit, calling, tactic, whatever) of enticing a woman in order to enjoy sex and immediately afterwards leaving, never to ring or call.  It’s subsequently be claimed by bolshie women for much the same purpose; the variations included “fuck & chuck”, “pump & dump:, “jump and dump” and “smash and dash”.

Crooked Hillary dumping on deplorables, Georgia, 2016.

Big buses have long been used by politicians for their campaign tours.  They offer lots of advantages, being offices and communications centres with at least some of their running costs offset by a reduction in staff travel expenses.  Additionally, with five large, flat surfaces, they are a rolling billboard although that can be good or bad.  In 2016, one of crooked Hillary Clinton’s campaign buses was photographed in Lawrenceville, Georgia dumping a tank full of human waste onto the street and into a storm drain.  The local news service reported that when police attended the street was “…was covered in toilet paper and the odor was noxious”.  Hazmat crews were called to clean up the scene and the matter was referred to the environmental protection division of Georgia’s Department of Natural Resources.  The Democratic National Committee (DNC) later issued an apology, claiming the incident was “an honest mistake.”  Using the word “honest” in any statement related to crooked Hillary Clinton is always a bit of a gamble and there was no word on whether the dumping of human excrement had been delayed until the bus was somewhere it was thought many deplorables may be living.  If so, that may have been another “honest mistake” because Gwinett County (in which lies Lawrenceville) voted 51.02% Clinton/Kaine & 45.14% Trump/Pence although the symbolism may not have been lost on much of the rest of Georgia; state wide the Republican ticket prevailed 50.38% to 45.29%.

Dump has been quite productive.  A “dump-pipe” is part of the exhaust system in an internal combustion engine; a “brain dump” or “info dump” is the transfer of a large quantity of information or knowledge from one person (or institution) to another, although it’s also used in the slang of those working in the theoretical realm of the digitizing of human consciousness; a block dump was an image contains the sectors read from an original floppy diskette or optical disc; “dump months” are those periods during which film distributers & television programmers scheduled content either of poor-quality or of limited appeal; a “dump job” was either (1) the act of moving a corpse or some incriminating material from the scene of the crime to some un-related place, preferably remote & deserted or (2) the abandonment of an unfinished task for which the abandoner might be expected to take responsibility, especially in a fashion that makes it likely that one or more colleagues will take on its completion; the “mag dump” was military slang for the act of firing an entire magazine-full of ammunition from a fully-automatic weapon in a single burst; “dumpsville” could be either (1) the figurative location of a person who has been dumped by a lover or (2) a description of an undesirable town or other locality; to be “down in the dumps” is to be depressed, miserable and unhappy.

An electrically controlled exhaust system "cut-out", the modern version of the old, mechanical, "by-passes".  All dump-pipes work by offering exhaust gasses a "shortcut" to the atmosphere.

In internal combustion engines (ICE), there are both down-pipes and dump-pipes.  Their functions differ and the term down-pipe is a little misleading because some down-pipes (especially on static engines) actually are installed in a sideways or upwards direction but in automotive use, most do tend downwards.  A down-pipe connects the exhaust manifold to exhaust system components beyond, leading typically to first a catalytic converter and then a muffler (silencer), most factory installations designed deliberately to be restrictive in order to comply with modern regulations limiting emissions and noise.  After-market down-pipes tend to be larger in diameter and are made with fewer bends to improve exhaust gas flow, reduce back-pressure and (hopefully) increase horsepower and torque.   Such modifications are popular but not necessarily lawful.  Technically, a dump-pipe is a subset of the down-pipes and is most associated with engines using forced aspiration (turbo- & some forms of supercharging).  With forced-induction, exhaust gases exiting the manifold spin a turbine (turbocharger) or drive a compressor (supercharger) to force more of the fuel-air mixture into the combustion chambers, thereby increasing power.  What a dump-pipe does is provide a rapid, short-path exit for exhaust gases to be expelled directly into the atmosphere before reaching a down-pipe.  That makes for more power and noise, desirable attributes for the target market.  A dump pipe is thus an exit or gate from the exhaust system which can be opened manually, electronically, or with a “blow-off” valve which opens when pressure reaches a certain level.  In the happy (though more polluted) days when regulations were few, the same thing was achieved with an exhaust “by-pass” or “cut-out” which was a mechanical gate in the down-pipe and even then such things were almost always unlawful but it was a more tolerant time.  Such devices, lawful and otherwise, are still installed.

Grab from a Microsoft Windows system dump.  Although dumps contain much, of the thousands of lines one might contain, only a small string of text in one line might be relevant and users may need some assistance to interpret the result. 

In computing, a system dump is typically a commitment to a file of what exists in memory (random access memory (RAM) or on a paged volume) and they’re created usually at points of failure, creating essentially a snapshot of what was happening either at or immediately prior to the unfortunate event.  The contents of a system dump can be used to identify errors and debug programs.  A “stand-alone dump” program (a SAD or SADMP) produces a dump occupied by either (1) a system that failed or (2) a stand-alone dump program that failed.  Either the stand-alone dump program dumped itself (a self-dump) or the operator loaded another stand-alone dump program to dump the failed stand-alone dump program.  It’s less ominous than it sounds and together, the stand-alone dump program and the stand-alone dump together form what is known as the stand-alone dump service aid.  The significance of the element “stand-alone” is that the dump is performed separately from normal system operations and does not require a system to be in a condition for normal operation.  It means that except in cases of catastrophic failure (especially if involving the total loss of mains & UPS (uninterruptable power supply) power, it should be possible always to create a high-speed, unformatted dump of central storage and parts of paged-out virtual storage on a tape device or a direct access storage device (DASD).  The stand-alone dump supplies information which can be used to determine why the system or the stand-alone dump program failed.

Afterburner

Afterburner (pronounced af-ter-bur-ner)

(1) In aviation, a device placed within, or attached to the exit of, a jet-engine exhaust pipe to produce afterburning.

(2) In engineering, a device in the exhaust system of an internal-combustion engine for removing or rendering harmless potentially dangerous components in the exhaust gases.

1948: A compound word, the construct being after + burn +-er.  The verb after developed from its use as an adverb and preposition, from the Middle English after-, efter- & æfter-, from the Old English æfter- (after, behind, against; later in time; in pursuit, following with intent to overtake), the idea being off + -ter (a comparative suffix), the original formation meant "more away, farther off”.  It was cognate with the Scots efter-, the Old Frisian & West Frisian efter-, the Dutch achter-, the German after-, the Swedish efter, the Old Norse eptir, the Old High German aftar, the Gothic aftra (behind), the Greek apotero (farther off) and the Old Persian apataram (further).  From circa 1300 it assumed the meaning "in imitation of; in the style of" while, as a conjunction in the sense of "subsequent to the time that" the use was inherited from the late Old English.  The phrase “after hours” (hours after regular working hours) dates from 1814 although the exact purpose has always proved elusive but it’s assumed by most to relate to retail commerce rather than terms of employment.  Afterwit was from circa 1500 and deconstructs literally as "wisdom that comes too late" but is familiar feeling of one for whom a perfect piece of repartee comes to mind only after the moment has passed; it’s perhaps surprising afterwit didn’t endure in the language.  The phrase “after you” an element in etiquette meaning “yielding precedence to another” dates from 1650.

Burn was from the Middle English bernen & birnen, from the Old English birnan (to burn), a metathesis from the Proto-West Germanic brinnan, from the Proto-Germanic brinnaną (to burn), from the primitive Indo-European bhrenw- and related to the Middle Irish brennim (drink up) & bruinnim (bubble up), the present stem from bhrewh- & bhru- (linked to the Middle Irish bréo (flame), the Albanian burth, the Cyclamen hederifolium (mouth burning) and the Sanskrit भुरति (bhurati) (moves quickly, twitches, fidgets).  The verb was from the early twelfth century brennen (be on fire, be consumed by fire; be inflamed with passion or desire, be ardent; destroy (something) with fire, expose to the action of fire, roast, broil, toast; burn (something) in cooking) which when applied to objects imparted the sense of “to shine, glitter, sparkle, glow like fire”, the form from both the Old Norse brenna (to burn, light) an two originally distinct Old English verbs: the transitive bærnan (to kindle) and the intransitive beornan (be on fire).  All of these were from the Proto-Germanic brennanan (causative brannjanan), source also of the Middle Dutch bernen, the Dutch branden, the Old High German brinnan, the German brennen, the Gothic brannjan (to set on fire); the ultimate etymology uncertain.  The noun burn dates from circa 1300 in the sense of "act or operation of burning” and was from the Old English bryne, the etymology identical to the verb and prior to the mid-sixteenth century, the usual spelling was brenne.

The Figurative use of burn (of passion, conflict etc.) was in Old English and survives to this day while the literal sense of "be hot, radiate heat" was from the later thirteenth century, the meaning "produce a burning sensation, sting" from a hundred years later.  A further figurative sense, that of "being cheated, swindled or victimized" emerged in the 1650s on the notion that whatever one lost “may as well have been burned”.  The slang use of burned from the late eighteenth century meaning "infected with venereal disease" referred to the sensation which was one of the symptoms.  To “burn one's bridges (behind one)” meant "behave so as to destroy any chance of returning to a status quo" and was used in the late nineteenth century, perhaps because of some of the reckless cavalry operations documented during the US Civil War although it’s a variation on the “burn the boats” (so one’s soldiers have no alternative but to fight, there being no chance of escape) approach known since Antiquity.  To have money “burn a hole in (one's) pocket” was a critique from the 1850s of those with an irresistible propensity to spend whatever money was in one’s possession; the modern expression of economists is of “expenditure rising to meet income”.  The meaning "mark or injury made by burning" is from 1520s while “slow burn” dates from 1938 and refers to a technique in acting.

The –er suffix was from the Middle English –er & -ere, from the Old English -ere, from the Proto-Germanic -ārijaz, thought usually to have been borrowed from Latin –ārius and reinforced by the synonymous but unrelated Old French –or & -eor (the Anglo-Norman variant was -our), from the Latin -(ā)tor, from the primitive Indo-European -tōr.  The –er suffix was added to verbs to create a person or thing that does an action indicated by the root verb; used to form an agent noun.  If added to a noun it usually denoted an occupation.

The afterburner

Attracted by theoretical work which hinted at improved thrust, Rolls-Royce began ground tests on one of their early jet engines in 1944 although the war ended before the technology was ready for production.  By the early 1950s, most advanced jet fighters had adopted afterburners and they continue generally to be used mostly in military aircraft although a few civilian applications have existed including the now defunct Tupolev Tu-144 and Concorde.

An afterburner’s purpose is to provide an increase in thrust, usually for supersonic flight, takeoff and in combat. Afterburning is achieved by injecting additional fuel downstream of the turbine and produces significantly increased thrust; the trade-off being very high fuel consumption and inefficiency, though this is considered acceptable for the short periods during which it is usually used.  The quantum of a jet-engine’s thrust is determined by the general principle of mass flow rate and thrust depends on two things: the velocity of the exhaust gas and the mass of that gas. A jet engine can produce more thrust by either accelerating the gas to a higher velocity or by having a greater mass of gas exit the engine.  Designing a basic turbojet engine around the second principle produces the turbofan engine, which creates slower gas but more of it. Turbofans are highly fuel efficient and can deliver high thrust for long periods, but the design trade-off is a large size relative to the power output. To generate increased power with a more compact engine for short periods, an engine requires an afterburner. The afterburner increases thrust primarily by accelerating the exhaust gas to a higher velocity.

Lockheed SR-71 Blackbird afterburning for additional thrust during take-off (left) and Royal Australian Air Force (RAAF) General Dynamics F-111 Aardvark performing a dump-and-burn (right).

What many people think of as afterburners are actually displays of dump-and-burn at air shows, a procedure where dumped fuel is intentionally ignited using the plane's afterburner. A spectacular flame combined with high speed makes this an interesting sight but it’s just for entertainment.  Fuel dumping is used to reduce the mass of an aircraft about to undertake emergency landings and thus, for other than for safety reasons, dump and burn has no practical use.  In the slang of pilots who flew the early generation of fighters with afterburners the phrase was "lit up the burners" while the dump and burn is also called a "torching" or a "zippo".

Lighting up the burners: Lindsay Lohan in The Canyons (2013).

Muffler & Scarf

Muffler (pronounced muhf-ler)

(1) A scarf worn around one's neck for warmth.

(2) Any of various devices for deadening the sound (especially the tubular device containing baffle plates in the exhaust system of a motor vehicle) of escaping gases of an internal-combustion engine; also known as silencers.

(3) Anything used for muffling sound.

(4) In armor, a mitten-like glove worn with a mail hauberk.

(5) A boxing glove (archaic).

(6) A slang term for a kiln or furnace, often electric, with no direct flames (technically a muffle furnace)

(7) A piece of warm clothing for the hands.

(8) The bare end of the nose between the nostrils, especially in ruminants.

(9) A machine with two pulleys to hoist load by spinning wheels, a polyspast (from the Latin polyspaston (hoisting-tackle with many pulleys), from the Ancient Greek πολύσπαστον (polúspaston) (compound pulley); a block and tackle.

(10) In World War I (1914-1918) soldier's slang, a gas-mask (some listings of military slang note it a "rare").

(11) An alternative term for the silencer (or suppressor) sometimes fitted to a gun (usually illicitly).

1525–1535: A compound word, the construct being muffl(e) + -er.  Muffle was from the Middle English muflen (to muffle), an aphetic alteration of the Anglo-Norman amoufler, from the Old French enmoufler (to wrap up, muffle), from moufle (mitten), from the Medieval Latin muffula (a muff), of Germanic origin (first recorded in the Capitulary of Aachen in 817 AD), from the Frankish muffël (a muff, wrap, envelope) from mauwa (sleeve, wrap) (from the Proto-Germanic mawwō (sleeve)) + vël (skin, hide) (from the Proto-Germanic fellą (skin, film, fleece)).  An alternate etymology traces the Medieval Latin word to the Frankish molfell (soft garment made of hide) from mol (softened, worn), (akin to the Old High German molawēn (to soften)) and the Middle High German molwic (soft), (mulch in English) + fell (hide, skin).  The suffix –er was from the Middle English –er & -ere, from the Old English -ere (agent suffix), from the Proto-Germanic -ārijaz (agent suffix).  Usually thought to have been borrowed from Latin –ārius, it was cognate with the Dutch -er and -aar, the Low German -er, the German -er, the Swedish -are, the Icelandic –ari and the Gothic -areis.  It was related to the Ancient Greek -ήριος (-ḗrios) and Old Church Slavonic -арь (-arĭ).  In English, it was reinforced by the synonymous but unrelated Old French –or & -eor (Anglo-Norman variant -our), from the Latin -(ā)tor, from the primitive Indo-European -tōr.  Muffler is a noun and mufflerless, unmufflered, demufflered & mufflered are adjectives; the noun plural is mufflers.

Scarf (pronounced skahrf)

(1) A long, broad strip of wool, silk, lace, or other material worn about the neck, shoulders, or head, for ornament or protection against cold, drafts etc.; a muffler.

(2) A necktie or cravat with hanging ends (archaic).

(3) A long cover or ornamental cloth for a bureau, table etc (rare).

(4) To cover or wrap with or as if with a scarf or to use in the manner of a scarf (verb).

(5) In carpentry, a tapered or otherwise-formed end on each of the pieces to be assembled with a scarf joint scarf joint (a lapped joint between two pieces of timber made by notching or grooving the ends and strapping, bolting, or gluing the two pieces together).

(6) In whaling, a strip of skin along the body of the whale, a groove made to remove the blubber and skin.

(7) In steelmaking, to burn away the surface defects of newly rolled steel.

(8) To eat, especially voraciously (often followed by down or up).

1545–1455: From the Old Norse skarfr (end cut from a beam), from skera (to cut) .  The sense of a scarf being a piece of material cut from a larger piece is actually based on the use in carpentry, linked to the Swedish skarf & the Norwegian skarv (patch) and the Low German and Dutch scherf (scarf).  The sense of eating quickly is a now almost extinct Americanism from 1955-1960, thought a variant of scoff, with r inserted probably through r-dialect speakers' mistaking the underlying vowel as an r-less ar.  Etymologists have suggested other lineages such as a link with the Old Norman French escarpe and the Medieval Latin scrippum (pilgrim's pack) but the alternatives have never attracted much support.  Scarf is a noun & verb and scarfie is a noun; the noun plural is scarves or scarfs.  There is no established convention (and certainly no rule) about which plural form is "correct" when referring to the neckwear so all that can be recommended is consistency.  In practice, "scarves" seems more commonly used of the clothing while "scarfs" must always be the spelling in the context of carpentry.    

Lindsay Lohan with Louis Vuitton Sprouse Roses Long Scarf.

Until well into the twentieth century, muffler and scarf were used interchangeably but as the vocabulary associated with motor vehicles became commonplace, "muffler" became increasingly associated with the baffled mechanical device used to reduce the noise emanating from exhaust systems.  The automotive use swamped the linguistic space and muffler became less associated with the neck accessory although it never wholly went away and the upper reaches of the fashion industry maintain the distinction and it of course remains a staple in literary fiction.  Historically, of the garments, muffler was mostly British in use (Americans long preferring scarf) but scarf is now globally the most common form.  One geographically specific use was the "scarfie", a New Zealand slang form which began as a reference to a student at the University of Otago, based on the association with the signature blue-and-yellow scarf said habitually to be worn to signify allegiance to the provincial rugby union team (the Otago Rugby Football Union).  New Zealanders sometime in the mid-twentieth century abandoned mainstream religion and substituted worship of rugby and this was said to be something practiced with the greatest intensity at the University of Otago, the sense of group identity thought to have been reinforced by the country's only medical school having been located there for many decades.  The other great cultural contribution to Western culture was their part in the history of the "chunder mile". 

University of Otago Medical School.

The now-banned chunder mile was similiar in concept to the various "beer miles" still contested in some places, “chunder” being circa 1950s Australia & New Zealand slang for vomiting and of disputed origin.  The rules were simple enough, contestants being required to eat a (cold) meat pie, enjoyed with a jug of (un-chilled) beer (a jug typically 1140 ml (38.5 fl oz (US)) at the start of each of the four ¼ mile laps and, predictably, the event was staged during the university's orientation week.  Presumably, it was helpful that at the time the place was the site of the country’s medical school, thereby providing students with practical experience of both symptoms and treatments for the inevitable consequences.  Whether the event was invented in Dunedin isn’t known but, given the nature of males aged 17-21 probably hasn’t much changed over the millennia, it wouldn’t be surprising to learn similar competitions, localized to suit culinary tastes, have been contested by the drunken youth of many places in centuries past.  As it was, even in Dunedin, times were changing and in 1972, the Chunder Mile was banned “…because of the dangers of asphyxiation and ruptured esophaguses.”

Lindsay Lohan with Burberry scarf.  Made with a heavier fabric this would once have been called a muffler (as Vogue magazine still does).

Although not universal (especially in the US), in the better magazines, fashion editors still like to draw a distinction between the two, a scarf defined as an accessory to enhance the look and made from fabrics like silk, cotton or linen whereas a muffler is more utilitarian, bulkier and intended to protect from the cold and thus made from wool, mohair or something good at retaining body-heat.  That doesn't imply that inherently a muffler is associated with cheapness, the fashion houses able to see a market for a high-priced anything.  Occasionally, muffler is used in commerce as a label of something which looks like a small blanket, worn over the shoulders and resembling an open poncho.  They're said to offer great warmth.

So, scarves and mufflers are both accessories worn around the neck for either or both warmth and style but with historic differences in construction, size & shape, those differences no longer of the same significance because the term “muffler” has become a niche and “scarf” tends to prevail for most purposes.  However, for those who enjoy pedantry (or aspire to edit Vogue), the old conventions can be summarized thus:

Scarfs are usually rectangular or square in shape and available in many sizes and are made for a variety of materials including wool, silk, cotton or synthetic fabrics. They can be woven, knitted, or printed with patterns or designs.  Scarves generally are long and narrow compared to mufflers and can be worn in many styles, the most popular including draped around the neck, wrapped, or knotted.  Now often adopted as a fashion accessories to complement outfits or add a splash of color or texture, the seasonal choice will be dictated usually by temperature because, depending on material and thickness, a scarf can be as warming as a traditional muffler.

Mufflers are also long pieces of fabric, but they tend to be wider and thicker than the traditional, more decorative, scarves.  Being bulkier and there for warmth, mufflers are often knitted or crocheted and may have a more substantial texture to enhance the thermal properties.  The design of a muffler succeeds or fails on the basis of (1) the protection against the elements afforded and (2) the ease with which it snugly will wrap around the neck.  Inherently that means they don’t always offer the same versatility in styling offered by scarves but because the surface area is large, a sympathetic choice of colors or patterns offers interesting possibilities.  Strangely perhaps (and an indication of the way use has shifted), the neckwear worn by supporters of football clubs and such, although they are, in the conventional sense, mufflers, are always describes as scarfs although, in places like Cardiff Arms Park on a cold winter day, those with one wrapped around will be grateful for the warmth.

Avoiding the muffler

An electrically controlled exhaust system "cut-out", the modern version of the old, mechanical, "by-passes".

On cars, trucks and other vehicles with internal combustion engines (ICE) which generate their power by the noisy business of detonating hydrocarbons, mufflers are valued by most people because they make things much quieter.  That's almost always good although in the right place, at the right time, the unmuffled sound of a BRM V16 at 12,000 rpm remains one of the great experiences of things mechanical and on the road, a well-designed chosen combination of engine and muffler can produce a pleasing exhaust note, witness the Daimler V8s of the 1960s.  The BRM, like most racing cars in the era, was unmuffled because there's a price to be paid for quietness and that price is power, the addition to the exhaust system robbing ICE of efficiency.  To try to have the best of both worlds (and seem to comply with the law), some inventive types use "outlaw" (or "special") pipes which work by offering exhaust gasses a "shortcut" to the atmosphere.  In ICEs, there are both down-pipes and dump-pipes.  Their functions differ and the term down-pipe is a little misleading because some down-pipes (especially on static engines) actually are installed in a sideways or upwards direction but in automotive use, most do tend downwards.  A down-pipe connects the exhaust manifold to exhaust system components beyond, leading typically to first a catalytic converter and then a muffler (silencer), most factory installations designed deliberately to be restrictive in order to comply with modern regulations limiting emissions and noise.  After-market down-pipes tend to be larger in diameter and are made with fewer bends improving exhaust gas flow, reducing back-pressure and (hopefully) increasing horsepower and torque.   Such modifications are popular but not necessarily lawful.  Technically, a dump-pipe is a subset of the down-pipes and is most associated with engines using forced aspiration (turbo- & some forms of supercharging).  With forced-induction, exhaust gases exiting the manifold spin a turbine (turbocharger) or drive a compressor (supercharger) to force more of the fuel-air mixture into the combustion chambers, thereby increasing power.  What a dump-pipe does is provide a rapid, short-path exit for exhaust gases to be expelled directly into the atmosphere before reaching a down-pipe.  That obviously avoids the muffler, making for more power and noise, desirable attributes for the target market.  A dump pipe is thus an exit or gate from the exhaust system which can be opened manually, electronically, or with a “blow-off” valve which opens when pressure reaches a certain level.  In the happy (though more polluted) days when regulations were few, the same thing was achieved with an exhaust “by-pass” or “cut-out” which was a mechanical gate in the down-pipe and even then such things were almost always unlawful but it was a more tolerant time.  Such devices, lawful and otherwise, are still installed.

Slant

Slant (pronounced slant or slahnt)

(1) A surface, structure, line etc at a slope or in an oblique direction.

(2) In (US) football, an offensive play in which the ball-carrier runs toward the line of scrimmage at an angle (known also as the “slant-in”, a pass pattern in which a receiver cuts diagonally across the middle of the field).

(3) In prosody, as “slant rhyme”, a synonym for the “half rhyme”, “near rhyme” & “quasi-rhyme” (a form of imperfect rhyme in which the final (coda) consonants of stressed syllables (and, in modern English poetry, any following syllables to the end of the words) are identical in sound, but the vowels of the stressed syllables are not.

(4) In typography, a synonym of slash ( / ⟩, particularly in its use to set off pronunciations from other text (not used in IT where the distinctions are between the forward-slash (/) and the back-slash (\) which nerds call respectively the slash and the slosh.

(5) In biology, a sloping surface in a culture medium.

(6) In hydro-carbon extraction, as “slant drilling”, a technique in which the drilling is undertaken at an oblique angle rather than the traditional vertical orientation.

(7) In extractive mining, as type of run in which a heading is driven diagonally between the dip and strike of a coal seam.

(8) In informal use, a glance or look.

(9) To veer or angle away from a given level or line, especially from a horizontal; slope (in to incline, to lean).

(10) Figuratively, to have or be influenced by a subjective point of view, bias, personal feeling or inclination etc (often as “slant towards”, “slanted view” etc); a mental leaning, bias, or distortion (“feminist slant”, “MAGA slant”, “liberal slant”, “business slant” etc).

(11) To cause to slope.

(12) Figuratively, to distort information by rendering it unfaithfully or incompletely, especially in order to reflect a particular viewpoint (more generously sometimes described as “spin” or “massaged”).  The concept is known also as “angle journalism” (the particular mood or vein in which something is written, edited, or published).  In Scots English, the meaning “to lie or exaggerate” captures the flavor.  When used to describe the composing, editing, or publishing of something to attract the interest of a specific sub-group (a “slanted” story), “slanted towards” is necessarily pejorative if used only to suggest something optimized to appeal to a certain market segment or demographic (ie it’s more like “aimed at” or “intended for”).

(13) In slang, as “slant eye” (a racial slur now listed as disparaging & offensive), a reference to people from the Far East (applied historically mostly to the Chinese & Japanese), based on the shape of the eyes.  The variants included “slit eye”, “slitty-eyed” & “slopehead”, all equally offensive and now proscribed.

(14) In painting (art) a pan with a sloped bottom used for holding paintbrushes; a depression on a palette with a sloping bottom for holding and mixing watercolors; a palette or similar container with slants or sloping depressions.

(15) In US regional slang, a sarcastic remark; shade, an indirect mocking insult (archaic).

(16) In US slang, an opportunity, particularly to go somewhere (now rare).

(17) In historic Australian colonial slang, a crime committed for the purpose of being apprehended and transported to a major settlement.

Circa 1480s: From the Middle English –slonte or -slonte, both aphetic (in phonetics, linguistics & prosody, “of, relating to, or formed by aphesis” (the loss of the initial unstressed vowel of a word)) variants of aslant, thought to be of Scandinavian origin.  The other influence was probably the earlier dialectical slent, from the Old Norse or another North Germanic source and cognate with the Old Norse slent, the Swedish slinta (to slip) and the Norwegian slenta (to fall on the side), from the Proto-Germanic slintaną (which, in turn, was probably in some way linked with aslant.  Slant & slanting are nouns, verbs & adjectives, slanted is a verb & adjective, slantish is an adjective, slantwise is an adjective & adverb and slantingly & slantly are adverbs; the noun plural is slants.  The pleasing adjective slantendicular is listed by some as non-standard and presumably is proscribed in geometry and mathematics because it's an oxymoron; it’s a portmanteau word, the construct being slant + (perp)endicular.  It may be useful however in commerce or engineering where it might be used to describe something like a tool with a shaft which at some point assumes an oblique or skewed angle.   So it’s there to be used and slantindicular should be applied to stuff which is neither wholly nor fully slanted and in architecture, such structures are numerous.  In commerce, it could be used as a noun.

The noun slant by the 1650s was used to mean “an oblique direction or plane” and began in geography & civil engineering (of landforms, notably ski-slopes), developed from the verb or its adjective.  The now familiar (in the Fox News sense) meaning “way of regarding something, a mental bias” dates from 1905 while the derogatory slang sense of “a person of Asian appearance” came into use some time in the 1940s, a direct descendent from the earlier "slant-eyes", documented since 1929.  The verb slant is documented since the 1520s in the sense of “obliquely to strike (against something)”, an alteration the late thirteenth century slenten (slip sideways), the origin of which is murky but etymologists have concluded it came (via a Scandinavian source (noting the Swedish slinta (to slip)) and the Norwegian slenta (to fall on one side), from the Proto-Germanic slintanan.  The intransitive sense of “to slope, to lie obliquely” was in use by the 1690s, while the transitive sense of “to give a sloping direction to” had emerged by the early nineteenth century.  As early as the late fifteenth century forms were in use as an adverb, the adjectival use attested from the 1610s.  The technical use in literary theory as “poetic slant rhyme” was first used in the mid 1920s (assonance or consonance) although such lines had appeared for centuries, used sometimes deliberately as a device, sometimes not.  In the following stanza by English poet Peter Redgrove (The Archaeologist, published in Dr Faust's Sea-Spiral Spirit (1972)), the second and third lines contain a form of slant rhyme while the first and fourth have pure rhymes:

So I take one of those thin plates
And fit it to a knuckled other,
Carefully, for it trembles on the edge of powder,
Restore the jaw and find the fangs their mates.

Slanted right: You are watching Fox.

While it’s unlikely volumes of the poetry of Emily Dickinson (1830–1886) sit upon the bookshelves of those members of the Fox News audience who have bookshelves, they likely would concur with her words: “Tell the truth but tell it slant.”  “Slanted reporting” has become something which in recent years has attracted much attention (and much hand-wringing by the usual suspects) as an increasingly polarization of positions has been alleged to be a feature of political discourse in the West.  There is little doubt the effect (as reported) is obvious but there’s some debate about both the mechanics and the implications of the phenomenon.  As long ago as 2018, a study found that although the tenor and volume of things on X (formerly known as Twitter) was found to be increasingly toxic and surging, the number of active users engaged in these political polemics was found to be tiny and their effect was distorted by (1) the huge number of tweets they tended to post, (2) the propensity of their fellow-travelers to re-tweet and (3) the use of bots which were more prolific still.  If anything, recent voting patterns suggest it would seem the views of the general population appear to be trending away from the extremes towards the more centralist positions offered by independents or small-parties, something most obvious in Australia where compulsory voting exists.  Outfits like Fox News offer a slanted take on just about everything (and promote country & western music which truly is inexcusable) but this is something which has been identifiable in the news media as long as it’s existed and their blatant bias is hardly subversive or threatening, simply because it is so blatant.  What was most interesting in what emerged from the recent defamation suit filed by Dominion Voting Systems against Fox News suggested the network’s stance on things was motivated more by the financial imperative than ideological purity.  Intriguingly, what some analysts concluded was that if the universe shifted and the Fox News audience transformed into a bunch of seed-eating hippies, there would follow Fox’s editorial position, the slant being towards the advertising revenue rather than a particular world view.  Of course, there are some slants which are unalterable and dictated by ideological purity but with commercial media, it’s likely sometimes cause is confused with effect.

The New Statesman, 14-20 June 2024: A publication with a leftist slant depicting the European right, slanted to the right.

Founded in 1913 by Sidney (1859–1947) & Beatrice Webb (1858–1943) with patronage from George Bernard Shaw (GBS; 1856-1950) and other worthies from the socialist Fabian Society.  Its circulation was at its highest during the high-water mark of British socialism under Harold Wilson (1916–1995; UK prime minister 1964-1970 & 1974-1976) but, now with print and digital editions in the common manner, it has survived and while unashamedly left-wing (the editorial boards preferring terms like “progressive” & “liberal”), it also has an emphasis on culture and literature, a mix similar to The Spectator (right) and The Economist (centre-right).  Unlike the Spectator which picks up readers from across the spectrum because the often punchy writing attracts (as well as those who read it on the basis of "know thy enemy"), the published surveys suggest The New Statesman's readership tends to be from the left.

The Leaning Tower of Pisa (left) and Lindsay Lohan in The Parent Trap (1998) in front of London’s perpendicular Big Ben (1859) (right).  The architect’s original name for the latter was a typically succinct “Clock Tower”, chosen because it housed the “Great Bell of the Great Clock of Westminster” but it was in 2012 renamed “Elizabeth Tower”, marking the Diamond Jubilee of Elizabeth II (1926-2022; Queen of the UK and other places, 1952-2022), something little noted by Londoners or those beyond who continue to prefer the nickname “Big Ben” although strictly speaking that’s a reference only to the “Great Bell” a 13.5 ton (13.7 tonne) casting in bell metal (a bronze which is an alloy of about 77% copper & 23% tin).  The origin of the nickname is contested but there are no romantic tales, all the possible inspirations being worthy white men as was the Victorian way.

Although in Italy alone there are seven leaning towers (three of which stand (ie lean) in Venice), it’s the torre di Pisa (Tower of Pisa) which is by far the best-known and a frequent Instagram prop.  Built between 1173-1372, the structure in the Piazza del Duomo (Pisa’s Cathedral Square) is the campanile (the freestanding bell tower) of the adjacent Pisa Cathedral and the famous lean of some 4^o (actually somewhat less than its greatest extent after more than a century of compensating engineering works) was apparent even during construction, the cause the softness of the sub-surface.  That geological feature has however contributed to the tower’s survival, the “rubber-like” sponginess below acting to absorb movement and despite a number of severe earthquakes in the region over the centuries, the tower remains.  It is of course known as the leaning tower than a sloping, oblique or slanted tower, probably because of the conventions of use which evolved in English.

The words “sloping”, “oblique”, “slanted”, & “leaning” all describe something not vertical or horizontal there tend to be nuances which dictate the choice of which to use.  Sloping generally is used of something which inclines or declines at a gentle or continuous angle, the implication being of a gradual or smooth transition from elevation to another, such as the way a hillside rises gradually rises to its summit.  Oblique is mostly a matter of specific angles and is thus common is mathematics, geometry and engineering.  Again, it’s a reference to something neither parallel nor perpendicular to a baseline but it tends to be restricted to something which can be defined with an exact measurement; in geometric or technical use, an oblique line or angle is one neither 90^o nor perfectly horizontal.  Slanted describes something positioned at a diagonal, often used to imply a more noticeable or sharp angle but also is widely used figuratively, metaphorically and in idiomatic phrases.  Leaning refers to something tilted or positioned at an angle due to external pressure, the object in an unstable position and in need of support.  The implication carried is that something which “slants” is designed thus to do while something which “leans” does so because of some design flaw or unexpected external force being applied so it’s the leaning and not the sloping tower of Pisa, even though the structure has assumed quite a slope.

Slanting Engines

On a slant: Diagram of the mounting of the M194 straight-six engine in the Le Mans winning Mercedes-Benz 300 SL (W194) canted at a 40^o slant (left); the Mercedes-Benz M196 straight-eight engine schematic (centre) and installed in a 1954 W196R "Streamliner" at a 53^o slant (right).  The two large donut-like objects at the front are the inboard, finned brake drums; at the time, the engineers maintained disk brakes were "not yet ready for use". 

There are “slant” engines and they exist in three configurations.  The first is simply a conventional in-line engine (straight-six, straight-eight etc) which, when installed in a vehicle, is fitted with the block canted to the left or right, the objective being a lower hood line which means a better aerodynamic outcome.  A classic example was the Mercedes-Benz W196R Formula One racing car (1954-1955) in which the straight-eight was canted to the right at a 53^o angle, the technique carried over when the same structure was used to produce the W196S (1955) used to contest the World Sports Car Championship.  Rather opportunistically, the W196S was dubbed the 300 SLR (one of which in 2022 became the world's most expensive used car, selling at a private auction for US$142 million) as a form of cross promotion with the 300 SL (W198, 1954-1956) Gullwing then in production, even though the two types shared little more than nuts, bolts and a resemblance.  The 300 SL did however also have its straight-six engine sitting at a slant, this time canted at a 50^o angle and although the factory never published an estimate of the reduction in drag, it’s long been presumed to be “at least several percent”.  Another advantage of the configuration was it made possible the use of “long-tube” runners for the induction system, taking advantage of the properties of fluid dynamics to permit them to be tuned either for mid-range torque or top-end power.  The concept used math which had been worked out in the nineteenth century and had often been used in competition but it wasn’t until 1959 when Chrysler in the US released their picturesque induction castings that the system, imaginatively named the “Sonoramic”, reached a wider audience.

Chrysler Slant Six (170 cid, 1963) schematic.

The “true” slant engines were those with a slanted block atop an otherwise conventional arrangement of components, the best known of which was Chrysler’s long-serving “Slant Six”, produced in displacements of 170 cubic inch (2.8 litre, 1959-1969), 198 cubic inch (3.2 litre, 1970-1974) and 225 cubic inch (3.7 litre, 1960-2000).  The block of the Slant Six was canted to the right at a 30^o and like Mercedes-Benz, Chrysler took advantage of the space created to the left to produce some wide induction runners, the most extravagant those used by the special Hyper Pack option package which used a four barrel carburetor, enabling the engine to produce power which made it competitive with many V8 powered machines.  Although the name “Slant Six” became famous, it was only in the mid-sixties it caught on, Plymouth originally calling the thing a 30-D (a reference to the a 30^o slant), hardly very catchy and something to which only engineers would relate and Slant Six was soon preferred although the aficionados really like “tower of power” and the engine even today still has a devoted following.

Chrysler Slant Six with Hyper Pak in 1962 Plymouth Valiant V-200.

Chrysler didn’t restrict the Sonoramics to the big-block V8s, using it also on the short-lived (1960-1962) Hyper Pak performance option for the both 170 cubic inch (2.8 litre, 1959-1969) and 225 cubic inch (3.7 litre, 1987-2000) versions of the Slant Six, the engineers taking advantage of the space afforded by the canted block to permit the curvaceous intake runners nearly to fill the engine bay.  The Hyper Pak wasn't seen in showrooms but was available as an over-the-counter kit (literally a cardboard box containing all necessary parts) from Dodge & Plymouth spare parts departments and its life was limited because it became a victim of its own success.  Although less suitable for street use because it turned the mild-mannered straight-six into something at its best at full throttle, in the race events for which it was eligible it proved unbeatable, dominating the competition for two years, compelling the sanctioning body cancel the series.

Manifold porn: The Slant Six's angle meant there was much space available to the left and a range of intake manifolds followed, some of which remain available to this day.  Using variations of the sonoramic tuning, manifolds were produced for single, two & four barrel carburetors and between 1965-1968, Chrysler's Argentine operation produced the Slant Six in a version with twin single barrel carburetors.  The use of the properties of fluid dynamics to gain power or torque as desired quickly was adopted by the industry as an engineering orthodoxy.

Some myths seem to have become attached to the Hyper-Pak.  What seems to be true is the original kit, sold in 1960 for the 170 engines used in competition, was a genuine homologation exercise and as well as the intake manifold & Carter AFB four barrel carburetor, it included all the internal parts such as the high-compression pistons, the high-lift camshaft and the valve train components needed to support the consequently higher engine speeds.  Because the competition rules allowed modifications to the exhaust system, on the track the cars ran tubular steel headers which fed an open exhaust, terminating in the racers' preferred “dump pipe”.  After the requisite number of “complete” kits were sold, thus fulfilling the homologation demands, the kits were reconfigured and included only the “bolt-on” parts such as the induction system and a camshaft which, while more aggressive than the standard unit, wasn’t as radical as the one used on the track but could be used in conjunction with the standard valve train and Chrysler’s TorqueFlite automatic, thus expanding the Hyper-Pak’s appeal.

At the same time, the availability was extended to the larger 225 which between 1961-1963 was also available with an aluminum block, thus becoming one of the small number of engines configured with the combination of an aluminum block with a cast-iron head.  US manufacturers were at the time aware the trend was for cars to continue getting bigger so they were interested in ways to reduce weight.  However, despite saving some 70 lbs (32 KG), Chrysler’s aluminum block was, like General Motors’ (GM) 215 cubic inch (3.5 litre) V8, short-lived (though the V8 after being sold to Rover enjoyed a long, lucrative and prolific second life, not finally laid to rest until 2006) for not only were teething troubles encountered with the still novel method of construction, the accountants made clear using cast iron was always going to be cheaper so the industry just accepted weight gain and whenever required, increased displacement to compensate, an approach which persisted until the first oil shock of the early 1970s.

1970 Dodge Challenger (1970-1974) with 225 Slant Six.

Until 1973, both the Challenger & the corporation's companion E-Body pony car (the Plymouth Barracuda (1969-1974)) was available with the Slant Six (198 & 225) although the fitment rate was under 10%, unlike the early pony cars (Ford Mustang, Chevrolet Camaro and the early Barracudas) where the six-cylinder versions would at times be close to 40% of production.  Many of the surviving Slant Six Challengers & Barracudas have been "re-purposed" as clones of the more desirable versions with potent small or big-block V8s.  Because of the rarity, exceptional examples of slant-six E-body cars do trade in a niche in the collector market. 

Although it was the longer lived 225 version which gained the Slant Six its stellar reputation for durability and the ease with which additional power could be extracted, there's always been a following for the short-stroke 170 because of its European-like willingness to rev, the characteristics of the over-square engine (unique among the slant-six's three displacements (170-198-225)) unusually lively for a US straight-six.  Despite some aspects of the specification being modest (there were only four main bearings although they were the beefy units used in the 426 cubic inch Street Hemi V8), for much of its life it used a tough forged steel crankshaft and high-speed tolerant solid valve lifters; it proved a famously robust engine and one remarkably tolerant of neglect.  Despite that, after the Hyper Pak affair, Chrysler in the US showed little interest in any performance potential, knowing the US preference for V8s, something which doomed also Pontiac's short-lived single overhead camshaft (SOHC) straight-six (1966-1969).  A version of the 225 with a two-barrel carburetor (rated at 160 horsepower, an increase of 15 over the standard unit) was offered in some non-North American markets where V8 sales were not dominant and it proved very popular in South Africa, Australia, New Zealand and Central & South America but only when tighter US emission regulations forced its adoption did a 225 with a two barrel carburetor appear in the home market though there it was installed to restore the power losses suffered after the emission control plumbing was added rather than seek gains.

Pontiac Trophy 4 cutaway.

Making a straight-eight or V8 by combining two in-line fours has been done a few times and many have been successful (although Triumph managed to create a truly horrid one for the otherwise lovely Stag).  Less common is making a four from an eight but that’s what Pontiac did when they conjured their 194.5 cubic inch (3.2 litre) four by using one bank of their 389 cubic inch (6.4 litre) Trophy V8 and it was (just about) literally cut in half, meaning the cylinders were canted to the right by 45^o (the V8 obviously in a conventional 90^o configuration).  To emphasize the family connection with the highly regarded Pontiac Trophy V8, the smaller offspring was called the Trophy 4 (although it was at time also dubbed the Indy 4 or Indianapolis 4 which even at the time sounded ambitious).  It did work and the economic advantages for the manufacturer (use of common components and the same assembly line) were compelling but the limitations inherent in a four-cylinder of such a large displacement were apparent in the rough-running and wear on critical parts and it was available only between 1961-1963 and used in a single model, the compact (in US terms) Tempest.

Pontiac 389 cubic inch V8 and "Tri-Power" (three Rochester two-barrel carburetors) induction in 1966 GTO convertible; one of these is more sought after than two Trophy 4s and worth more than twice as much.

The Pontiac V8 which provided the bones for the Trophy 4 was unusual compared with the US industry's post-war practice in that although its displacement ranged between 265-455 cubic inches (4.3-7.5 litres), only one block was used whereas others would produce several, the most common distinction being the "big block" and "small block", terms which were not always indicative of relative internal capacity but were literal in terms of external dimensions.  Ford muddied the waters a bit when one "big block" was continued in production after another (even bigger) "big block" was released and this had led some to prefer the opportunistically coined "mid block" but that's always been too nerdy for most who continue to prefer the well-understood small-big distinction.  All Oldsmobile's post-war V8s also shared the one basic block but the division followed the usual practice of using a "tall deck" version (ie one with metal added to the casting to permit a longer stroke) for the larger displacement iterations whereas Pontiac chose to use a unique "short deck" casting for some in the last days before General Motors (GM) extended the intra-divisional sharing of engines, something which doomed the Pontiac V8.  The fact that the external dimensions of the Pontiac V8s were almost all identical, regardless of displacement intrigued some who saw a simple, cheap path to power, replacing a 326 cubic inch (5.3 litre) V8 with a 455 cubic inch version a remarkably simple process.  However, as some soon found out, just because it fitted under the hood didn't mean other components would tolerate the increase in power and torque, something which applied especially to some of Pontiac's novel (and short-lived) engineering in the early 1960s such as the flexible driveshaft (the so-called "rope-drive") or the rear-mounted transaxle;  quickly, things would break.

Diagram showing balance shaft locations.

Bigger even than the Pontiac Trophy 4, large displacement four cylinder engines were once common although some were exceptional.  Fiat in 1910 built two of their S76s to contest the world LSR (land speed record) and they were an hefty 28.4 litres (1730 cubic inch), the “Beast of Turin” using its then impressive 290 horsepower (216 kW) to attain a one-way speed of 132.27 mph (213 km/h) but, because it was not possible for the team to make the “return run” (ie in the opposite direction) within the stipulated one hour, the LSR remained with the Blitzen Benz which in 1909 had set a mark of 125.94 mph (202.65 km/h).  On land, never again would anyone build a four with the capacity to match the Beasts of Turin but units with displacements approaching 5.0 litres (305 cubic inch) were not uncommon during the inter-war years.  However, the technology of the internal combustion engine (ICE) greatly advanced during World War II (1939-1945) and one consequence of that was engine speeds rose and less displacement was required for a specific output, both factors which conspired to make the big fours unfashionable.  They did however make a comeback in the 1970s when the clever trick of “balance shafts” enabled the inherently chronic second order harmonic vibrations to be “dampened out” and Porsche between 1991-1995 produced a 3.0 litre (183 cubic inch) range which used the technique.  The balance shaft was invented early in the twentieth century by English engineer Frederick Lanchester (1868–1946) but it was Mitsubishi which in the 1970s patented their “Silent Shaft” system and although Porsche developed their own version, they worked out the Japanese design was superior so used that instead, paying Mitsubishi a small royalty (under US$10) for each one installed.  A balance shaft uses two counterweights (looking something like small hockey pucks with the shaft running through them), set some 1½ inches (40 mm) apart and turns at twice the engine-speed.  With one shaft mounted high on one side of the engine and the other low on the opposite side, the pair counter-rotates, balancing the large reciprocating mass.  In that, the balance shafts can be thought of as a variation of a crankshaft's harmonic balancer.

Headlights on a slant

The one-off, 1938 Jaguar SS100 fixed head coupé (FHC) “Grey Lady” which demonstrates the traditional placement when four lights were used.

Headlights at a slant (mounted diagonally and known also as "canted") have also been a thing.  The inclination designers for decades felt to use a diagonal arrangement for headlights began innocently enough in the pre-war years when it emulated the usual practice of placing a pair of driving lamps or for lights inboard of the main headlamps and lower down, mounted typically on the bumper bar or its supporting brackets.  Most headlamps until the late 1930s were in separate housings, as were the auxiliary devices and even cars which integrated them into the coachwork adopted the same geometry.  This was due in part to the evolutionary nature of automobile styling which has often tried to avoid the “shock of the new” and in part to regulations, especially those which applied in the US.

Jaguar S-Type (1963-1968, left), Vanden Plas Princess R (1964-1968, centre) and Volvo 164 (1968-1975, right).

Although most would regard the technique which essentially integrated the driving lamps/fog lamps into the coachwork as just a variation on the diagonal theme, professional designers insist not; they say this is just wrapping enveloping bodywork around an existing device.  Also, the professionals prefer the term “canted headlamps” because “diagonal” has a more precise definition in mathematics.

Rover 3.5 Coupé (P5B 1967-1973, left) and Packard Coupe (1958) (right)

While the US manufacturers usually re-tooled in 1957-1958 after regulations had been changed to allow quad head-lamps, the British were often fiscally challenged and needed to continue to use existing sheet metal.  A design like the Vanden Plas Princess R (and the companion Wolseley 6/99 & 6/110 (1959-1968)) has sufficient space to allow the diagonal placement but the Rover P5 (1958-1967) with its wider grill precluded the approach so the expedient solution was to go vertical.  Although obviously just “bolted on”, such was the appeal of the P5B it just added to the charm.  It could have been much worse because less charming was the 1958 Packard Coupe, produced by Studebaker-Packard, the company an ultimately doomed marriage of corporate convenience which seemed at the time a good idea but proved anything but. Studebaker-Packard lacked the funds to re-tool to take advantage of the rules allowing four head-lamps but without the feature their cars would have looked even more hopelessly outdated than they anyway did so cheap fibreglass “pods” were produced which looked as “tacked on” as they were.  They were the last Packards made and Studebaker’s demise followed within a decade.

1963 Zunder

The Zunder ("spark" in German) was produced in Argentina between 1960-1963 and used the power-train from the Porsche 356.  The body was fashioned in fibreglass and was one of the many interesting products of the post war industry in Brazil and Argentina, the history of which is much neglected.  By the standards of time, it was well-built but as a niche product, was never able to achieve the critical mass necessary to ensure the company’s survival and production ceased in 1963 after some 200 had been built.

Buick Electra 225 (First generation 1959–1960, left) and (Lincoln) Continental Mark III (1958-1960, right).  The Buick adopted horizontal headlamps in 1960.

In the late 1950s, most US manufacturers did have cash to spend and the industry spirit at the time was never to do in moderation what could be done in excess although by comparison with the Lincoln, the Buick verged on the restrained.  Tellingly, the Buick sold well while the Continental was such a disaster Ford considered sending Lincoln to join Edsel on the corporate scrapheap and the nameplate was saved only because it was possible at low cost to re-purpose a prototype Ford Thunderbird as the new Continental.  Rarely has any replacement been such a transformation and the 1961 Continental would influence the design of full-sized American cars for twenty years.  It used horizontally mounted head-lamps.

1961 Chrysler 300 G.

Chrysler’s “Letter Series 300” (1955-1965) coupes and convertibles were the brightest glint in the golden age in which Detroit’s power race was played out in the big cars, an era which would be ended by the introduction of the intermediates and pony cars in the 1960s.  The 300G (1961) was visually little changed from the previous year’s 300F but the simple change to diagonal headlamps was transformative.  There were those who didn’t like the look but generally it was well received and as a first impression, the feeling might have been Chrysler had mastered the motif in a way the Continental Mark III proved Ford just didn’t get it.

1961 DeSoto Adventurer (left), 1962 Dodge Dart (centre) and 1963 Dodge Polara (right).

However, Chrysler’s designers in the early 1960s may have decided they liked diagonal headlamps which was good but seemingly they liked them so much they though the buyers should be offered as many permutations of the idea as could be made to work on a production line.  What’s remarkable is not that the public didn’t take to the approach but that it took the corporation so long to admit the mistake and try something more conventional.  Just to hedge their bets, while Dodge, Plymouth and DeSoto all had headlamps mounted at an obvious degree of cant, on the Chryslers the effect was so subtle one really needed to hold a spirit level to the front end to confirm there was an slant, albeit one imperceptible to the naked eye.  The one division which never were the diagonal way was the Imperial but it’s headlamp treatment was more bizarre still.

1961 DeSoto styling proposal (September 1958) for the 1961 range.

For DeSoto, things could have looked worse even than they did, some of the implementations of the diagonal motif which went as far as clay models or actual metal prototypes so bizarre one wonders what external influences were being studied (or inhaled).  As it turned out, 1961 would be the end of the line for DeSoto, a nameplate which had been successful as recently as the mid 1950s.  Its demise was little to do with diagonal head-lamps (though they didn’t help) but a product of Chrysler’s other divisions expanding their ranges up and down, encroaching on a market segment DeSoto once found so lucrative.  The phenomenon was a harbinger of the eventual fate of marques like Mercury, Pontiac, Oldsmobile and Plymouth.

Retractable headlights: 1972 Ferrari 356 GTC/4 (top left), 1968 Lamborghini Isoero (top right), 1967 Maserati Ghibli Spyder (bottom left) and 1970 Plymouth Superbird (bottom right).

Although sometimes the diagonal placement of headlights was a deliberate choice by the stylist, it could be something dictated by the body's shape and this was the case when quad units were used in conjunction with retractable housings.  On most cars the diagonal motif appeared with the outboard lights mounted noticeably higher than those inboard but, because of the slope, when retractable lights were used the inner lights could sit higher, the visual effect sometimes exaggerated because the angle the housing (following the horizontal nose-line) assume when erected made the inboard lights seem higher still.  It was a product of shape and not something inherent to the “pop-up” retractable technique: The 1969 Dodge Daytona and 1970 Plymouth Superbird (both homologation exercises for use on the NASCAR (National Association for Stock Car Auto Racing) ovals & tracks) both had their four headlights aligned in the horizontal.

1964 Bentley S3 “Chinese-eye” two-door saloon by Mulliner, Park Ward (MPW).  MPW was in 1961 created as the in-house coach-building division of Rolls-Royce by merging Park Ward (a subsidiary since 1939) and H. J. Mulliner (a subsidiary since 1959).  In 1991 the operation was shut down but the Mulliner name endures as Bentley’s “personal commissioning division” which offers services ranging from high-priced bling to bespoke coach-built bodies.

Bentley’s Continental “sports saloon” was in 1952 introduced on the R-Type chassis, the line continued (with some sacrifice in individuality) with the S-Type generation of six-cylinder cars in 1955.  When the S2 was released in 1959, the external appearance was little changed although under the bonnet (hood) there was the new 6¼ litre V8 which faithfully would serve for some six decades until 2020 when the last was fitted to a Bentley Mulsanne although by then, there were few parts able to be interchanged with those in the original run.  With the debut of the V8, it was no longer possible to purchase a Bentley with a manual transmission and, unlike some of the S3 range, all the Continentals had coach-built bodies from H J Mulliner, James Young or Park Ward.  The Mulliner (and later MPW) cars featured slanting nacelles for the quad headlights and quickly these gained the sobriquet “Chinese eye” which, surprisingly, seems to have survived the linguistic treadmill and the term still is used by the trade servicing the collector community.

Clockwise from top left: Fiat 8V (1952-1954), Gordon-Keeble GK-1 (1961-1967), Jensen C-V8 (1962-1966) and Triumph Vitesse convertible (1962-1971).

Perhaps surprisingly, the French majors were never much enamored, presumably because Citroën and Renault didn’t like to be thought imitative and Peugeot was too conservative.  Some of the Europeans did dabble with the idea, embracing it as an expression of modernity although the then radical treatment of the head-lamps sometimes struck a discordant note when the look was grafted onto something where the rest of the platform was so obviously from one or two generations past.  Fiat’s exquisite 8Vs didn’t all get the diagonal look but those which did remain the most memorable of the few of the breed built.  An unqualified aesthetic success was the Gordon-Keeble built to aviation standards and powered by a Chevrolet V8 in Corvette tune.  It deserved to succeed but floundered as much of the British industry did in the era because of a lack of capitalization and an accounting operation which didn’t match the quality of the engineering.  More commercially successful was the Jensen C-V8 but while the distinctive front end now makes it much prized by collectors, at the time it was less admired and its very presence served only to emphasize how antiquated the rest of the styling had become.  For its replacement, Jensen tuned to an Italian styling house and the Interceptor, introduced in 1966 and remembered for the vast expanse of rear glass, is now thought a classic of the era.  The one which sold best was the Triumph Vitesse, one of a number of variations built on the robust and versatile separate chassis of the Herald (1959-1971) including the Spitfire and GT6.  Although not exactly the BMW M3 of its day, the six-cylinder engines did provide effortless performance and the Vitesse’s front end actually lived on in India (though without the torquey straight-sixes) to enjoy an "Indian summer" but curiously, the inner headlights weren’t fitted.

Gilding the lily: The Lancia Fulvia coupé (1965-1976) before & after.

The lovely, delicate lines of the Lancia Fulvia were perfect and really couldn’t be improved.  The unfortunate facelift with the canted lights was no improvement.